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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.
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 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.
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
In the Line of Fire is a powerful black-and-white photograph by David Yarrow, capturing a lion mid-stride with arresting clarity and compositional precision. Shot in 2024, the work exemplifies Yarrow’s signature approach to wildlife photography—dramatic close-ups, high contrast, and emotive intensity. The lion’s direct gaze and the rising dust underscore themes of majesty, confrontation, and survival. Characteristic of Yarrow’s oeuvre, the image blends raw naturalism with cinematic grandeur, reflecting his ongoing mission to spotlight the vulnerability and dignity of Earth’s most iconic creatures through meticulously composed, large-format photography.Photographed in South Africa.
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.
Provenance:
- Perrotin Gallery, Paris (2017)
- Acquired from the above by the current owner
- Private Collection, Bogota
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.
Louise Bourgeois’ Untitled (1998) is a visceral drawing rendered in red ink, depicting a string of disembodied feet-like forms hanging on a line. The image evokes themes of bodily fragmentation, trauma, and domestic ritual—motifs central to Bourgeois’ lifelong exploration of memory and the subconscious. This work exemplifies her late-period return to drawing as a form of psychological excavation, using simple materials to express complex emotional states. Its raw immediacy and symbolic resonance are typical of Bourgeois’ oeuvre, which often oscillates between vulnerability and violence, particularly in her representations of the body and the feminine experience.
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.
Tomokazu Matsuyama's Daylight Away captivates with its vibrant collage of colours and dynamic forms within a figure-eight composition. The artwork integrates traditional Japanese motifs, such as kimono patterns and natural elements, with modern, abstract aesthetics, symbolising the tension between tradition and globalisation. Matsuyama’s signature style blends East and West, with fragmented layers and vivid contrasts, a recurring theme in his oeuvre. Daylight Away exemplifies his exploration of cultural identity and hybridity, showcasing a seamless interplay of chaos and harmony. This piece aligns strongly with his typical work, embodying his unique visual language and thematic depth.Signed
"Onbu (Piggyback) (Blue)" (2013) by Stik is a minimalist yet emotionally evocative piece featuring two of the artist's signature stick figures, with one carrying the other on its back. Rendered in black lines against a pale blue background, this artwork captures a sense of support and camaraderie. This particular impression is notable for the clear visibility of the woodgrain printing in the background, adding a textured dimension to the piece. Stik's simple yet expressive style conveys deep emotion through basic forms, and his work often addresses themes of community and human connection. This limited edition piece reflects Stik's impactful visual language and social commentary.Printed at t
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.
Artist Proof 3/30, aside from an Edition of 200 Regular Editions, 30 AP, 5 PP, 5 EP.
Signed and numbered in pencil lower right. Provenance:
Private collection USA
Halcyon Gallery, London
Private collection, UK
