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"Happy Choppers" is one of Banksy’s most iconic prints, first unveiled in 2003 at the artist’s Turf War exhibition. The print exemplifies Banksy’s signature blend of anti-authoritarian messaging and dark humor, combining elements of military imagery with subversive satire.The print depicts a group of military helicopters, armed and ready for combat, flying menacingly above. However, the twist lies in the absurdity of a single helicopter, painted with a pink bow on its head, softening the violent and aggressive appearance. This contrast between war machines and a lighthearted, almost childish adornment is typical of Banksy’s work, where he uses contradictions to provoke thought.Banksy is know
![Get Out While You Can [signed]](https://artscapy.s3.amazonaws.com/bx_ads_photos_resized/m/mq/mqt/mqtataulcwrxffdtgzunrawztpab5s92.jpeg)
Get Out While You Can by Banksy is a powerful screenprint that fuses sardonic wit with a warning about modern life’s disillusionments. Signed by the artist, the piece features stark, stencilled text against a minimalist background, commanding urgency and rebellion. Themes of escape, societal critique, and personal freedom are at the heart of the work, aligning seamlessly with Banksy’s wider artistic narrative. This artwork is emblematic of Banksy's typical style—bold, provocative, and sharply critical—making it a quintessential example within his acclaimed body of work.Accompanied by COA of Pest Control.
Offered for sale in original HENI packaging
Hand-signed by artist, verso
COA Included (issued by authorized authenticating body)
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.
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.
"Drawing Party" (2020) by Rebecca Ness is a richly detailed oil painting depicting a lively, intimate scene of collaborative creativity. Set around a wooden table cluttered with sketches, pencils, and notes, several hands engage in drawing, gesturing, or resting—suggesting a communal art session. At the center, a phone displays a woman’s focused face, possibly attending virtually, blending digital presence with physical space. Ness’s signature style—hyper-detailed, pattern-rich, and deeply personal—captures the textures of everyday life while highlighting themes of connection, creativity, and observation.
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Cosigned by Terry O'Neill and Faye Dunaway.
90x93 cm (incl. frame)This iconic photograph of Faye Dunaway by Terry O'Neill, taken the morning after her Oscar win for Network in 1977, perfectly captures the exhaustion and glory of Hollywood success. Dunaway is seated poolside at the Beverly Hills Hotel, draped in a silk robe, surrounded by newspapers reporting her triumph, with the Oscar statue prominently displayed. The composition blends glamour with a sense of quiet reflection, marking a moment of victory and solitude. O'Neill's ability to humanise his subjects while maintaining their mystique is evident here, making this image a standout in his oeuvre.
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,
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.
"Black Attire" (2022) by Adjei Tawiah is a commanding and textured portrait created using sponge and oil on canvas, measuring 180 × 150 cm. The work features a striking figure dressed in layered black fabric, with glowing blue-toned skin and vibrant orange lips, exuding calm confidence and self-assuredness. Golden earrings add a bold, elegant accent, and the play of light and shadow—especially the silhouette on the wall—adds dimensional depth.Tawiah's unique use of sponge as a textural element enhances the tactile realism of the clothing, bringing a sculptural presence to the flat canvas. The piece explores themes of identity, pride, and presence with minimalist yet powerful visual language.
Yayoi Kusama's Pumpkin (RT), created in 1996, exemplifies her iconic motif of pumpkins rendered in meticulous dot patterns. The central red pumpkin, set against a black, web-like background, exudes a sense of hypnotic repetition and infinite depth, hallmarks of Kusama's work. The piece reflects her lifelong exploration of themes such as obsession, nature, and the interplay of form and void. Pumpkins, a symbol of comfort from Kusama's childhood, recur throughout her oeuvre, embodying her blend of personal narrative with universal appeal. This work is quintessential Kusama, capturing her unique vision and compulsive dedication to pattern and form.
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.
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.
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
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.
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.
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.