When the highly popular Affordable Art Fair Singapore opens its doors again this week, we’re pretty sure people will be hunting for some artistic bargains. And with 86 galleries offering fine art ranging from S$100 to S$10,000 at the F1 Pit Building, you’d be amiss to give it a miss.

Now in its third consecutive year, Singaporeans probably know what to expect. But if you need help, we’ve cobbled together some advice from folks in the know: Veteran art dealer/gallerist/consultant Marjorie Chu, whose Art Forum gallery took part not only in last year’s edition, but also recently at the international fair franchise’s original London base; Ghazali Saad of Agility, which sets up the entire exhibition and provides the packing service; and Alex Mytton Mills of The Frame Society, which is offering talks on framing and their services onsite.

IT’S TIME TO BUY

It sounds like a no-brainer to go for what attracts you visually. But at a time when talk surrounding the art world is about collecting or investing — who’s the hot artist from which hot country — you might get distracted. Don’t be.

“It’s a matter of what appeals to your eyes,” said Chu, whether it’s a landscape or works that resonate with popular culture references. “We are always going to buy something that we are familiar with.”

But if you’re worried about buying a dud, Chu pointed out that all the galleries and all the works on sale have been vetted — meaning it’s quality controlled.

“Even if you’re blindfolded and you point to a painting, chances are, you’re buying a good one. It’s the assurance that art fair organisers give you,” she elaborated.

Sure, you can purchase a work simply because you like it. But knowing about what went into a painting or print (for example, the artist’s background, how he or she did what he did, etc) goes a long way in appreciating it even more and gives it added dimensions. And you can sound knowledgeable when your house guest asks about that red splatter on your wall.

“When you say you like it, we’d like to reassure you why — and even if you only hear 10 per cent of what we say, it’s better than zero right?” Chu quipped.

And yes, there is a painting with your name on it. “In a critical mass such as an art fair, there will be some works in styles that suit some people, and other styles for other people,” she said. If you spot a painting that you really like, but it’s already sold, don’t settle for the next one — simply because there’s no such thing as settling.

“Each work has a unique point or its own special feature. It’s like when your girlfriend leaves you and you can’t immediately find one — but when you walk around, you’ll meet someone else totally different.”

If you’re buying a gift, you can’t go wrong with popular works. Unless you really know the taste and preferences of the person you’re buying for — or your main intention is to give something that has “you” written all over it. Otherwise, opt for a kind of work that everyone seems to be attracted to in a booth.

“If you want to buy for yourself, I would never discourage you. But if you come in and you’re buying for somebody else, I’ll give you a general consensus,” said Chu.

Of course, we had to pose Chu a “value for money” question: For the same amount of money, should we get one big statement artwork or two smaller ones that we like as well, but not as much?

“Take what you think you can’t live without — the choice of first recall,” she said. “To buy something that has one good impact than two smaller ones because (the latter are) always easier to find. If it’s a big one, and at the right price, buy that first. Because size matters,” she said.

And, like pets, you have to look after the artwork. A print is different from a painting, not least in how one should take care of it.

“You should consider the care (of a work),” said Chu, pointing out that while people may look down on works done on paper as opposed to canvas, it could be just as hard to maintain — or even harder, as the humidity here wreaks havoc on paper more than canvas. Some works require a higher degree of effort to keep it in good shape.

Which is only proper because it’s your new property after all.

HANDLE WITH CARE

Yes, at the end of the day, Agility’s Ghazali Saad reminded us, a purchase is a purchase.

“If a buyer buys a painting, it becomes his property. He has spent money buying it then he must spend a lot of time to take care of the artwork.”

It’s the kind of philosophy that Agility adhere to when they wrap your latest acquisition for you. “We treat every artwork as seriously as possible. It is still money that is outlaid and (our clients) expect their artworks to be delivered to them unblemished,” he said.

Don’t be deceived by how swiftly they wrap your artwork — special materials like glassine paper, as well as bubble wrap is used. And if you think that the wrapping is rather “loose”, that’s because it lets the painting “breathe”.

And need we say “handle with care”? It sounds obvious enough, but this isn’t always the case with some.

“Sometimes it’s in the way they carry it — some tuck it under their arms, but the body heat and the pressure will affect the work,” said Ghazali. “People carry it to their cars or a cab without any protective material, and sometimes they force it in when it can’t fit.

“Our recommendation would be that we’ll just send it to them. Some people don’t mind spending a little bit more money because they care for their artwork.”

GET THE RIGHT FRAME

So now you’ve bought your masterpiece and are raring to hang it up. Which brings us to something that’s almost always an afterthought: The frame.

Naturally, one consideration in choosing the right frame is for the preservation of the work itself. The Frame Society’s Alex Mytton Mills explained that there are different tiers in custom framing, from something that’s visually nice but offers no long-term protection, to those have offer ultimate protection, which is what you’ll find in museums.

And framing, too, enhances the work. “Framing is the bridge between the artwork and yourself,” said Mills.

With the right frame, a cutting-edge kind of painting could fit in a more classical home, ditto a traditional type in an uber-chic condominium. “A frame can exaggerate (an artwork) or make it a little more subtle, depending on how you want that piece interpreted in the room.”

And if frames can have such an effect on your work, then it’s okay if you end up paying more for said frame than your actual artwork.

“Even the most modestly-prized piece of art, when framed correctly can look at its best. If you really pick something that gives a work the ‘wow’ factor, if the work is brought to life, then it’s done its purpose and is worth it,” she said.

And finally, it’s time to hang it up. While this can be pretty subjective, there are some guidelines you’ll want to consider. For one, it won’t be wise to hang it above or near your TV set — they’ll both be competing for your attention, said Mills.

The rule of thumb when hanging a work is 1.6m to 1.65m from the ground to the middle of the piece — that is, it should be eye level. For big statement pieces, Mills recommends that you hang it near the entrance of a house or the corridor, while smaller “refined” pieces should go to smaller rooms.

After which, you stand back and pat yourself for a job well done.

Affordable Art Fair Singapore runs from Nov 15 to 18, noon onwards, at the F1 Pit Building, 1 Republic Boulevard. Tickets from Sistic. For more details, visit www.affordableartfair.sg.