"Drawing Party" (2020) by Rebecca Ness is a richly detailed oil painting depicting a lively, intimate scene of collaborative creativity. Set around a wooden table cluttered with sketches, pencils, and notes, several hands engage in drawing, gesturing, or resting—suggesting a communal art session. At the center, a phone displays a woman’s focused face, possibly attending virtually, blending digital presence with physical space. Ness’s signature style—hyper-detailed, pattern-rich, and deeply personal—captures the textures of everyday life while highlighting themes of connection, creativity, and observation.

Jordy Kerwick’s Mid Season (2021) is a bold, large-scale painting that immerses viewers in a fantastical and confrontational world. Known for blending folk motifs with pop-cultural references, Kerwick presents a visceral tableau of hybrid beasts and symbolic flora rendered in thick, expressive strokes and vivid hues. The work reflects themes of primal instinct, mythology, and domestic chaos - a continuation of his signature aesthetic. True to his oeuvre, Mid Season exemplifies Kerwick’s raw, unfiltered approach and his penchant for surreal compositions that straddle the line between the familiar and the arcane.

This is a compelling piece born from the collaboration between pioneering graffiti artist Futura (formerly Futura 2000) and the iconic American clothing brand Brooks Brothers. Characterised by Futura’s signature abstract forms, swirling lines, and cosmic motifs, the artwork injects a sense of urban dynamism into the traditionally conservative aesthetic of the fashion house. Themes of tradition meeting rebellion and heritage clashing with futurism come to the fore. While this partnership marks a stylistic shift in context, the artwork remains true to Futura’s oeuvre by bridging street culture with mainstream platforms through his distinctive visual language.

Futura's Untitled (2011) is a vivid example of the artist’s mature abstract style, showcasing his signature use of gestural brushwork, atmospheric layers, and spontaneous energy. The composition is likely infused with his hallmark motifs such as orb -like shapes, molecular structures, and dynamic sprays, all evoking themes of space, movement, and the unseen forces that shape our world. Created during a period of increasing institutional recognition, this work continues Futura’s departure from traditional graffiti into fine art. Though untitled, the piece resonates with his enduring interest in abstraction and motion, remaining firmly rooted in his groundbreaking visual lexicon.

Wes Lang’s Be Yourself (2010) is a brooding yet compelling work that features a stark, off-white skull rendered against a heavily textured, almost tar-like black background. The raw, gestural brushwork and minimal palette lend the painting an expressive power, tapping into motifs of mortality, individuality, and existential contemplation. Skulls are a recurring symbol in Lang’s oeuvre, often paired with Americana and pop culture references; however, this work stands out for its stripped-down intensity and introspective focus. It reflects Lang’s deep engagement with vanitas themes, while deviating slightly from his more collage-like, symbol-laden compositions.

Provenance: Gallery Crèvecoeur, Paris Private Collection, France

"Black Attire" (2022) by Adjei Tawiah is a commanding and textured portrait created using sponge and oil on canvas, measuring 180 × 150 cm. The work features a striking figure dressed in layered black fabric, with glowing blue-toned skin and vibrant orange lips, exuding calm confidence and self-assuredness. Golden earrings add a bold, elegant accent, and the play of light and shadow—especially the silhouette on the wall—adds dimensional depth.Tawiah's unique use of sponge as a textural element enhances the tactile realism of the clothing, bringing a sculptural presence to the flat canvas. The piece explores themes of identity, pride, and presence with minimalist yet powerful visual language.

This artwork, titled "Strawberry Suit" (2022) by Aplerh-Doku Borlabi, is a striking and textured piece created using coconut sheath and oil on canvas. Measuring 120 × 90 cm, the piece features a figure in a bold, fruit-patterned outfit holding a content-looking cat. The background is a rich, dusty rose color that contrasts beautifully with the vibrant, stylized clothing.Borlabi's use of coconut sheath adds a tactile, almost sculptural quality to the subject's face and hands, giving it an earthy, organic feel. The whimsical strawberry and fruit motifs, along with the figure's serene expression and affectionate gesture toward the cat, create a mood that feels both playful and intimate.

Sarah Faux’s Heavy Bloom (2018) is a painting that blurs the boundaries between figuration and abstraction, using gestural lines and translucent layers to evoke the body and its sensations. Dominated by vibrant hues of pink, orange, and yellow, the composition suggests a reclining figure partially obscured by a large hand or floral form, inviting interpretations of touch, intimacy, and inner experience. Faux’s fluid, painterly language—here applied in a sensual, almost surreal palette—is characteristic of her broader practice, which explores embodiment and desire through fragmented, emotive perspectives grounded in feminist and psychological inquiry.

"Marilyn Crying" by Russell Young is a poignant portrayal of the iconic Marilyn Monroe. Rendered in a monochromatic palette, the artwork captures a moment of vulnerability, with Monroe's hand covering part of her face and her eyes closed. Young, known for his work in contemporary pop art, often explores themes of fame and tragedy. This piece is emblematic of his oeuvre, reflecting his fascination with the darker aspects of celebrity culture. The subdued tones and emotive expression mark a stark contrast to Monroe's glamorous public image, offering a deeper commentary on the pressures of stardom.

Vivid 84 (2023) by Orit Fuchs is a striking portrait that captures a poised woman in a flowing crimson dress and an oversized pink hat, blending elegance with bold modernity. The smooth, stylised features and rich colours reflect Fuchs’s signature aesthetic, which often celebrates feminine strength and individuality. This piece continues her exploration of confident womanhood, using fashion and form as tools of self-expression. Characteristic of her oeuvre, Vivid 84 maintains Fuchs’s vivid palette and graphic clarity, reaffirming her distinctive voice within contemporary figurative art.

Gal Schindler’s Widening Circles radiates a sense of serenity and introspection through its ethereal composition and delicate use of line. A faint, reclining nude figure stretches across a pale, almost translucent background, interwoven with fine red threads that suggest both connection and distance. Above, five luminous orbs evoke celestial bodies or expanding points of consciousness, echoing the work’s title. The piece meditates on themes of selfhood, sensuality, and cosmic unity. While Schindler often works with figuration and abstraction, Widening Circles represents a more subtle and poetic approach within her body of work, marking a lyrical evolution in her visual language.

Alexander Mignot’s Las Flores del Mar Eran del Ayer I & II is a raw and emotive diptych that confronts memory, transience, and the erosion of beauty. With gestural swaths of crimson evoking organic forms—perhaps flowers or sea creatures—set against stark white fields, the work feels simultaneously tender and confrontational. Scrawled text fragments like “AYER” (yesterday) and “LAS FLORES” (the flowers) anchor the composition in a poetic temporality, alluding to the loss or fading of something once vibrant. This piece continues Mignot’s characteristic use of expressive abstraction and language, making it a poignant extension of his deeply personal visual lexicon.

This untitled 1973 artwork by Chico da Silva presents a vivid, dragon-like creature embellished with feathered wings and sinuous, decorative patterns. A brightly coloured bird rests atop its back, enhancing the surreal and mythical atmosphere of the scene. Overall, Da Silva’s characteristic use of bold, layered colours and intricate, wave-like brushstrokes is on full display, evoking his distinctive, folkloric aesthetic. Deeply rooted in Amazonian mythology and indigenous traditions, the composition reflects the artist’s fascination with fantastical hybrids and spiritual creatures. This piece is highly representative of his broader body of work, rich in symbolic imagination and vibrant visua