M. Florine Démosthène’s Contrite (2018) is a mixed media work that blends figuration and abstraction in a dreamlike, emotionally charged tableau. Rendered through layered textures and patterned surfaces, two entwined figures—one glittering, one marbled—float against a smoky, atmospheric backdrop with hints of celestial blue. The work conveys intimacy and introspection, evoking vulnerability, desire, and the complexities of identity. Démosthène’s signature use of mixed media—often combining ink, collage, glitter, and paint—mirrors her broader practice, which explores Black femininity and mythology through sensual, otherworldly narratives that straddle the personal and the fantastical.

This striking overpainted book cover by Georg Baselitz, titled Art Edition (Overpainted cover) (2021), transforms a traditionally functional object into a vivid work of art. Painted in bold yellow with expressive black linear forms, the piece evokes themes of fragmentation and inversion, hallmarks of Baselitz’s oeuvre. The gestural marks suggest human and organic forms in flux, echoing the artist’s ongoing exploration of identity and disorientation. This work aligns with Baselitz’s characteristic raw energy and abstract figuration, though its application on a book cover presents an unusual and compelling deviation in medium while retaining his distinctive visual language.

Danny Avidan’s On Being Numerous 20 is a mixed media painting that bursts with gestural energy and layered complexity. The surface is a chaotic interplay of smeared pastels, jagged black lines, and a signature swathe of fluorescent pink anchoring the bottom third. Scratched markings and an inset of monochrome splatter in the top left lend the work a visceral, almost diaristic feel. Like others in Avidan’s On Being Numerous series, this piece reflects the fragmentation of identity and thought, using abstraction as a means of emotional articulation. Its raw textures and intuitive mark-making are hallmarks of Avidan’s expressive, searching practice.

Danny Avidan’s On Being Numerous 21 is a mixed media work that pulses with expressive spontaneity and layered emotion. Combining gestural brushwork, scribbled lines, and blocks of vivid magenta against muted mauves and earthy browns, the composition suggests an abstracted, psychological terrain. Flecks of collage, scrawled symbols, and textured overlays contribute to a sense of fragmentation and introspection. Characteristic of Avidan’s broader series, this piece explores themes of multiplicity and identity, with its raw materiality and open-ended imagery echoing his interest in the personal and the poetic, rendered through an experimental, emotionally charged visual language.

Forrest Kirk’s Fist 7 (2020) is a compelling mixed media work executed in acrylic and Gorilla glue on canvas. A monumental clenched fist dominates the composition, set against a vibrant pink backdrop. The form is fragmented and stylised, with exaggerated musculature and cubist-influenced planes, while a graphic eye peers out from within the structure—an emblem of surveillance or awareness. This powerful visual language reflects Kirk’s ongoing engagement with themes of identity, resistance, and Black empowerment. Fist 7 resonates strongly with his broader oeuvre, which often reclaims figuration through bold, textured materials and charged symbolism.

Javier Calleja’s No Wings to Fly (2023) is a charming mixed media sculpture that exemplifies the artist’s instantly recognisable aesthetic. Featuring an endearing, wide-eyed character with oversized green pupils, a mop of red hair, and exaggerated feet, the figure leans forward playfully, arms outstretched in a gesture of innocence and longing. The smooth, cartoon-like surface and minimalist palette enhance its toy-like appeal. As with much of Calleja’s oeuvre, this work blurs the line between sculpture and collectible, touching on themes of vulnerability, childhood, and emotional sincerity, all wrapped in a disarmingly whimsical, pop-inflected visual language.

Samuel Nnorom's Hanging on You is a captivating mixed-media artwork, characterised by its intricate interplay of vibrant purples, blues, and golds, delicately arranged in bulbous textile clusters interwoven with thread-like green structures. The piece explores themes of interconnectedness, resilience, and the delicate balance between dependence and support. Nnorom’s signature use of upholstery materials, such as Ankara fabric, marks this work as emblematic of his style, which often delves into social and cultural narratives. However, its striking three-dimensionality and suspended, organic form might reflect an experimental evolution within his practice, pushing the boundaries of material an