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.

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.

Hayley Axelrad’s The Suburbs is a playful and sharply observant painting that blends pastel charm with biting social commentary. Set against a manicured neighbourhood backdrop with the Hollywood hills in view, the scene features three women in exaggerated poses—cycling, gardening, and walking a dog—each caught in a moment of stylised domestic bliss. Axelrad’s flat, vibrant palette and whimsical aesthetic recall both pop art and naive painting traditions. This work critiques the idealised suburban dream, exposing its performative and artificial layers. The Suburbs is emblematic of Axelrad’s oeuvre, where humour and satire are tools for dissecting femininity, class, and cultural myths.

Hayley Axelrad’s Shrimp Ring is a vividly stylised tableau that captures the surreal tension of a mid-century dinner party. The scene is saturated with pastel hues and populated by stiff, enigmatic characters whose expressions hover between delight and discomfort. At the centre of the elongated green table rests a conspicuous shrimp ring, surrounded by ambiguous symbols of domestic life—cake, candles, flowers, and champagne. Axelrad’s flattened perspective and theatrical composition evoke both nostalgia and satire, critiquing societal performance and bourgeois rituals. The work is quintessential Axelrad, weaving humour and unease into a cinematic reflection on identity, family dynamics, and

Provenance: A. Dozio Collection (acquired directly from the artist) European Private Collection (acquired from the above in the late 1990s) Dorotheum Auctions, June 2019

Chris Ofili’s Regal is a striking portrait that radiates dignity and strength. The figure, rendered in profile, is adorned with intricate patterns and a luminous pearl necklace, set against a swirling, textured background. The interplay of deep, earthy tones and vibrant colours in the clothing reflects Ofili’s exploration of cultural identity, heritage, and spirituality. This piece is emblematic of Ofili’s work, where a fusion of symbolism, ornamentation, and Afrocentric themes challenges perceptions of beauty and representation. The artwork’s meticulous detail and contemplative atmosphere underscore the artist’s commitment to celebrating Black identity and empowerment.

Takashi Murakami’s And Then And Then And Then And Then And Then And Then (Red) is a striking close-up of Mr. DOB, the artist’s emblematic character, rendered in vivid crimson against a distressed backdrop. The repeating title echoes both consumer repetition and the manic energy of pop culture overload. This work exemplifies Murakami’s Superflat aesthetic, fusing traditional Japanese techniques with the slick, commodified appeal of anime and manga. With its playful yet unsettling grin, this piece is typical of Murakami’s exploration of identity, mass production, and the thin line between cuteness and menace within globalised visual culture.

Takashi Murakami’s Para-kiti Dob is a vibrant, surreal composition featuring multiple iterations of his iconic character Mr. DOB, floating against a grey checkerboard backdrop. With its hypnotic layering of colour, form, and facial distortion, the piece reflects Murakami’s fascination with consumerism, otaku culture, and the aesthetics of kawaii and chaos. This work is quintessential within Murakami’s oeuvre, embodying his Superflat philosophy that blurs boundaries between high and low art. Para-kiti Dob continues his exploration of identity and mutation in a hyper-commercialised visual culture, delivered with pop precision and unsettling whimsy.