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![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.
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.
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.
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.
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.
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.
"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.
Offered for sale in original HENI packaging
Hand-signed by artist, verso
COA Included (issued by authorized authenticating body)
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.
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
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.
"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.