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Unique work, inscribed by the artist with the title and dated 2003 on the base. This extraordinary self-portrait, portraying the artist, his arm resting on a pot (which is also embellished with his self-portraits) and accompanied by Alan Measles, his motorcycle and a progression of individual images of himself transforming into his alter-ego, Claire. Notably, this work was executed in 2003, the year Grayson Perry won the Turner Prize. Provenance Private collection (United Kingdom) | Artificial Gallery (London)

TIX3

Executed in 1994, this work is from an edition of 10. Exhibited: LONDON, White Cube Hoxton Square, Cerith Wyn Evans: Inverse Reverse Peverse, April-May 1996/ LONDON, Hayward Gallery, Material Culture, April-May 1997/ PRAGUE, City Gallery of Prague, Close Echoes, September-November 1998/ YPRES, Merghelynek Museum, Lost/Past, June-September 2002/ BERLIN, Deutsche Guggenheim, The Vanity of Allegory, July-October 2005.

Brass Tooth

David Shrigley’s drawings, paintings, animations, and neon texts embrace cartoon aesthetics and an absurd, deadpan sensibility. The artist delights in satirizing everyday human interactions, filtering the mundane through a sense of childlike wonder and an unguarded sense of humor. Shrigley attended the Glasgow School of Art and has exhibited in New York, London, Paris, Los Angeles, and Copenhagen. His works belong in the collections of the Art Institute of Chicago, the Museum of Modern Art, the Tate, the Thyssen-Bornemisza Art Contemporary Foundation, and the Arts Council Collection. Shrigley has also worked in sculpture, photography, and printmaking, and has produced music as well. 3D multi

Sheep

Patrick Hughes’s paintings and wall reliefs wittily address art history and the nature of perception and perspective. He invented an optical illusion called “reverspective,” a neologism for reverse perspective. Hughes begins by constructing pyramid- or wedge-shaped blocks out of wood, which he combines into ridged panoramas. He then paints scenes into the blocks, depicting interior spaces—including museum galleries hung with iconic artworks—as well as landscapes and city views. The protruding parts of the works appear to recede, and the receding parts appear to protrude. As viewers walk by the pieces, the compositions seem to move. Hughes once remarked: “In my reverspective, you have a contr

Dubtronic

Though his first love is music, Jim Lambie is celebrated for his mixed-media sculptures and installations, into which he incorporates the detritus of popular culture and neon-bright colors to create hallucinatory, site-specific meditations on industry, art-making, and contemporary life. Claiming that he wants to set up “intense psychological spaces,” Lambie transforms various sites, including Scotland’s inaugural pavilion at the 2003 Venice Biennale, while staying true to their architecture. In his “Zobops” works (begun 1999), which launched his career, he covers floors with multicolored strips of tape in patterns that simultaneously dissolve and follow architectural features. His practice i

Sleeping Beauty (Kate Moss)

Marc Quinn expands the material and conceptual possibilities of sculpture. He emerged in the 1990s as part of the iconoclastic group of Young British Artists and is best known for his unusual, organic media: He’s made art from frozen flowers, slides of human DNA, and—in his self-portraits—his own frozen blood. Quinn has also embraced provocative subject matter and made monumental depictions of disabled and transgender subjects. Quinn studied art history at the University of Cambridge and has exhibited in London, New York, Paris, Milan, Seoul, Tokyo, and other cities. His work belongs in the collections of the Tate, the Centre Pompidou, the Stedelijk Museum, the Astrup Fearnley Museum of Mode

Biotex

This mounted box of "Biotex" detergent (signed by the artist on the plinth) produced by Damien Hirst is a testament to the artist's aim to create a sanitized environment through which the concept of immortality can be explored. The brightly coloured cleaning products, with their Pop-art style lettering and childishly pleasing forms, are employed by the artist as a symbol of contemporary society’s utopian aspirations, Hirst explains: “they give us hope, some might say false hope, they seem to say that we can achieve immorality through cleanliness, that we can somehow make the bad things in the world go away, which of course we can’t.”

Loves who don't know how to get by in this world (SHE)

Technique // Hand-Processed Bronze Casting Markings // Stamped Certificate and Serial Number Attached Type // Verified and Certified Sculpture Finish // Black Bronze Patina - Mirror High Polished VAT and shipping costs may be applied after the sale if applicable

Loves who don't know how to get by in this world (HE)

Hand-Processed Bronze Casting Markings // Stamped Certificate and Serial Number Attached Type // Verified and Certified Sculpture Finish // Black Bronze Patina VAT and shipping costs may be applied after the sale if applicable