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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.
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
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.
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.
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.
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.
Pablo Benzo's A Place I Like Walking is a dreamlike composition that blends surrealism with geometric precision. The painting presents an ambiguous organic form merging with a framed landscape, where soft, rounded shapes contrast against angular structures. The artwork evokes themes of memory, perception, and the interplay between interior and exterior spaces. Benzo’s characteristic muted palette and fluid, biomorphic figures are evident, making this piece a continuation of his distinctive style. The juxtaposition of abstraction and recognisable elements invites contemplation, reflecting his ongoing exploration of surreal spatial relationships.
Michael Childress' Aurummm is a striking composition that merges geometric abstraction with a meditative sensibility. The painting features a radiant, sun-like orb encircled by symmetrical, golden-yellow arcs, creating a hypnotic sense of depth and movement. Below, a dark, elliptical void contrasts sharply with the luminous upper half, evoking themes of balance, transcendence, and the cosmic interplay of light and shadow. Childress' meticulous airbrushed gradients and restrained colour palette align with his signature style, reminiscent of both Op Art and spiritual minimalism. Aurummm exemplifies his exploration of mysticism and perception through precise yet atmospheric forms.Provenance:
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Condition Report: Very Good: Surface variation, accretions and pinpoint instances of pigment fall out by the extreme edges are all inherent to the work and to be expected given the artists working process and chosen medium. Framed.
Hand-signed by the artist.
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.
Richard Hambleton’s Standing Shadow - Blue (2018) is a striking continuation of his signature Shadowman series, characterized by haunting, spectral figures that seem to emerge from darkness. Printed on Hahnemühle Photo Rag, the piece retains the depth and texture of his original works, which often blurred the boundaries between street art and fine art.The dominant use of blue in this particular work adds a unique atmospheric quality, evoking mystery, isolation, and a ghostly presence. Hambleton’s Standing Shadow figures are known for their expressive energy, created through dynamic brushstrokes and splattered edges that suggest movement and depth. The elongated proportions of the figure in t
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
"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
