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.

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.

1/2 SP + 1 EditionOtani Workshop’s Daughter is a striking sculptural piece featuring a large, golden childlike head with a serene yet enigmatic expression. The gleaming surface and stylised form evoke both innocence and uncanny surrealism, echoing themes of identity and nostalgia. This work typifies Otani’s practice, which often blends pop culture aesthetics with deep psychological undertones, drawing from both traditional Japanese craftsmanship and contemporary conceptual art. Daughter reflects the artist's ongoing exploration of childhood and memory, rendered here in an almost divine, idol-like presence that blurs the boundary between kitsch and the sacred.Provenance: KaiKai Kiki Gallery,

Sarah Slappey’s Tied Up II – HPM (2020) is a sensuous and unsettling print that intertwines elegance with restraint. Featuring a tangle of elongated hands and limbs wrapped in red netting and delicate cords, the composition evokes themes of desire, entrapment, and the tensions of intimacy. The stylised, hyper-polished skin and soft gradients are hallmarks of Slappey's signature aesthetic, often exploring the grotesque and erotic through surreal, bodily forms. This work is very much in line with her broader oeuvre, which frequently blends sensuality with discomfort in uncanny yet alluring visual narratives.Signed by the artist, numbered and stamped by JRP | Next.

"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.

Lee Ufan’s In Milano 5 presents a rhythmic arrangement of bold, black brushstrokes scattered across a luminous white surface. The horizontal orientation and grounded placement of the marks evoke a subtle landscape, inviting contemplation of balance, silence, and the intervals between presence. Characteristic of Ufan’s minimalist and philosophical approach, the piece reflects his core concerns with spatial awareness and the dynamic between form and void. This work is highly representative of his established visual language, continuing his exploration of gesture as both an aesthetic and metaphysical act.

In Milano 3 (1992) by Lee Ufan is a minimalist print that elegantly explores repetition and gesture through the motif of the hat, rendered in rhythmic black and beige brushstrokes across a stark white surface. Measuring 155 x 91 cm and part of an edition of 50, this work continues Ufan’s lifelong meditation on presence and absence, material and void. The composition echoes his signature Relatum philosophy, yet the playful form of the hat suggests a more whimsical departure from his typically austere, meditative abstractions—marking this piece as a subtle but notable deviation within his broader oeuvre.

In Milano 1 (1992) by Lee Ufan is a serene and meditative print, characterised by minimalist gestures of black and beige brushstrokes dispersed across a white background. The composition evokes a sense of rhythm and spatial awareness, emblematic of Lee’s signature style rooted in the Mono-ha movement, which emphasised the relationship between materials and their environment. This artwork reflects Ufan’s consistent exploration of presence, absence, and the void, and is typical of his oeuvre—where restrained mark-making becomes a poetic act of contemplation and harmony. The print belongs to a limited edition of 50, reinforcing its rarity and collectability.

Lee Ufan’s In Milano 2 is a meditative exploration of space and gesture, marked by two solitary black brushstrokes placed delicately on a vast white ground. This work exemplifies the artist’s minimalist ethos and his philosophical focus on the interval between marks—a concept rooted in his Relatum theory. The piece conveys a profound sense of quietude and presence, echoing Lee’s consistent dedication to the relational dynamics of form and emptiness. In Milano 2 aligns closely with his wider body of work, maintaining the restrained yet potent visual language that defines his oeuvre.

Luigi Ontani’s Prim', Mascherone, Fontana (1994) is a fantastical ceramic sculpture that blurs the boundaries between myth, self-portraiture, and symbolism. This ornate mask, adorned with an abundance of stylised eyes and crowned with botanical flourishes, evokes the divine and the surreal—recalling both classical iconography and carnival masquerade. Ontani, known for his highly theatrical and allegorical works, often inserts his own likeness into such mythic guises. This piece is quintessentially Ontani, embodying his signature fusion of art history, self-mythology, and decorative exuberance, while also inviting reflection on identity, multiplicity, and the gaze.

Luigi Ontani’s Artiglio Cartiglio (1982) is a meticulously staged photographic self-portrait that exemplifies his performative and symbolist approach to image-making. Encased within a circular, gilt frame that alludes to Renaissance tondi, the composition presents the artist costumed in a pearlescent blue suit, his face obscured by a stylised mask with serene, archaic features.Ontani holds two spiral shell-like forms to either side of the mask’s head, evoking both mythological and surrealist references—possibly echoing horns, ears, or scrolls, aligning with the title’s play on “artiglio” (claw) and “cartiglio” (cartouche or scroll). This photograph synthesises Ontani’s core concerns: the flu

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.

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.

Sam Chatto’s Torqued Form 5 (2023) is a sculptural piece in porcelain that exudes a sense of geological drama and organic decay. The vessel twists upwards in a contorted spiral, with jagged, fissured textures suggesting the erosion of stone or the shedding of bark. The glossy interior contrasts with the fractured exterior, creating a visual dialogue between refinement and rupture. Continuing Chatto’s exploration of form through the alchemical nature of ceramics, this work exemplifies his broader oeuvre, where material transformation and natural forces are key motifs. It is a striking embodiment of tension, fragility, and elemental strength.

Sam Chatto’s Torqued Form 1 is a sculptural vessel crafted in porcelain, showcasing a dynamic interplay between tension and flow. The form spirals upward in a contorted, almost geological twist, as if shaped by tectonic forces. Its glossy white surface accentuates the tactile ridges and folds, lending an organic, visceral quality to the material. This work exemplifies Chatto’s ongoing exploration of transformation and materiality, motifs often present in his broader ceramic practice. While it adheres to his interest in process and form, Torqued Form 1 represents a more abstract and expressive deviation from his otherwise meditative and structured compositions.