Candace Huey & Kian Kaialoa On Her Experience As A Curator & The Shift In The San Francisco Arts Space
Kian:
As an art historian, teacher, curator, as well as a member of multiple arts and councils and boards, You have a plethora of experience and so what made you decide to pursue art for learning and for life?
Candace:
In undergrad, I wasn't initially going to major in Art History. Originally, I was going to pursue communications or sociology. I discovered Art History via the prerequisites we were required to take in the humanities. Interestingly enough, I kept on taking art history and cultural anthropology classes over and over again and realized I loved them so much. I felt like Art History spoke my “language”, so to speak. It articulated humanity, history and culture in an incredibly intimate, poignant, and poetic way. I believe both visual and performing arts as a language, syntax and mode of communication resonated with me in a more intimate and immediate manner vs other forms with respect to articulating the human experience.
Kian:
I am noticing a theme of passion finding through accidental discovery and actually, it's very similar to how I fell in love with graphic and branding design. My technology focused highschool offered a Beginner Graphic Design course, and I thought, this is an easy A, I kind of took it as, let's get the grade and get out but throughout the class, the design process, freedom of creativity, and first-hand experience with brands, I realized that passion was always there but through design, I could express my thoughts and experiences, It was an entirely new experience, and it felt special, and I continued that education at the Academy of Art where I currently study Graphic Design and work on building my clientele through my visual branding studio.
Candace:
I’d like to add one more thing. From my perspective, what I also love about Art History is how interdisciplinary it is. Embedded in the discipline are frameworks and methodologies from philosophy, cultural anthropology, sociology, critical theory, visual culture, literature, etc. I love that art history has all these different threads that connect different ways of thinking and understanding the past and present.
Kian:
That's wonderful, I see what you're saying about the mix of mediums and it's special, and while every medium is special in it’s own sense, they are also more interconnected than we thought, especially if you look back in art history. I kind of think of it as an ecosystem for art, every thread is beautiful but when sewn together, it bridges a more powerful and fuller story and that acknowlegment helps artists work together.
San Francisco is a large city, but I think for us locals, it feels like a small town, and we all kind of know each other, and support and uplift each other. What was the process in building your own gallery and clientele in this city? And was there anyone who helped you along the way?
Candace:
Yes, absolutely. Many amazing people have helped me along the way. On a broader perspective, there have been brilliant women entrepreneurs, curators, gallerists, dealers and leaders who have paved the way for me to walk, even run, on this path. Within my community, I am so fortunate and blessed to have brilliant, badass friends who are my thought partners. I ask them all kinds of weird things and get their wise counsel, honest feedback and insightful guidance. My dear family - I can only do what I am doing because I have their love and support. Last but definitely not least, it's all about the artists! They inspire me every single day to do what I'm doing. Special shoutout to the artists who took a chance with me when I first started and embarked on this wild journey together! Summer Mei Ling Lee, Hongtao Zhou, Mark Baugh-Sasaki, Kamran Samimi, Michail Michailov, Odonchimeg Davaadorj, ReCheng Tsang among others. We're still working together, and I’m so grateful for our beautiful, deep relationships that have evolved and grown over the years.
Kian:
Odonchimeg was one of your earlier artists, and she worked with us recently at FOG Fair. How did that reunion feel?
Candace:
We had a solo exhibition with her last year at re.riddle (the gallery) and we try to showcase our gallery artists consistently. All of the artists who we have the privilege of working with are not only talented and super creative, but also are wonderful, kind and lovely humans. I am so lucky and privileged to have the opportunity to work with people who I admire as people as well as in a professional capacity.
Kian:
Definitely. And so from a curatorial standpoint, when you're looking for artists. Obviously, you're looking for pieces that you know will most likely do well in the San Francisco market. But are you also looking for people in terms of mindset who have a great personality or a soul?
Candace:
As a curator for Edge On The Square, which is a nonprofit contemporary arts hub located in Chinatown, San Francisco, part of a larger Chinatown Media Arts Collaborative, we work with artists who are working in the community focused on social practice and narrative change. On the gallery side for re.riddle, it is a commercial gallery, so I am looking for artists who understand the specific nature of this type of collaboration and partnership. Both spheres do require a certain level of professionalism, ability to collaborate along with mutual respect, trust, honesty and integrity.
Kian:
You know, as a new part of the re.riddle gallery team, I've observed, you know, these relationships between you and artists, it shifts from professional to personal relationships. In some cases, and there really is, like, a deep connection. And I think that that's really special and wonderful. And I think that that's something that's very important, especially in San Francisco, because as a community, we need to work together to build a better city for us all.
Kian:
So there's been a huge shift in the arts community recently, according to the San Francisco Examiner. In the fourth quarter of 2025, five of San Francisco's prominent art galleries closed, including one with a 50-year track record. And the Institute of Contemporary Art then switched to a nomadic model after just a year of residence at the famous cube building. And then in early 2026, the California College of Arts announced it was closing at the end of the school year. So I'm curious, what does this shift mean to you? And do you have any predictions for the future of our institutions and galleries in San Francisco?
Candace:
I think it's really crucial right now for the city to double down and invest in the arts and culture because its is a foundational part of community wellness and health.
Kian:
I agree with that, and I think another aspect in that is creating a more open and enviting enviorment in the art’s and fashion scene, in our city, the arts’ community is somewhat hidden from newcomers, tourists, and even locals, and a pattern I’ve noticed when attending events is that the people I talk to will tell me it’s their first time at an event like this and they ask for advice on how to find cool events in the arts scene and I think that comes from how we advertise and produce these events, the good one’s are usually exclusive, invite-only, or high ticket prices, or they just aren’t being posted on sites that most people are on. I always tell people the best site to visit for events in the arts’ community is redcurtainaddict.com, it is an incredible site with tons of events and info, they even throw their own parties which are fabulous, the founding duo, Kari and Parker Coomans, are so kind and down to earth. I think the problem is more expansive than that and I agree that more investment into the arts and culture is going to be huge for the city, the most important thing that we can do as locals is to show up and show out for our community.
