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![All You Need is Love [with Diamond Dust]](https://artscapy.s3.amazonaws.com/bx_ads_photos_resized/d/dz/dzt/dzttbuctrrxpckx4tjjw6khpdzvv4ccx.png)
Damien Hirst’s All You Need is Love showcases his iconic motif of butterflies, a recurring symbol in his work that reflects themes of beauty, fragility, and mortality. The piece presents an arrangement of vibrant butterflies—yellow, blue, and red—floating against a pale background, evoking a sense of lightness and transience. Typical of Hirst’s oeuvre, the artwork juxtaposes the ephemeral beauty of nature with deeper meditations on life and death. The butterflies, often associated with transformation and impermanence, capture his fascination with the cycle of existence, resonating with his broader explorations of art, science, and the passage of time.Signed in black ink and numbered in penci
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.
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.
![Las Flores del Mar Eran del Ayer I & II [Ditpych]](https://artscapy.s3.amazonaws.com/bx_ads_photos_resized/p/pd/pdx/pdxvweknxcuefndxqvycf8pgg8wckfjk.png)
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.
"Red Earth" by Loie Hollowell is a striking screenprint that exemplifies her exploration of abstract forms and vibrant colours. The artwork features a series of undulating, organic shapes that emanate from a central point, creating a sense of depth and movement. The rich hues of red, orange, and brown evoke the warm tones of the earth, while the textural gradients add a tactile quality to the print. Hollowell's work often delves into themes of landscape and the human body, blending them into abstract compositions. "Red Earth" is characteristic of her style, capturing the essence of natural forms through a bold and captivating visual language.
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.
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.
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.
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.
Imon Boy’s Nobody Cares (2023) is a sculpture that distils the artist’s signature blend of humour and melancholy into a three-dimensional form. Crafted in smooth, matte-finished materials, the rounded head with oversized ears, purple hair, and a solitary expression rests atop a wooden box adorned with childlike doodles and the titular phrase. The juxtaposition of playful visuals with the deadpan message evokes a sense of resigned irony. This work aligns with Imon Boy’s wider practice, where street art aesthetics and comic motifs explore themes of loneliness, digital detachment, and emotional authenticity with disarming sincerity.
Cristina BanBan’s Mariana is a bold and intimate portrait that exemplifies her signature style, characterised by voluminous, exaggerated forms and an expressive use of line and colour. The work on paper depicts a reclining female figure in a close-up, almost confrontational pose, with rounded limbs and fleshy contours that celebrate the body in its raw, unidealised state. Themes of femininity, power, and sensuality permeate BanBan’s work, and Mariana is no exception—placing the viewer in a space of vulnerability and strength. This piece is typical of BanBan’s oeuvre, continuing her exploration of identity, self-representation, and the female form.Signed with the artist's initials "CB" lower
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
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.
"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.
Chris Levine’s She’s Light (Kate Moss) (2014) is a mesmerising screenprint that captures the supermodel in an ethereal, almost meditative state. Her closed eyes, luminous skin, and striking red lips evoke a sense of tranquillity and transcendence, reflecting Levine’s fascination with light and perception. This work is part of Levine’s ongoing exploration of portraiture through advanced technology and laser imagery, much like his renowned depictions of Queen Elizabeth II. She’s Light aligns with his signature style, blending celebrity iconography with a spiritual, almost holographic quality, elevating the subject beyond the material world.
![Welcome to Hell (Pink) [unsigned]](https://artscapy.s3.amazonaws.com/bx_ads_photos_resized/k/ka/kaa/kaajbdc5cs8qfvtvyz36tv5rsnmzcdhm.jpeg)
Banksy’s Welcome to Hell (Pink) is a striking screenprint that captures the artist’s signature blend of dark humour and stark social commentary. Rendered in bold pink tones, this piece confronts viewers with an anarchic message of rebellion and disillusionment. The motif of civil unrest and the critique of authority are prevalent here, recurring themes throughout Banksy’s oeuvre. Despite its vibrant colour, the artwork retains the raw, gritty tone that is typical of Banksy's style. As an unsigned edition, it remains a coveted and authentic piece within the artist’s body of politically charged works.Accompanied with COA of Pest Control.
