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

Mark Tobey’s Untitled (Black, White and Red) (1965) is a dynamic and energetic work on paper that exemplifies his signature "white writing" style, here reinterpreted through gestural abstraction. With rhythmic sweeps of red, black, and white layered over a warm-toned background, the composition evokes both calligraphic fluidity and spiritual intensity. A pioneer of Abstract Expressionism influenced by Eastern philosophies, Tobey sought to convey the invisible energies of the cosmos. This piece is consistent with his mature period, reflecting a synthesis of Western abstraction and meditative aesthetics rooted in global cultural traditions.Signed and Dated 'Tobey 65' on lower left. Accompanie

Chico da Silva’s Bichos Fantásticos (1970) is a striking example of his signature style, blending folklore, fantasy, and indigenous influences into a mesmerizing composition. The piece features a highly stylized bird with an elongated beak, engaged in a dramatic scene with a fish, both rendered with an explosion of colors and intricate patterns.The artwork stands out for its use of tempera on cardboard, a medium that enhances the raw, almost mystical energy of the piece. The swirling motifs and fine details create a sense of movement, making the creatures feel alive and almost mythical. The bold contrast between red, blue, and black elements gives the composition depth and visual intrigue.Ov

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.

Damien Hirst’s PV110. Inviting Veil (2019) is an oil on card work that radiates with kaleidoscopic vibrancy. Composed of dense, impasto daubs in a spectrum of bright hues, the surface resembles a blooming, almost pixelated floral field. Each brushstroke appears deliberate yet spontaneous, contributing to an overall effect of visual rhythm and joyful chaos. Part of Hirst’s Veil Paintings series, this piece reinterprets the pointillist tradition through a contemporary lens, linking back to the artist’s ongoing exploration of colour, pattern, and perception. It departs from his clinical earlier works, embracing a more expressive, painterly mode within his diverse practice.

Louis Fratino’s Moon Hug (2018) is an intimate and tender drawing capturing two male figures entwined in a loving embrace beneath a glowing moon. Rendered in soft pastels and rhythmic curves, the work conveys emotional depth through sensual forms and radiant colours. This piece reflects Fratino’s ongoing celebration of queer intimacy, identity, and vulnerability, often depicted with warmth and poetic symbolism. Characteristic of his oeuvre, Moon Hug continues his exploration of personal narratives and the male form, combining classical drawing techniques with contemporary, emotionally resonant subject matter. The small scale enhances its sense of privacy and closeness.Accompanied by Louis Fr

Louis Fratino’s Head is a vivid and introspective portrait that captures the expressive power of the male face through bold lines and layered pastel tones. The artwork’s direct gaze and asymmetrical use of colour—particularly the split between light and shadow—imbue it with psychological complexity. Fratino’s handling of form and texture, combined with the intimate scale, is emblematic of his practice, where emotional resonance and queer identity are central. This portrait continues his exploration of individuality and human presence, marking it as a characteristic piece within his deeply personal and figuratively rich body of work.Accompanied by Louis Fratino COA.Provenance: Galerie Antoin

Louis Fratino’s Red Figure (2017) is a poised and intimate line drawing that portrays a nude male figure seated in a meditative pose, rendered in warm red ink. With delicate yet confident contour lines, Fratino conveys vulnerability, sensuality, and emotional presence through a minimalist composition. The intertwining limbs and stylised features suggest both classical influence and modern intimacy, echoing his broader interest in art history and queer identity. This work is typical of Fratino’s practice, where male figures are celebrated with tenderness and quiet introspection, using line as a vehicle for both aesthetic clarity and personal storytelling.Accompanied by Louis Fratino COA. Prov

"Florecer" (2020) by Okokume, also known as Laura Mas Hernandez, is a charming and whimsical drawing featuring a young character with flowing hair and colorful flowers. Rendered on a textured, natural-colored background, this piece captures the essence of Okokume's signature "Cosmic Girl" series. Known for her vibrant and playful approach, Okokume's art often explores themes of growth, nature, and transformation. "Florecer," meaning "Bloom," illustrates innocence and wonder through soft, pastel colors and delicate lines, exemplifying her unique blend of street art, manga, and fine art influences.Provenance: JPS Art Gallery Private Collection, Hong Kong (purchased directly from above)

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