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.

Richard Hambleton’s Standing Shadow - Yellow & Red (2018) is another compelling piece from his renowned Shadowman series, continuing his exploration of the ghostly, enigmatic figures that became his artistic signature. This work, printed on Hahnemühle Photo Rag, preserves the rich texture and depth of Hambleton’s original painted works, which were often created in the streets of New York during the 1980s.Unlike the deep blues or blacks commonly associated with his Shadowman figures, the use of yellow and red in this piece adds a fiery, almost aggressive intensity. The contrast between the colors evokes a sense of heat, urgency, and movement, making the figure feel even more alive—almost

Richard Hambleton’s Standing Shadow - Blue (2018) is a striking continuation of his signature Shadowman series, characterized by haunting, spectral figures that seem to emerge from darkness. Printed on Hahnemühle Photo Rag, the piece retains the depth and texture of his original works, which often blurred the boundaries between street art and fine art.The dominant use of blue in this particular work adds a unique atmospheric quality, evoking mystery, isolation, and a ghostly presence. Hambleton’s Standing Shadow figures are known for their expressive energy, created through dynamic brushstrokes and splattered edges that suggest movement and depth. The elongated proportions of the figure in t

Chico da Silva’s Dragão (1979) is a stunning example of his vibrant and imaginative style. The mythical dragon, depicted in a swirl of intricate patterns and electric colors, embodies the artist’s unique blend of Brazilian folk traditions and dreamlike fantasy.The use of oil on canvas allows for richer texture and depth compared to his works on cardboard. The dragon’s scales, fins, and limbs are meticulously detailed with a mix of bold primary hues and softer gradients, creating a dynamic sense of movement. The black background enhances the vividness of the creature, making it appear almost luminescent. The surrounding green palm fronds provide a striking contrast, grounding the fantastical

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

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 4 is a striking sculptural piece that exemplifies the artist’s fascination with organic transformation and material tension. Rendered in porcelain, the work showcases a twisted, almost volcanic texture that suggests a dynamic interplay between control and chaos. The surface, both rough and smooth, reveals layers of compression and rupture, inviting the viewer to contemplate the forces that shaped it. This piece is emblematic of Chatto’s wider practice, which often explores the elemental and tactile nature of clay. Torqued Form 4 aligns closely with his typical oeuvre, rooted in process-driven experimentation and natural form.

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.

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.