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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
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
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,
![Faye Dunaway The Morning After [co-signed]](https://artscapy.s3.amazonaws.com/bx_ads_photos_resized/m/mk/mky/mkyu9gbyu5qztzbnzzb7nf3khaeraght.jpeg)
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.
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.
Rob Ober's Faded Flag is a raw, expressive work that blends figuration with primal energy. The painting depicts two contorted, almost feral figures in shades of blue and deep maroon, their exaggerated limbs and distressed expressions evoking chaos and struggle. The dripping paint and rough brushwork enhance the sense of urgency, suggesting themes of conflict, identity, and societal unrest. This piece aligns with Ober's visceral, outsider-art aesthetic, where the grotesque and the absurd merge to challenge conventional representations. Faded Flag exemplifies his exploration of power dynamics and human vulnerability through an unfiltered, almost hallucinatory visual language.Provenance:
Shrin
![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.
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 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.
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.
Chris Ofili’s Regal is a striking portrait that radiates dignity and strength. The figure, rendered in profile, is adorned with intricate patterns and a luminous pearl necklace, set against a swirling, textured background. The interplay of deep, earthy tones and vibrant colours in the clothing reflects Ofili’s exploration of cultural identity, heritage, and spirituality. This piece is emblematic of Ofili’s work, where a fusion of symbolism, ornamentation, and Afrocentric themes challenges perceptions of beauty and representation. The artwork’s meticulous detail and contemplative atmosphere underscore the artist’s commitment to celebrating Black identity and empowerment.
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.
![Welcome to Hell (Pink) [unsigned]](https://artscapy.s3.amazonaws.com/bx_ads_photos_resized/k/ka/kaa/kaajbdc5cs8qfvtvyz36tv5rsnmzcdhm.jpeg)
Banksy’s Welcome to Hell (Pink) is a striking screenprint that captures the artist’s signature blend of dark humour and stark social commentary. Rendered in bold pink tones, this piece confronts viewers with an anarchic message of rebellion and disillusionment. The motif of civil unrest and the critique of authority are prevalent here, recurring themes throughout Banksy’s oeuvre. Despite its vibrant colour, the artwork retains the raw, gritty tone that is typical of Banksy's style. As an unsigned edition, it remains a coveted and authentic piece within the artist’s body of politically charged works.Accompanied with COA of Pest Control.
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.