Louise Bourgeois’ Untitled (1998) is a visceral drawing rendered in red ink, depicting a string of disembodied feet-like forms hanging on a line. The image evokes themes of bodily fragmentation, trauma, and domestic ritual—motifs central to Bourgeois’ lifelong exploration of memory and the subconscious. This work exemplifies her late-period return to drawing as a form of psychological excavation, using simple materials to express complex emotional states. Its raw immediacy and symbolic resonance are typical of Bourgeois’ oeuvre, which often oscillates between vulnerability and violence, particularly in her representations of the body and the feminine experience.

Cristina BanBan’s Mariana is a bold and intimate portrait that exemplifies her signature style, characterised by voluminous, exaggerated forms and an expressive use of line and colour. The work on paper depicts a reclining female figure in a close-up, almost confrontational pose, with rounded limbs and fleshy contours that celebrate the body in its raw, unidealised state. Themes of femininity, power, and sensuality permeate BanBan’s work, and Mariana is no exception—placing the viewer in a space of vulnerability and strength. This piece is typical of BanBan’s oeuvre, continuing her exploration of identity, self-representation, and the female form.Signed with the artist's initials "CB" lower

Eleanor Ekserdjian’s Dart is a subtle yet evocative landscape that captures the sensation of movement within stillness. Rendered in soft washes of green and violet, the composition features sweeping, dart-like gestures that slice through the misty surface, suggesting wind, flight, or fleeting forms. The work radiates a quiet energy, inviting contemplation of nature’s ephemeral rhythms. While differing in tone from her more frenetic drawings, Dart retains Ekserdjian’s hallmark sensitivity to motion and atmosphere. It marks a more meditative turn in her practice, expanding her exploration of gesture into a calmer, more lyrical visual language.

Eleanor Ekserdjian’s After Goris is a dynamic, abstract drawing that pulses with kinetic energy. Comprised of frenetic, looping black lines across a pale background, the work evokes a storm of motion—part scribble, part dance—suggesting both chaos and cohesion. The title hints at a reflective or interpretive response to a place or moment, imbuing the abstraction with emotional resonance. Ekserdjian often explores gesture and temporality in her practice, and this piece is emblematic of her approach. After Goris exemplifies her skill in capturing intangible states through expressive mark-making, maintaining continuity with her broader artistic investigations.