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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
Vivid 84 (2023) by Orit Fuchs is a striking portrait that captures a poised woman in a flowing crimson dress and an oversized pink hat, blending elegance with bold modernity. The smooth, stylised features and rich colours reflect Fuchs’s signature aesthetic, which often celebrates feminine strength and individuality. This piece continues her exploration of confident womanhood, using fashion and form as tools of self-expression. Characteristic of her oeuvre, Vivid 84 maintains Fuchs’s vivid palette and graphic clarity, reaffirming her distinctive voice within contemporary figurative art.
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.
Harland Miller’s Hate’s Outta Date (Blue) (2022) is a screenprint that cleverly mimics the iconic Penguin paperback design, merging literary nostalgia with punchy contemporary messaging. Rendered in a cool palette of blues and creams, the work centres on bold, retro-style typography that delivers its titular phrase with wry optimism. The presence of the signature penguin adds a touch of familiarity and irony. Known for his fusion of text and image, Miller’s work often satirises the cultural authority of books, and this piece is no exception—typical of his acclaimed series blending humour, politics, and pop art sensibilities.
Forrest Kirk’s Fist 7 (2020) is a compelling mixed media work executed in acrylic and Gorilla glue on canvas. A monumental clenched fist dominates the composition, set against a vibrant pink backdrop. The form is fragmented and stylised, with exaggerated musculature and cubist-influenced planes, while a graphic eye peers out from within the structure—an emblem of surveillance or awareness. This powerful visual language reflects Kirk’s ongoing engagement with themes of identity, resistance, and Black empowerment. Fist 7 resonates strongly with his broader oeuvre, which often reclaims figuration through bold, textured materials and charged symbolism.
M. Florine Démosthène’s Contrite (2018) is a mixed media work that blends figuration and abstraction in a dreamlike, emotionally charged tableau. Rendered through layered textures and patterned surfaces, two entwined figures—one glittering, one marbled—float against a smoky, atmospheric backdrop with hints of celestial blue. The work conveys intimacy and introspection, evoking vulnerability, desire, and the complexities of identity. Démosthène’s signature use of mixed media—often combining ink, collage, glitter, and paint—mirrors her broader practice, which explores Black femininity and mythology through sensual, otherworldly narratives that straddle the personal and the fantastical.
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
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.
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.
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.
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.
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.
"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
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.
David Hockney's My Window: Set of 4 captures serene moments observed from the artist's window, blending interior intimacy with the changing beauty of nature. The vibrant lithographs depict flowers in vases and glimpses of the outside world, including blossoming branches and vivid skies, rendered in Hockney's signature bold palette and simplified forms. These works reflect his fascination with light, colour, and the passage of time, recurring themes throughout his oeuvre. While characteristic of Hockney's focus on everyday scenes, these pieces feel deeply personal, celebrating the quiet yet profound connection between artist and surroundings.Unframed in its original box.