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This untitled 1973 artwork by Chico da Silva presents a vivid, dragon-like creature embellished with feathered wings and sinuous, decorative patterns. A brightly coloured bird rests atop its back, enhancing the surreal and mythical atmosphere of the scene. Overall, Da Silva’s characteristic use of bold, layered colours and intricate, wave-like brushstrokes is on full display, evoking his distinctive, folkloric aesthetic. Deeply rooted in Amazonian mythology and indigenous traditions, the composition reflects the artist’s fascination with fantastical hybrids and spiritual creatures. This piece is highly representative of his broader body of work, rich in symbolic imagination and vibrant visua
"Galos" by Chico da Silva bursts with vibrant colour and symbolic intensity, depicting two ornately stylised roosters in a dynamic, mirrored pose. Da Silva, a Brazilian artist celebrated for his folkloric and mythological themes, uses vivid pigments and fine line work to evoke movement and spiritual energy. Overall, the work explores themes of duality, conflict, and ritual, echoing indigenous cosmologies and the rhythms of nature. "Galos" is emblematic of da Silva’s oeuvre, which often combines fantastical creatures with a psychedelic palette, rooted in Amazonian visual culture and his own unique visionary style.
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
Mark Tobey’s Untitled (Black, White and Red) (1965) is a dynamic and energetic work on paper that exemplifies his signature "white writing" style, here reinterpreted through gestural abstraction. With rhythmic sweeps of red, black, and white layered over a warm-toned background, the composition evokes both calligraphic fluidity and spiritual intensity. A pioneer of Abstract Expressionism influenced by Eastern philosophies, Tobey sought to convey the invisible energies of the cosmos. This piece is consistent with his mature period, reflecting a synthesis of Western abstraction and meditative aesthetics rooted in global cultural traditions.Signed and Dated 'Tobey 65' on lower left.
Accompanie
Hand-signed by artist, verso
Offered for sale in original HENI packaging
COA Included (issued by authorized authenticating body)
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.
André Butzer’s Untitled is a vibrant, expressive work that showcases his distinctive fusion of abstraction and figuration. The painting features a stylised figure in a red dress, with elongated limbs and hollow, exaggerated eyes, set against a dynamic background of colourful, geometric brushstrokes. This piece reflects Butzer’s signature exploration of human emotion, cartoon-like aesthetics, and existential themes. The whimsical yet unsettling presence of the figure is characteristic of his oeuvre, where he blends elements of German Expressionism with pop culture influences. The work is emblematic of Butzer’s ongoing investigation into the boundaries of form, colour, and narrative.Provenance
Sola Olulode’s Everyday Gets Hotter Than The One Before (2021) is a radiant celebration of love and passion. The painting features two embracing figures rendered in deep, earthy tones against a glowing golden background, evoking warmth and intimacy. The textured brushstrokes and fluid, expressive lines create a sense of movement and energy, reinforcing themes of desire, joy, and deep connection. This work aligns with Olulode’s signature style, which centres on queer love, Black identity, and tenderness, while the rich golden hues add an especially vibrant and fiery dimension to her exploration of intimacy and affection.Provenance:
Artist Studio
Private Collection, Ghana
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.
![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.
Samuel Nnorom's Hanging on You is a captivating mixed-media artwork, characterised by its intricate interplay of vibrant purples, blues, and golds, delicately arranged in bulbous textile clusters interwoven with thread-like green structures. The piece explores themes of interconnectedness, resilience, and the delicate balance between dependence and support. Nnorom’s signature use of upholstery materials, such as Ankara fabric, marks this work as emblematic of his style, which often delves into social and cultural narratives. However, its striking three-dimensionality and suspended, organic form might reflect an experimental evolution within his practice, pushing the boundaries of material an
"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.
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.
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.
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.
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
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.