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Shadi Al-Atallah

b. Saudi Arabia 1994, lives in London, UK

Shadi Al-Atallah creates large scale figurative paintings: the dark and dynamic figures depicted in their mixed media work are distorted self-portraits of the artist that capture the absurdity of conflicting emotional states. Working in rapid motions and strokes, Al-Atallah works fast to avoid their thoughts slipping, contending with their own cognition and memory. Each painting documents a single hazy moment in time, examining the space between the mundane and the spiritual.

Al-Atallah makes use of paint to escape from the constraints of language. Painting allows them to invent genderless figures, ones that embody an ambiguity that language rarely grants. Obscurity also allows breathing room for the viewer to connect with the artwork.

In 2018, Al-Atallah was invited to speak on a panel of artists of Insights: beyond Gender — a talk organised by Tate Modern which explored gender and representation for the artists today. Al-Atallah’s work is included in the Dean Collection, USA; The Underdog Collection, Italy and the A4 Arts Foundation, South Africa.

I’m Not Afraid Of Ghosts

2023

My alien voice and your lizard eyes

2023

I’m Not Afraid Of Ghosts

2023

My alien voice and your lizard eyes

2023

Rebecca Ackroyd

b. 1987, Cheltenham, UK

Rebecca Ackroyd’s work toys with the discipline of sculpture, as processes are dissected to their bare bones in a diverse language of making that questions relationships between drawing, abstraction and figuration. Larger than life sculptures of legs, crudely made from chicken wire and plaster bandage, confront the viewer with their stark rawness. With crotches at head height they exude an air of confidence, emulating catwalk stances. The overtly feminine collides with an abstract architecture as a way of bouncing the viewer between places. It hints an interaction or performative encounter whilst exploring a confusion of narratives that encourages clashes to occur between the works.

Ackroyd’s works feature in public collections, such as Sifang Art Museum, Nanjing, China; Tony Salame Foundation, Beirut, Lebanon; The Emergent Art Foundation, Beirut, Lebanon; Kestner Gesellschaft, Hannover, Germany; Musée d’art contemporain de Lyon, Lyon, France; Zabludowicz Collection, London, UK; The Bunker Art Collection, Palm Beach, USA; and Stahl Collection, Norrköping, Sweden.

Spiral, Rose (diptych)

2023

Spiral, Rose (diptych)

2023

Hangama Amiri

b. 1989 in Peshawar, Pakistan, raised Kabul, Afghanistan

Hangama Amiri’s work concentrates on topics such as feminism, geopolitics and gender. Pivotal in her artistic practice is the attention given to Afghan costumes and, more generally, to the Islamic culture. Having grown up in Nova Scotia (Canada) and being currently based in New Haven (Connecticut), she looks back at her native country, where she lived until the age of six, through a critical approach with the aim at celebrating the contemporary lifestyle of Afghan women.

Trained first as a painter, fabrics have become a central component of Amiri’s art practice. She creates large-scale textile “paintings” from silk, muslin, satin and chiffon as well as other materials that remind her of Afghanistan, Pakistan and Central Asia. The compositions also include drawn, painted and embroidered elements.

Eid

2022

Eid

2022

Evgeny Antufiev & Lyubov Nalogina

b. 1986 in Kyzyl, Russia

Evgeny Antufiev is known for exploring the construction of myths and using symbolically charged materials that, through his distinctive juxtapositions, are transformed into elements within his own idiosyncratic world order. His immersive installations consist of archetypes within the language of myths: heroes, weapons, beasts, chalices, disguises, which together combine into a narrative structure.

Essential to the artist’s practice is the deliberate ambiguity of his works’ temporal origins; Antufiev’s choice of forms and materials convincingly take on the guise of the archaic in an attempt to disturb a linear chronology. The artist has explained, ‘I like it when an exhibition turns into an archaeological object, when you look and try to understand what these objects are for. You try to decipher the symbols. You take on the role of an archaeologist.’

Untitled

2022

Untitled

2022

Hannah Bays

b. 1982

Hannah Bays lives and works in London, UK. Interested in human drives and the construction of meaning in our lives, her recent work has focused on desire — both as a motivational force and something also open to manipulation. Notions of the body and its discontents underpin much of the work, with the alienated body often depicted in symbolic shorthand or through the anthropomorphism of inanimate objects. There is a push and pull between the abstract and figurative, the symbolic and the purely formal, with an insistence on spontaneous painterly gesture, or ‘affirmation’.

Bitter Cup

2021

Host

2020

TIME

2022

Bitter Cup

2021

Host

2020

TIME

2022

Katherine Bernhardt

b. 1975 in St. Louis, Missouri, USA

Katherine Bernhardt received a BFA from the School of the Art Institute of Chicago in 1998 and an MFA from the School of Visual Arts, New York, in 2000.

n bright, expressive paintings of pop culture characters, food, and consumer goods, she explores the mundane iconography of contemporary society. Bernhardt riffs on similar patterns or motifs across a number of canvases; E.T., the Pink Panther, shoes, and tropical fruits have been common refrains. She often outlines her rough-hewn forms and situates them within flat fields of neon color. Bernhardt’s distinctive painting style finds the connective tissue between graffiti, colour fields, and action painting.

Untitled

2019

Untitled

2019

Charlie Billingham

b. 1984 in London, UK

Charlie Billingham lives and works in London, UK.

Through a range of subjects usually rooted in history and tradition, Charlie Billingham’s practice honors and questions painting and its legacy, simultaneously. Accordingly, he looks to personal and shared experiences as a source for his visual concepts. His imagery often derives from satirical prints of the late 18th and early 19th century, now redefined by a 21st century appropriation. His technical approach focuses on pigment, texture, and surface. He uses acrylic, oil, or both, applying the paint to polyester, linen, tapestry, canvas, or wood panel, depending on his desired outcome. Beyond his broad understanding of the medium, his gestures and compositions demonstrate how painting possesses the ability to be completely subjective.

Untitled

2022

Stable Vices

2020

Imagine a personality

2020

Untitled

2022

Stable Vices

2020

Imagine a personality

2020

Sergei Borisov

b. 1947 in Moscow, Russia

Photographer Sergei Borisov is a chronicler of the Soviet underground whose photographs have been published in Le Monde, Photo, Vogue, Interview, Spin, Face, and others. Among his subjects are Victor Tsoy, Boris Grebenshchikov, Timur Novikov, Ilya Kabakov, Anatoly Zverev, Zhanna Aguzarova, Sergey Kuryokhin, and Alla Pugacheva. The artist frequently exhibits in Russia and abroad, with works held in The State Tretyakov Gallery, The Museum of Moscow, the MMOMA, the Multimedia Art Museum, and many other European museums and private collections.

Joe Bradley

b. 1975 in Kittery, USA

Joe Bradley has a diverse art practice deeply rooted in painting. His work defies easy categorization as he deftly moves across artistic movements and modes, weaving together personal and art historical references in his irreverent, self-assured style.

Bradley usually creates his improvisational, mixed-media canvases unprimed and unstretched on his studio floor, leading the finished paintings to bear the traces of the artistic process they underwent. Unconventional materials surface in the finished works, some even bearing seams where fragments of canvas have been stitched together in a collage-like manner. Figuration features to varying degrees across Bradley’s oeuvre, employing both geometric and organic forms, sometimes iconography, while other times engaging in a more minimalist painting tradition with monochrome swaths of color. Swaying always between earnestness and irony in his expression, Bradley continually provides a unique take on abstract painting and Western artistic traditions.

Day Rite

2018

Day Rite

2018

Cecily Brown

b.1969 in London, UK

Cecily Brown is a contemporary British painter. Exploring sexual imagery and an Abstract Expressionist gestural style, Brown’s work has emerged as some of the most influential of her generation. The artistic approach to abstract painting questions and satirizes the masculinity that has been historically linked to abstract expressionism. Her work has combined a variety of references and visual tropes including caricature and classical imagery, which she paints with an evident eroticism that visually links contemporary pornography with Old Master painting.

Skulldiver II

2006

Skulldiver II

2006

Apollinaria Broche

1995

Throughout her sculpture and installation-based practice, Apollinaria Broche (b. 1995; Moscow, Russia) creates places of escape and retreat from the world that blur boundaries between the real and imagined. Working primarily in bronze and ceramic, Broche highlights the dualities present throughout her practice: strength and fragility, nightmare and dream, personal and political, fantasy and reality.

Come on, baby, let me tell you

2024, 60 x 40 x 45 cm / 62.99 x 15.74 x 17.71 inches, bronze, ceramic, glaze

Come on, baby, let me tell you

2024, 60 x 40 x 45 cm / 62.99 x 15.74 x 17.71 inches, bronze, ceramic, glaze

Heidi Bucher

1926-1993

Heidi Bucher distinguished herself particularly through her legendary “mouldings”, focussing and exploring the architectural space and the body through sculpture. It is a transformative and poetic work, that deals primarily with private spaces and belongings, architectural fragments from mostly the 19th century, feminism, domestication and the individual or collective experiences and memory.

Heidi Bucher’s artistic legacy, is concurrently a visionary and aesthetic testimonial, as well as a conceptional liberation from an old, patriarchal affected world.

Closet Door

1976

Closet Door

1976

Erik Bulatov

b. 1933 in Ekaterinburg, Russian Federation

Erik Bulatov is among Russia and Eastern Europe's most important living artists. Along with artist Ilya Kabakov, Bulatov is among a small but significant group of Russian artists who, at a remove from the governmental regulations of the Soviet art system, attained independent forms of artistic expression.

Bulatov’s unique pictorial style was first expressed in his word pictures of the 1970s, where he analyzed the interplay of contrasting symbolic systems, such as language and images or abstraction and illusion, themes he is still concerned with today. The meaning of his work and the symbolic codes he uses are products of his cultural background. Bulatov lived most of his life in Russia, moving to Paris in 1991, and the emblems and typography of socialist glorification are recurrent themes throughout his œuvre. His particular modes of artistic expression are bound to a specific time and place, while also allowing for myriad visual associations. Bulatov's works can be read as political commentaries that subversively unite opposing impulses.

Alejandro Cardenas

b. 1977 in Santiago, Chile

Alejandro Cardenas’ work provides a vision of a post-human world wherein the relationship between human forms and the environment is one of unity and coexistence. Guided by his own imagination and inspired by a wide variety of influences ranging from Surrealism to Sci-Fi to magical realism, Cardenas immerses himself in the creation of surreal, post human scenes of polished, gridded interiors populated by eerie, angular figures.

Cardenas’ unique approach to figuration places his signature humanoids—narrow, wire-frame silhouettes wrapped in colorful patterns of zigzagging lines—calmly reclining, sitting, or standing within minimalist architectural environments. Unlike us, these faceless humanoids appear to lack all sensory organs, yet they are not deprived of their sensorial abilities. Instead, they convey emotion through body language, resulting in a wide variety of suggested emotional expression.

The remaining half of the Crandon Gateway

2019

Field walk

2020

The remaining half of the Crandon Gateway

2019

Field walk

2020

Philip Colbert

b. 1979

Philip Colbert is a British artist, designer and film producer. Inspired by the visual vocabulary of mass culture and visual media, his work encapsulates the spirit of Pop-Art. Blurring the lines between fantasy and reality, Colbert creates a world of his own, a dreamland of lobsters, symbolism and satire. By creating this new reality, he helps us see the absurdity of our own. Acclaimed by fashion icons such as Karl Lagerfeld and Lady Gaga, his work is a reflection of the hyper saturation of our culture — iconic images from art history alongside iconic brand images which reflect our ferocious appetite for image consumption.

FLOWER STUDY FROM THE LOBSTER LAND MUSEUM (WHITE,YELLOW, RED, MAGENTA)

2019

FLOWER STUDY FROM THE LOBSTER LAND MUSEUM (WHITE,YELLOW, RED, MAGENTA)

2019

Matt Copson

b. 1992

Matt Copson is a British Postwar & Contemporary artist. Copson creates cartoonish, hand-drawn and digitally rendered laser projections that are cynical by nature, literally illuminating the absurdity of the human condition and, more specifically, the ineffability and impossibility of purpose, the futile pursuit of ambition, and trends of self-improvement and maximising ‘personal growth’. The artist’s spectral projections bathe their exhibition sites in vivid neon light that is synthetic, disconcerting and dystopian, but also soothing and entrancing. Copson foregrounds, critiques and even empathises with the contradictions personified by the human, and the willing absorption within and adoration of entertainment, mass media and nostalgia. Ultimately, Copson resolves his audience to the fact that these contradictions are unavoidable and intrinsic to life.

Amputated flows, Hollywood Reservoir

2023

Amputated flows, Hollywood Reservoir

2023

Marlene Dumas

b. 1953 Cape Town, South Africa

Marlene Dumas moved to Amsterdam in 1976, where she has lived and worked since.

Dumas is widely regarded as one of the most influential painters working today. Over the past four decades, she has continuously probed the complexities of identity and representation in her work. Her paintings and drawings, often devoted to depictions of the human form, are typically culled from a vast archive of images collected by the artist, including art historical materials, mass media sources, and personal snapshots of friends and family. Gestural, fluid, and frequently spectral, Dumas’s works reframe and re-contextualize her subjects, exploring the ambiguous and shifting boundaries between public and private selves.

What Child?

1990

What Child?

1990

Sarah Dwyer

b. 1974 in Ireland

Sarah Dwyer’s drawing is the heart of the process, often combined with painting, printmaking, and sculpture, resulting in reimaginings of the familiar through exuberant colour palettes and lively approaches to mark-making. Incorporating both figurative and abstract imagery, her dynamic compositions are the result of processing her own surroundings and the human day-to-day experience, in addition to an indulgence in our desire for play. Surfaces, in turn, retain traces of process and development within their own archive and present the viewer with a navigable visual history.

The Funambulist

2023

The Funambulist

2023

Tracey Emin

b. 1963 in London, UK

Tracey Emin’s expressive and visceral art is one of disclosure, dealing with personal experience and heightened states of emotion. Frank and intimate but universal in its relevance, her work draws on the fundamental themes of love, desire, loss and grief, unravelling in the process the nuanced constructs of ‘woman’ and ‘self’ through probing self-exploration. Wide-ranging in scope, Emin’s practice includes painting, drawing, film, photography, sewn appliqué, sculpture and neon, all of which are transformed into highly personalised mediums for her singular voice. The genres of self portraiture and the nude run throughout, both intricately bound up with the emotional journey of her life and the travails of her own biography.

Passion Passion

2010

Passion Passion

2010

Jadé Fadojutimi

b.1993 in London, UK

Jadé Fadojutimi is a British contemporary artist who lives and works in London. A recent graduate of the Royal College of Art, Fadojutimi has seen a precipitous ascent to success: she is the youngest artist represented in the collection of the Tate, London, and has upcoming exhibitions planned for the Hepworth Wakefield and the Liverpool Biennial. Fadojutimi’s work is immersive and all-encompassing, featuring tightly woven lattices of ecstatic pigment and electric line. The raw but bubbly energy of her paintings reflects aspects of the artist’s own interiority, as she treats each canvas as an opportunity to explore undiscovered or underinterrogated aspects of her individuality. Fadojutimi believes that color and personality mingle and encourage one another; the matrices of line and color resemble the psychedelic spindles of neural networks, actualizing the artist’s investigative efforts as visual translations of the artist’s explorations of identity and fluidity.

The Menstrual Marshland

2021

The Menstrual Marshland

2021

Urs Fischer

b. 1973 in Zürich, Switzerland

Urs Fischer mines the potential of materials—from clay, steel, and paint to bread, dirt, and produce—to create works that disorient and bewilder. Through scale distortions, illusion, and the juxtaposition of common objects, his sculptures, paintings, photographs, and large-scale installations explore themes of perception and representation while maintaining a witty irreverence and mordant humor.

Fischer was the nominee of 2006 The Vincent Van Gogh Biennial Award for Contemporary Art in Europe, Stedelijk Museum, Amsterdam; in 1999 he received Providentia-Preis, Young Art. Bundesamt für Kultur, Eidgenössisches Stipendium für freie Kunst, Zürich. His works feature in renowned public and private collections, such as: Burger, Collection, Berlin; FRAC- Provence- Alpes Côte d’Azur, Marceille; Fondation- Carmignac, Paris; Fondazione Morra, Naples; Kunstmuseum Basel, Basel; Museo d’arte della Svizzera Italiana (MASILugano), Lugano; Migros Museum für Gegenwartskunst, Zürich; MOCA Grand Avenue, Los Angeles; Museum of Modern Art (MoMA), New York City, NY; Punta della Dogana-Francois Pinault Foundation, Venice; Rubell Family Collection, Miami; and Vanhaerents Art Collection, Brussels.

Asymmetry

2023

Asymmetry

2023

Dominique Fung

b. 1987 in Ottawa, Canada

Dominique Fung lives and works in Brooklyn, New York.

In Dominique’s artworks glossy lines and sensuous touches are merged together with witty and humorous tones, drawing the viewer into a spiral of reinterpretation of the Eastern world. Objects and actors once seen as fetishised trophies of an exotic conquest by Western forces, are now given new power and a new voice.

Through an artistic style which has its roots in traditional European painting, Dominique subverts such Western interpretations of the East, giving figures, bodies and objects real agency. Her characters do not belong to the exotic cabinet of wonders anymore, but to a reality where each and single one of them has their own independent value and relevance, taking steps away from the traditional input of imperialist propaganda.

To walk Towards/Away

2023

To walk Towards/Away

2023

William Grob

b. 1992

William Grob lives and works in Berlin. As a child he had severe speech disorders and wasn’t able to express himself verbally until the age of seven. He recurred to colors and forms to express his emotions and feelings and this is still deeply rooted in his practice, making the line between reality and the psychic world another main theme of his artistic practice.

The Artist Considers Death

2022

The delightful nonfiction

2022

The Artist Considers Death

2022

The delightful nonfiction

2022

Ivy Haldeman

Born in Colorado

Known for her anthropomorphic hot dogs, American artist Ivy Haldeman whimsically plays with notions of desire, consumption, gender, and the body. Her minimalistic figurative paintings of humanised apparel and consumables, limbs, and hand gestures have been shown internationally.

Born in Colorado, Haldeman grew up with a military father and her mother was a textile designer. In the early 2000s, she moved to New York to study at The Cooper Union. She completed her BA on a scholarship in 2008. A year prior, Haldeman received the Pietro and Alfrieda Montana Prize for Excellence in Drawing.

Haldeman’s drawing background and her interest in line are evident in the style of her artworks. A key inspiration for her work is the 18th-century Japanese Ukiyo-e prints of artists like Kitagawa Utamaro, known for his line drawings of courtesans.

Ivy Haldeman’s ‘hot dog lady’ has been a recurring character in her art since 2016. The original inspiration for this feminised sausage was a mural of a hot dog in stilettos she saw painted on the wall of a deli in Buenos Aires in 2011. Several years later, Haldeman came across a sketch she had made of this figure, inspiring this direction in her painting.

Full Figure, Right Knee Down, Flung Shoe, Hand Grasps Elbow Above Head

2016

Full Figure, Right Knee Down, Flung Shoe, Hand Grasps Elbow Above Head

2016

Rose Electra Harris

b.1991

Rose Electra Harris is a London-based printmaker and painter. Having completed a degree in printmaking at the University of Brighton in 2015, she now works from her studio in south London.

Harris’ practice centres around the use of colour, form, pattern, and texture, examining the comforts and pleasures of daily life. She finds the everyday fascinating and believes that with the fast pace of modern life, beauty can often be overlooked. She uses her work to elevate the quotidien. In doing so, she hopes to ground people, to evoke memories and to bring joy. A room is an oasis and the things within it are what bring it to life.

Harris reimagines the colourful dialogue that exists between space and furnishings, as interested in the negative space between objects as she is in the objects themselves. She isn’t concerned with portraying objects exactly as they are, but more how they make her feel, making use of a singularly distorted, ever so slightly off-kilter, perspective to do so.

Modern Love

2021-2022

Juan Canó

2023

Another Lover

2022

Modern Love

2021-2022

Juan Canó

2023

Another Lover

2022

Galli

b. 1944

Galli established herself in the West Berlin art scene in the late 1970s and early 1980s, when she carved out her own niche amidst the masculine transgression of the painterly style of Die neuen Wilden, by depicting bodies in states of vulnerability, disfigurement and ecstatic joy. Galli’s works pay close attention to corporeality and explore the inexhaustible potential in depictions of a human body. Her work is exuberant, wide-ranging and endlessly surprising. It comprises a complex mixture of figures, signs, disembodied parts, porous shapes, scribbles, words, interiors, animated architectural elements and domestic objects, art historical motifs and references.

Monster v. Firenze

1990

Monster v. Firenze

1990

Jenny Holzer

b. 1950, USA

Jenny Holzer has been probing the aesthetic and political intersection of language, installation, and painting since the late 1970s. Holzer displays her own and other texts in a variety of media, including LED tickers and light projections in public spaces, confronting current events and topics such as war and sexual violence in a way that defies didacticism and challenges the viewer’s passivity. The New York-based artist has been with the gallery since 1986, first represented by Galerie Monika Sprüth, then by Sprüth Magers.

Holzer’s dialogue with the kinds of language-based conceptual art exemplified by Lawrence Weiner and Joseph Kosuth is particularly evident in early works such as Truisms (1977-1979) and Inflammatory Essays (1979-1982). For these works, the artist printed enigmatic epigrams on posters and secretly affixed them to the walls of buildings and subway stations in New York. Directed at anonymous passersby, the texts were often based on philosophical readings and struck a clear contrast to the structuralist and analytical language models favored by her predecessors.

Survival: In a dream you saw...

2023

Survival: In a dream you saw...

2023

Donna Huanca

b.1980

Donna Huanca is a Bolivian-American artist. She creates work that destabilizes the male gaze while exploring femme and indigenous, specifically Andean, narratives and mark-making. Huanca’s installations encompass painting, sculpture, and live performance, and are characteristically created for, and integrated with, the specific architectural spaces in which they are presented. Her art is deeply invested in ritual practice, both drawn from Andean culture and exploring ritual at large as a means for transcendence, meditation, and transformation.

ANATOMY OF PLACENTA

2022

BLISS STARTE / GOLDEN HOUR

2021

ANATOMY OF PLACENTA

2022

BLISS STARTE / GOLDEN HOUR

2021

Ulala Imai

b. 1982 in Kanagawa, Japan

Ulala Imai paints scenes drawn from both her familial life and popular culture. She works in her home, transforming her children’s toys, quotidian foods, and other household items into mysterious and lifelike subjects. A masterful oil painter, she relies on just a few brushstrokes to realize her luminous images. Arranging disparate objects in whimsical combinations, Imai’s subtle associations infuse her paintings with the latent tension of interpersonal dynamics. A still life painter, Imai turns the materials of her specific family life into repositories for the more universal human exchanges that surround them.

Gathering

2022

Dessert

2021

Gathering

2022

Dessert

2021

Shi Jiayun

b. 1992 in Chongqing, China

Shi Jiayun lives and works in Shanghai, China.

She received BFA from Sichuan Fine Arts Institute in 2014 and MFA from the School of Visual Arts, New York in 2019. The works of Shi mark the diversion and diversification of painted images that become visible in the illusionary representational reality. Regardless of the uncertainty of her subject as an image, an object, or pure imagination, Shi composes in a restrained and introverted way that is in relation to forms beyond her immediate experiences. The most intriguing part may be the imminent impulsions embedded in her works as they manifest a feeling of liberation while constituting a constant process of emotional adjustment, control, and judgment, disturbing the visual fields between recognition, understanding and perception, lying somewhere in between.

Leaf #3

2023

Leaf #3

2023

Ewa Juszkiewicz

b. 1984 in Gdansk, Poland

Ewa Juszkiewicz’s oil portraits of women turn genre conventions inside out. Beginning by producing a likeness of a historical European painting — her sources date from the Renaissance through the nineteenth century — she expertly imitates the original’s technique and style but replaces the subject’s face with a surreal or grotesque distortion. In some compositions, the Polish artist swathes her sitter’s head in folds of fabric or lush floral arrangements; in others, she redirects an elaborately plaited hairstyle to shield the woman’s face from view. The results of this process narrate a history of effacement and erasure that runs throughout the Western canon of female portraiture.

Untitled (after Ernst Thelott)

2019

Untitled (after Ernst Thelott)

2019

Sanya Kantarovsky

b. 1982 in Moscow, Russia

Sanya Kantarovsky works across mediums, including sculpture, animation and curation, with painting remaining at the center of his practice. Teeming with wry humor and unearthly narratives, Kantarovsky’s paintings propose scenarios of turmoil and investigate liminal spaces, physical proximities, affect, and cruelty. His sometimes delicate and often macabre subjects grapple with the confines of their bodies, interacting with one another in a painterly satire of status anxiety and existential crises. Willfully engaging the historical canon of painting and literature, Kantarovsky perverts tropes and archetypes with elements gleaned from more populist forms of visual culture such as cartoons, illustration, film and advertising. Kantarovsky’s paintings a reassembled through fits and starts, with layered abrasions and dispersions of material, resulting in surfaces that engender a productive delay in looking and seeing.

Deprivation

2018

Deprivation

2018

Jordy Kerwick

a self-taught Australian artist

Jordy Kerwick is a self-taught Australian artist. Kerwick’s dense impasto brushstrokes flatten the perception of space; instead it is his thick application of paint that offers dimension and texture. He explores the relationship between thick patches of color and form while incorporating recurring elements of iconography such as contours of palm trees and anchors as a means of fusing painting and sketching. These intuitive and enticingly tactile marks celebrate artists’ role of investigating the inherent potential of his chosen media of oil paint.

Untitled

2021

Untitled

2021

William Klein

1926 — 2022

William Klein, an American born French photographer, is considered to be one of the fathers of street photography. At the age of 14 he enrolled at the City College of New York to study sociology. After entering Sorbonne in 1948, Klein developed his interest towards abstract painting and sculpture. Four years later 2 successful solo exhibitions were held in Milan. Later he developed himself as a photographer, creating photo essays in different cities.

Digital Camera World ranked him 25th out of 100 most influential photographers.

Smoke + Veil, Paris (Vogue)

1958

Smoke + Veil, Paris (Vogue)

1958

Victoria Kosheleva

b. 1989 in Moscow, Russia

Before training at Parsons New School in New York, Victoria Kosheleva graduated from the Surikov Art Institute in the Department of Monumental Art. A move to Paris after completing the Free Workshops course on Problems of Modern Art and The Philosophy of Art in Moscow prompted the artist to re-evaluate her academic skills and knowledge. In the artist's search for a personal approach to art-making, she became absorbed in her internal world of thoughts and feelings. All the while, an emphasis on technique and a focus on the picturesque have remained foundational to Kosheleva's practice.

I need a sip of water

2020, oil on canvas 165 x 205 cm

You two! You аге forever in me. lt hurts.

2023, huile sur toile 97 х 147 cm

I need a sip of water

2020, oil on canvas 165 x 205 cm

You two! You аге forever in me. lt hurts.

2023, huile sur toile 97 х 147 cm

Brigitte Kowanz

b. 1957 in Vienna, Austria

Since the 1980s, Brigitte Kowanz’s work has investigated space and light, which she employs both as a material and a subject. Kowanz understands light as a medium for information, much like language, and uses light in combination with reflection, transparency, and opacity to point to the construction of meaning, in an integrated, fluid relationship between viewer and artwork.

Contemplation

2018

Contemplation

2018

Cw Landon

b. 1990 in Mount Eden, New Zealand

Christopher Landon works with different mediums, but recently he being focused on painting. He studied at Auckland University for a year whereafter he left to establish his studio in Auckland, New Zealand. Landon now lives and works in London, UK.

Jam Jam

2022

Jam Jam

2022

Doron Langberg

b. 1985 in Yokneam Moshava, Israel

Doron Langberg has gained a reputation for works that, luminous in colour and often large in scale, hinge on a sense of intimacy. Often orchestrating multiple figures, as well as details of textiles, clothing and interior patterns, the artist works initially directly from life, making small-scale works that generate ideas about mood and colour palette in addition to likeness. From these improvisational sessions he builds compositions in which figures often appear to move in or out of focus, emerging from or receding into their surroundings. This dynamic interplay between people and the places they inhabit, in which areas might appear boldly declarative or remain consciously indeterminate, leaving areas of abstraction, gaps, questions – or breathing spaces – lends the work its distinctive psychological register. The dissolving of boundaries, meanwhile, speaks of inner and outer worlds, not only those occupied by the subject of each painting but by the artist and viewer as well.

Dad

2016

Dad

2016

Jin Han Lee

b. 1982, Seoul, South Korea

Jin Han Lee lives and works in Seoul. Lee captures the sensory complexities and fleeting moments of quotidian existence by translating everyday details into layers of psychedelic colour and wild movement. The artist’s oil paintings exist in a space beyond language and instead evoke the sensory, drawing upon the juxtaposition between her South Korean heritage and experience of living in the UK. The works’ large scale and illusory nature bestow the viewer with a space for contemplation and introspection.

Lee holds a PhD in Fine Art from Slade School of Fine Art, UCL, and a MFA from Goldsmiths College, and her work is in the collections of Hyundai Capital, Seoul and Sarabande Foundation, London. Recent solo exhibitions include: Hi, Bye, Space ISU, Seoul (2023), Martha’s Rumour, Nook Gallery, Seoul (2021), Secret, or, Rumour, Gongan Seoul, Seoul (2021) and Extended Realities, Beaconsfield, London (2021). Selected group exhibitions include: Alone Time, Union Pacific, London (2023), Magnetic Fields, BB&M, Seoul (2022) and Exhibition/Publication, Wess, Seoul (2020).

Meeting at Night

2022

Meeting at Night

2022

Simone Leigh

b. 1967 in Chicago, USA

The esteemed recipient of the Golden Lion for her presentation at the United States pavilion in the 2022 Venice Biennale, Simone Leigh has been solidified as one of the most important artists of our time.

In 2023, she was the subject of a major solo exhibition at the Institute of Contemporary Art Boston, which will travel to the Hirshhorn Museum and Sculpture Garden, Washington, D.C. in 2023–2024 and the Los Angeles County Museum of Art and California African American Museum, Los Angeles in a joint presentation in 2024–2025. Her nuanced sculpture practice is exemplified in Untitled, 2014. Taking the form of a cowrie shell, a central motif in Leigh’s practice for over a decade, the present example brims with potent historic and cultural associations.

Untitled

2014

Untitled

2014

Nate Lowman

b. 1979 in Las Vegas, USA

Nate Lowman deftly mines mass-produced images culled from art history, the news, and popular media, transforming visual signifiers from these distinct sources into a diverse body of paintings, sculptures, collages, prints, and installations. Since the early 2000s, Lowman has continually pushed the boundaries of language and object making with works that are at turns political, humorous, and poetic. Through his art—which dynamically explores themes of representation, celebrity, obsession, and violence—Lowman stages an encounter with commonplace, universally recognizable motifs, questioning and revisiting their intended meanings while creating new narratives in the process.

Orange Maxima

2005

Orange Maxima

2005

Sarah Lucas

b. 1962 in London, UK

Sarah Lucas’ practice is characterized by irreverent humour and the creation of visual puns and vulgar euphemisms. Spanning sculpture, photography, and installation, her work evokes the body in its physical, cultural, and psychic dimensions. In her compositions, Lucas often uses everyday objects as a substitute for the human body: furniture, food, tabloid newspapers, tights, toilets, and cigarettes are usually coupled with slang and crude genital innuendo. By appropriating and exhibiting lewd gestures that reveal the absurdity of sexual stereotypes, she subverts the male gaze and the tropes of what is considered feminine or masculine; in a similar vein, her defiant self-portraits invoke the sexual dynamics of the observer and the observed. Lucas’s artwork pushes the sculptural possibilities of bodily representation to question the way we understand and relate to inherent aspects of human experience such as sexuality, illness, and death.

Bunny Gets Snookered #8

1997

Bunny Gets Snookered #8

1997

Thomas Lumley

was born and brought up in Yorkshire

Thomas Lumley was born and brought up in Yorkshire. He studied at the Charles H Cecil Studios in Florence between 1999-2003. Thereafter, he undertook commisioned work, largely in portraiture.

Thomas Lumley’s series from studies of tree trunks show detailed close ups of bark using charcoal to create dramatic chiaro scuro for one to pick up the textural harshness of his subject. The results of his work are a beautiful synthesis between movement and depth, nature and form. While the monochrome medium picks up on harsh angularity it juxtaposes the natural elements of shapely clusters where one can pick up on the vast forms that nature creates. the result expels a sense of musicality as the barks oscillates and delicately grows around itself in an incredible dance. The singularity of his work is eminent, no two pieces are the same and each piece has it’s own sense of self.

Oak Study

2021

Oak Study

2021

Karyn Lyons

b. 1966 in New Haven, CT, USA

Karyn Lyons is a former art director in the fashion industry. As a New York-based painter, she captures teen girls engaging with love and life. Her filmic sense of composition depicts moments of intimacy juxtaposed against those complicated (confusing or shameful) between-times of exploration, discovery, and resolution. Mysterious, sinister, romantic—these pictures are exorcisms of desire, of those luscious days when all you (Gen X) could do was sit by the phone and hope you didn’t miss the call.

Hair

2019

Hair

2019

Misheck Masamvu

b. 1980, Penhalonga, Zimbabwe

Misheck Masamvu explores and comments on the socio-political setting of post-independence Zimbabwe, and draws attention to the impact of economic policies that sustain political mayhem. Masamvu raises questions and ideas around the state of ‘being’ and the preservation of dignity. His practice encompasses drawing, painting and sculpture.

Masamvu studied at Atelier Delta and Kunste Akademie in Munich, where he initially specialised in the realist style, and later developed a more avant-garde expressionist mode of representation with dramatic and graphic brushstrokes. His work deliberately uses this expressionist depiction, in conjunction with controversial subject matter, to push his audience to levels of visceral discomfort with the purpose of accurately capturing the plight, political turmoil and concerns of his Zimbabwean subjects and their experiences. His works serve as a reminder that the artist is constantly socially-engaged and is tasked with being a voice to give shape and form to a humane sociological topography.

Throwing Haymakers

2022

Throwing Haymakers

2022

France-Lise Mcgurn

b. 1983 in Glasgow, UK

The atmospheric practice of France-Lise McGurn transports the viewer from the public realm of a museum or gallery and into the most personal quarters of the artist’s life: her studio, her bedroom, her mind and musings. McGurn’s figurative practice delivers a wholly immersive experience, launching the viewer into a three dimensional world of the intimate and relatable. The figures that occupy McGurn’s world belong to her imagination. These archetypal women and men, often portrayed in a state of undress, whether in groups, in pairs or alone, recline in both ecstasy and agony. At times, they appear bare and exposed huddled in tense tableaux, seemingly withdrawn in defence. Elsewhere, McGurn’s characters are languid, bathed in an air of euphoria.

Blonde planet

2023

Blonde planet

2023

Maki Na Kamura

b. Osaka, Japan

Maki Na Kamura’s work interrogates the relationships between historical traditions of painting and the present. She describes her work as “Caspar David Friedrich plus Hokusai minus Romanticism minus Japonisme.” Her practice consists of a collecting, sitting with, and dismantling of art historical structures and conventions to make something new.

Na Kamura has been included in numerous solo and group exhibitions across Europe and in Japan. Solo museum exhibitions have been held at Museum Dhondt-Dhaenens in Deurle, Belgium (2017); Osthaus Museum Hagen in Hagen, Germany (2017); Bilbao Arte – centro de arte contemporáneo in Bilbao, Spain (2015); and Oldenburger Kunstverein in Oldenberg, Germany (2014). Na Kamura was awarded the Falkenrot Prize in 2013. Her work is in the collection of Musée d’Art Moderne de la Ville de Paris, France. Na Kamura lives and works in Berlin, Germany.

Claim of Joseph II

2023

Unit XIX

2023

Claim of Joseph II

2023

Unit XIX

2023

Shota Nakamura

b. 1987 in Yamanashi, Japan

Shota Nakamura’s works tear off the viewer, processing colored kaleidoscopic worlds, and directing them to the world of flowing miracles of colors. With his creations, the artist struggles with the hectic rhythm that defines our lives, responding with calm silence, freeing the viewer from the inexorable influx of images and media. Nakamura expands his paintings into other realms, his compositions, depicting the fluid boundary between domestic and wild spaces, make his work very individual and recognizable. It is in contemplative figures, reflections, and transitions that the artist draws inspiration from his works, which consist mainly of oil paintings.

Lemon on the pink table

2021

Untitled (black dog)

2022

Lemon on the pink table

2021

Untitled (black dog)

2022

Robert Nava

b. 1985 in East Chicago IN, USA

Robert Nava is driven by his desire to “make new myths” responsive to our times. He has created a chimerical world of metamorphic creatures, drawing inspiration from sources as disparate as prehistoric cave paintings, Egyptian art, and cartoons. Rendered through a raw, energetic mixing of spray paint, acrylics, and grease pencil, his large scale paintings of fantastical beasts exude a playful candidness that defies the pretensions of high art and invites viewers to reconnect with the unbridled imagination of their childhoods.

SON OF GODZILLA

2017

SON OF GODZILLA

2017

Tonia Nneji

Born in Lagos State, Nigeria

Born in Lagos State, Nigeria, contemporary artist Tonia Nneji comes from a long line of traditional carvers and masquerade carriers. Following the family tradition of artistry, she graduated with a BA (Hons) in Visual Arts from the University of Lagos, Nigeria in 2016.

Drawing from her experiences with chronic illness, Tonia Nneji explores the effects of pain and trauma on the female body with bright, boldly patterned canvases; her practice integrates melancholic themes with layers of optimism. Nneji often depicts blue-hued figures—on their own, huddled in small groups, or wrapped in tender embrace—draped in intricate patterned textiles that offer talismanic protection and signify socioeconomic and religious status in contemporary Nigerian society. The textiles hold personal significance for Nneji, whose mother once sold her most valuable fabrics in order to pay for the artist’s medical bills.

Tales From the Safari I

2021

Tales From the Safari III

2021

Tales From the Safari I

2021

Tales From the Safari III

2021

Marc Padeu

b. 1990 in Melong, Cameroon

Marc Padeu lives and works between Douala and Nkongsamba. Rendering constellations of bodies in conversation, Padeu’s works are drawn from the artist’s daily life and evoke a tension between the quotidian and monumental. The colours and compositions of his paintings weave together palpable affective realms, which address themes of history, memory and spirituality. Drawing on centuries of experimentation with figuration, Padeu incorporates references to the art historical canon of the Old Masters. In doing so, he works from multiple temporal registers to invoke the intimacy of European and African histories and their present implications.

Au Baptême

2023

Au Baptême

2023

Tim Parchikov

b. 1983 in Moscow, Russia

Tim Parchikov lives in Paris. His background in filmmaking, has influenced his photohraphic work to have a near cinematic sense of atmosphere. Regardless of subject matter, Parchikov imbues his works with a commanding immediacy, confronting his viewer with the essence of the piece, its emotion, its themes, its intention. In direct contradiction to this, however, is his other great talent as a visual artist, his affinity for mystery and the unseen. With Parchikov, in a visual sense, it is as much what is not said as what is.

Burning News

2011

Burning News

2011

Max Prus

b. 1987

Max Prus is an artist based in London. His works depict scenes of everyday life from his immediate surroundings. The artist boldly captures non narrative visuals, adding intrigue to the mundane.

Clara Goes to Dongo

2021

they cannot speak even from our clouded hills

2022

sadanchor

2020

Clara Goes to Dongo

2021

they cannot speak even from our clouded hills

2022

sadanchor

2020

Maria Prymachenko

1909 — 1997

Maria Prymachenko’s paintings are referred to as “naïve art”, a term used to describe the work of artists who did not receive formal art training and who are completely self-taught, without having many references to the history of art. She found her sources and themes in the decorative wall paintings that were prominent features in Ukraine, in lullabies, folk legends, and fairy tales, and in the nature that surrounded her.

Prymachenko loved colour and imbued her paintings with rhythmic shapes and colours creating a sensitive and passionate ode to life while interweaving it with the folk art influences that she grew up with.

Beaver

1987

The beast has eaten its fill of pepper from a fool, now it’s burning in its mouth

1992

Beaver

1987

The beast has eaten its fill of pepper from a fool, now it’s burning in its mouth

1992

Christina Quarles

b. 1985 in Chicago, USA

Christina Quarles is a Los Angeles-based artist, whose practice works to dismantle and question assumptions and ingrained beliefs surrounding identity and the human figure. As her immersion in drawing progressed, she became well versed in and heavily influenced by the imagery and painterly processes of art historical masters David Hockney and Philip Guston, among others. Quarles honed in on the bodily experience as her subject, beginning an artistic engagement with the contradictions inherent in one’s own complex, nuanced identity. In her current work, Quarles has moved text from the paintings themselves and into her titles, further winnowing out a predetermined visual narrative.

Quarles won multiple awards for his work including: the Pérez Art Museum Miami Prize (2019); the Rema Hort Mann Foundation Emerging Artist Grant (2017); and the Robert Schoelkopf Fellowship at Yale University (2015). In addition, she participated in the Fountainhead Residency in 2017. Quarles was included in the 59th Venice Biennale The Milk of Dreams, curated by Cecilia Alemani and the 16th Biennale de Lyon, curated by Sam Bardaouil and Till Fellrath.

Our Eyes Our Open/Are Eyes Are Open

2017

Our Eyes Our Open/Are Eyes Are Open

2017

Lauren Quin

b. 1992 in Los Angeles, CA

Lauren Quin’s abstract paintings draw the eye in with electric colors and seemingly pulsating lines. They exist at the juncture of the deeply personal and the universal, the point where each begins to bleed into the other—for, as she proves in her work, if you go too far into either, you are certain to loop back into its opposite. Quin’s compositions are also built from a form that she calls the tube: a key trope in her oeuvre. These thick strips of color and shadow resemble volumetric prisms. When overlapping, they morph into a shifting crosshatch or moiré pattern. Quin’s tubes are both the most persistently recurring and the least stable element of her compositions; they play tricks with the consistency of their weight and value.

Uptalk

2021

Uptalk

2021

Marc Quinn

b. 1964

Marc Quinn lives and works in London. He is a leading British contemporary artist.

Quinn’s multidisciplinary artistic practice aims to dissect, question and reflect the nature of contemporary society and what it means to be a person living in the world today, what our values are, our judgements, what exactly constitutes the modern soul. He distorts our ideals of beauty and celebrity in a playful questioning of our society’s unhealthy obsession with untenable ideals of image and fame. He mixes the old and new, blending classical understandings of art, beauty and worship with modern ideals of celebrity and photoshopped unattainable beauty. Quinn plays with the viewer’s relationship and understanding of each, drawing from the fractured bodies of classical sculptural forms to subvert and question the legitimacy of social consensus and judgement.

Avalanche

2008

Avalanche

2008

Tima Radya

b. 1988 in Yekaterinburg, Russia

Among Tima Radya’s earliest public works was a blood-red square the artist painted on the snow-covered ground to mark the demolition of a historic building to be replaced by a glass skyscraper. These early works were based on a strong textual message, and as poet and journalist Ivan Kozlov said, Radya's primary concern is literature and not conceptual gestures. Radya has continued his experimentation with text for a special project for the 4th Ural Industrial Biennial of Contemporary Art. His words “What Are We? Where Do We Come From? Where Are We Going?” were placed on the roof of the former site of an industrial plant, zoned to be replaced by a new residential compound. Moving away from vivid imagery and towards meaningful phrases, Radya allows his words to regain previously lost meanings.

Jon Rafman

b. 1981 in Montreal, Canada

Jon Rafman is acclaimed for a multifaceted oeuvre that encompasses video, animation, photography, sculpture and installation. His quasi-anthropological works—often incorporating internet sourced images and narrative material—investigate digital technologies and the communities they create, focusing on the losses, longings and fantasies that shape our technology-infused lives today. The Montreal-based artist turns an empathic but critical eye on the internet age, investigating experiences of alienation, nostalgia, loneliness and grief.

All of Jon Rafman’s works explore the vicissitudes of self-formation in the digital age. They ask what it means to live in a time when technologies structure our every waking hour, or when the price of easy fulfillment of our needs is loneliness in front of a computer screen. They explore the ever-present experience of living in a world where nothing is permanent, but nothing is forgotten.

Puppet Man II

2022

Puppet Man II

2022

Maïa Régis

b. 1995 in Paris, France

Maïa Régis lives and works in Palermo, Italy. She studied at the Chelsea College of Arts (BA Fine Art) in 2017 and the Royal College of Art (MA Painting) in 2019. Having since shown both in London and internationally, recent features include Bloomberg New Contemporaries 2017 and 2018, Griffin Art Prize 2017, FBA Futures 2018, and the ‘Saatchi Art: Invest in Art Report 2019’.

Beretta Papayas

2022

Cartel

2022

Beretta Papayas

2022

Cartel

2022

Sterling Ruby

b. 1972 in Bitburg, Germany

Sterling Ruby has created a complex, ever-evolving artistic universe that oscillates between raw abjection and aestheticizing abstraction. His ceramics, sculptures, installations, textile works, videos and paintings are associated with a post-humanist view on culture. The Los Angeles-based artist is working on a map of our collective unconscious, with a particular focus on social topologies, as well as traumas and ruptures in post-war art history.

SP33

2008

SP33

2008

Salvo

Leonforte 1947 – Turin 2015

The painting production of Salvo has a conceptual matrix, although it draws from an archive of images informed by the history of art and his own personal fantasy. In 1972, he participated in the legendary Documenta 5 exhibition, curated by Harald Szeemann, only appearing in capital letters in the index of the catalogue without any reference to other pages of the book. A self-affirmation act reflected in the conceptual tension of his paintings, which not represent but provide accesses to the perception of the self and of the reality.

The works on display propose a psychedelic reading of Salvo’s work, interested in Aldous Huxley’s books and fan of the T.Rex’s glam rock. By means of a wise use of colors, the artist rethinks the genres of traditional Italian painting, immersing the viewer in unexpected chromatic trips. Volumes and surfaces crumble seamlessly through color transitions in which light is the absolute protagonist, re-enchanting and opening up new breaches in the perception of reality.

Ottobre

2002

Untitled (Lungo il Nilo / Along the Nile)

2010

Ottobre

2002

Untitled (Lungo il Nilo / Along the Nile)

2010

Wilhelm Sasnal

b. 1972, Tarnów, Poland

Wilhelm Sasnal has emerged over the last two decades as one of Europe’s most distinguished contemporary painters. Sasnal’s works are characterized by their vast visual sources, ranging from the artist’s everyday snapshots to his personal archive of appropriated images drawn from magazines, newspapers, and online, which undergo various levels of distortion, simplification, or abstraction. His work often focuses on weighty historical themes such as the Holocaust, or familiar pop-cultural icons, as well as the people, places, and objects around him, indexing an artistic document of post-Communist Poland during a time of socio-political transformation.

Anka

2023

Anka

2023

Antonia Showering

b. 1991 in London, UK

Antonia Showering renders emotionally charged landscapes capturing the shifting nature of memory and the complexities of her Swiss-Chinese heritage. She is known for her richly layered depictions of family members in landscape settings, deployed in warm, velvety washes of red, orange and green. While Showering’s use of place recalls the West, the yellow ochres and earth-toned shades used to render them evoke the East. The artist relates her engagement with nostalgia to a search for home, using colour to explore the complexities of belonging, while her subjects remain constant. Ambiguous yet psychologically charged, Showering’s paintings err between the abstract and the allegorical.

I see Tschanuef

2016

I see Tschanuef

2016

Rafa Silvares

b. 1984 in Santos, Brazil; lives and works in Berlin

Rafa Silvares earned degrees in Fine Arts from Fundação Armando Alvares Penteado, São Paulo, and in Language and Literature from FFLCH University of São Paulo. His practice thematises the fixtures of urban life, depicting the inanimate in motion – a burning pan, running faucet, steaming pipes. Through vibrant colours and gentle gradients, the starkness of his industrialised landscapes is rendered playful and engaging, while industrial textures such as metal and plastic are rendered rounded and soft. The structural and architectural shapes that populate his works are both minimal and abundant, facilitating an exploration of the spatial qualities of the canvas surface.

The Great Curve

2022

The Great Curve

2022

Elinor Stanley

b. 1992 in London, UK; lives and works in London, UK

Elinor Stanley previously studied at Glasgow School of Art and Open School East, Margate.

Stanley uses painting to amplify and heighten experience; the figurative focus of a painting shifts as a confused eye might. The painting configures a weighted, biased gaze, a sense of unsteadiness or vertigo. Stanley’s work is founded in drawing. She works in series, creating multiple iterations of repeating images. Subjects and ideas circle as they do in the mind, turning over and over.

Joke

2023

Big Babe

2022

Joke

2023

Big Babe

2022

Olivia Sterling

1996

Born in Peterborough in 1996 and graduating from the RCA in 2020, Sterling has carved out a distinctive niche in using paint to address questions of blackness and whiteness in twenty-first century Britain. Her paintings present scenes of colourful mayhem with a nostalgic twist and signature ‘slapstick’ style, combining joyous celebration with a subtle critique of racialised ways of seeing.

Blending pointed references like this into her depiction of ordinary scenes and subjects, Sterling’s work reflects on how we are confronted by racialised discourse everywhere in the everyday. Even happy or anodyne spaces are encoded with structures of othering and difference; every object, every skin tone, is assigned its place in a drama that continues beyond the edges of the canvas.

To Putting Up With Stuf

2022

To Putting Up With Stuf

2022

Olivia Steele

b. 1985 in USA

Light artist Olivia Steele has earned an international reputation for her neon happenings in surreal public environments. Formed by hand and filled with gas, Steele harnesses the power of neon to articulate symbolic phrases to allure and provoke. Pioneering a new breed of conscious art, her neon works are short, punctuated truths that mirror the ingenuity (or malaise) of the digital age.

Frieda Toranzo Jaeger

b. 1988 in Mexico City, Mexico

Frieda Toranzo Jaeger’s pictorial work with feminist and postcolonial concerns also questions the formal structures of the medium itself. Her practice also deals with the representations of masculinity and femininity in the visual culture of late capitalism. Research into the history of painting with a particular interest in the sculptural forms and religious symbolism of the 15th-century European period as well as the relationships between movement and technology are essential themes that emerge in the content and construction of Jaeger’s works. This plasticity in movements and fluidity is a kind of signal of ontological queer shifts that oppose the established realities of the world.

Moon in Leo

2022

Moon in Leo

2022

Alicia Viebrock

b. 1986, Munich, Germany

Alicia Viebrock studied at the Kunstakademie Düsseldorf under Professor Herbert Brandl and lives and works in Cologne, Germany.

In Viebrock’s work exuberant colour formations meet reduced compositional constructs with calligraphic elements. Colour power and dominance meet purposefully placed painterly gestures. Fleeting structures interlock through the viscosity of the paint, condition each other as flowing colour fields or assert themselves in self-confident demarcation. The sensuality of the paintings is reflected in their immediacy. The display of poured, dripped and splattered paint are indications of the expressive range of the artist, adopting a highly physical and psychological relationship with the surface. While strong colour fields on the canvas evoke a deliberate imbalance, the gestural settings on linen find a more determined hold, which is broken by gentle painterly expressions. The latter provokes a delicate flickering in the pictorial space.

Die Kümmerei

2023

Die Kümmerei

2023

Caroline Walker

b. 1982 in Dunfermline, Scotland

Caroline Walker’s paintings reveal the diverse social, cultural and economic experiences of women living in contemporary society. Drawing on her own photographic source material, she provides a unique window into the everyday lives of women. Blurring the boundary between objectivity and lived experience, Walker highlights often overlooked jobs performed by women and the psychologically charged spaces they inhabit.

Making Fishcakes, Late Afternoon

2019

Sweet Dreams

2007

Making Fishcakes, Late Afternoon

2019

Sweet Dreams

2007

Xiyao Wang

b. 1992 in Chongqing, China

Xiyao Wang lives and works in Berlin. She received a BA from Sichuan Fine Arts Institute in 2014, and a BA and MFA from the Hochschule für Bildende Künste Hamburg (2018, 2020). Xiyao Wang is a painter whose sprawling language of abstract form is forged from a dialectic between the outer expressive gestures of her body as she paints, and the resulting marks generated on her canvases. The energy of both domains – the space before the painting and that of the depicted expanse within the frame of the picture – is captured with all of the vibrancy and vigour contained in the process of each work’s creation. She is currently based in Berlin.

Her work has been featured in important international venues, including Shepparton Art Museum, Victoria (2023), Pingshan Art Museum, Shenzen (2023), the ARNDT Artbarn, Cape Schanck (2022); Aurora Museum, Shanghai (2022); Jiu Shi Art Museum, Shanghai (2022); Baumwollspinnerei, Leipzig (2020); Cité internationale des arts, Paris (2018); Sprink, Dusseldorf (2018); and Chongqing Contemporary Art Center 2015), among many others.

Autumn Rhapsody No. 4

2022

Autumn Rhapsody No. 4

2022

Anna Weyant

b. 1995 Calgary, Canada

Anna Weyant’s indelible paintings and drawings are recurrently tested by everyday circumstances, weathering what the artist has described as “low-stakes trauma.” In these precisely rendered scenes, figures—most often young and female—find themselves embroiled in tragicomic narratives with an ironic twinge, offering a dreamlike insight into the capacity of popular culture and social convention to manufacture and distort gestures, rituals, and signifiers of femininity. But far from presenting her protagonists as merely symbolic, Weyant remains sensitive to their human idiosyncrasies and contradictions, picturing characters who are endearing, mysterious, and wholly themselves. In her crystalline still-life compositions, meanwhile, everyday objects adopt an uncanny, portentous air.

Cloud Hil

2020

Cloud Hil

2020

Jamie Gray Williams

b. 1989 in Indiana, USA

Jamie Gray Williams utilises fantasy and humour to explore questions about inter-subjective limits and the complex relationships of mind and body, imagination and reality, self and others. The results are expressive marks and colour combinations loosely contained by vague figures that straddle waking nightmares and vaudeville performances. Williams was a 2015 participant at the Skowhegan School of Painting and Sculpture. Her work has been exhibited at the Evansville Museum of Arts, History, and Science, Evansville, IN; Pilot Projects, Philadelphia, PA; Little Berlin, Philadelphia, PA, and is in the collection of the University of Southern Indiana. Williams currently maintains a studio in Philadelphia and teaches drawing at Rutgers University in New Brunswick.

Le Petomane’s Whif

2023

Le Petomane’s Whif

2023

Jordan Wolfson

b. 1980 in New York, USA

Jordan Wolfson’s work generates a nuanced commentary on the contemporary world. He filters his compositions through the jarring framework of the modern technological and commercial zeitgeist, approaching his often controversial themes through vibrant designs that focus on animated and engaging protagonists. Works like Untitled from 2014 are a consequence of culture; a projection of humanity’s internal desires twisted into fictious, often politically charged, narratives.

Locating his work within a post-Warholian landscape, the language of commercial advertising and Americana permeates Wolfson’s canvases, although the artist seems more interested in the mechanics of Western consumption than the products themselves. Deploying collage-like approaches to compositional design, his works twists the commercial world upon itself to serve as a mirror which draws out the most disturbing aspects of consumerism.

Untitled

2014

Untitled

2014

Issy Wood

b. 1993 in Durham, USA

Issy Wood’s paintings find comfort in the uncomfortable, and vice versa. Uncannily familiar yet entirely strange, they are both painterly in an impressionist style and subtle imposters in their anachronism. Depicting contemporary ephemera such as mobile phones and car interiors, she impulsively renders apparently unconnected subject matter on lush velvet or discarded items of clothing, mimicking the non-sequiturs of social media.

Unusual rabbit with country code

2020

at the v&a

2016

Unusual rabbit with country code

2020

at the v&a

2016

Scout Zabinski

b. 1997 in New Jersey, USA

Scout Zabinski uses her own, stylised nude image as the recurring central motif in her practice. Baring herself for her audience, painting is for her meditative, creative catharsis. She has described it thus: “My work is about trauma and recovery, self-reflection, self-image, addiction, abuse, eating disorders and the chaos of the mind in general. I paint what I know... Using my own image allows me to be completely free.”

The still life (abundance, mortality), over-ripe pomegranates (resurrection, everlasting life), the fountain (life, hope, water, renewal), the centaur (duality, primal drive, paradox) the dense garden (healing, learning) and classic Americana (consumption, decadence) provide the backdrop for a curiously opaque portrait of the artist.

The Waiting

2023

Scout Zabinski "Tending to the Garden of Creation," 2024

Oil on canvas, 182.88 x 274.32 cm | 72 x 108 in.

The Waiting

2023

Scout Zabinski "Tending to the Garden of Creation," 2024

Oil on canvas, 182.88 x 274.32 cm | 72 x 108 in.

Conversation on the Canal Volume V: Caroline Walker

Conversation on the Canal Volume IV: Sarah Dwyer

Conversation on the Canal Volume III: Hannah Bays

TCollection is a body of exceptional contemporary art assembled to initiate a rich conversation about the world around us

Thank you

Shadi Al-Atallah

Rebecca Ackroyd

Hangama Amiri

Evgeny Antufiev & Lyubov Nalogina

Hannah Bays

Katherine Bernhardt

Charlie Billingham

Sergei Borisov

Joe Bradley

Cecily Brown

Apollinaria Broche

Heidi Bucher

Erik Bulatov

Alejandro Cardenas

Philip Colbert

Matt Copson

Marlene Dumas

Sarah Dwyer

Tracey Emin

Jadé Fadojutimi

Urs Fischer

Dominique Fung

William Grob

Ivy Haldeman

Rose Electra Harris

Galli

Jenny Holzer

Donna Huanca

Ulala Imai

Shi Jiayun

Ewa Juszkiewicz

Sanya Kantarovsky

Jordy Kerwick

William Klein

Victoria Kosheleva

Brigitte Kowanz

Cw Landon

Doron Langberg

Jin Han Lee

Simone Leigh

Nate Lowman

Sarah Lucas

Thomas Lumley

Karyn Lyons

Misheck Masamvu

France-Lise Mcgurn

Maki Na Kamura

Shota Nakamura

Robert Nava

Tonia Nneji

Marc Padeu

Tim Parchikov

Max Prus

Maria Prymachenko

Christina Quarles

Lauren Quin

Marc Quinn

Tima Radya

Jon Rafman

Maïa Régis

Sterling Ruby

Salvo

Wilhelm Sasnal

Antonia Showering

Rafa Silvares

Elinor Stanley

Olivia Sterling

Olivia Steele

Frieda Toranzo Jaeger

Alicia Viebrock

Caroline Walker

Xiyao Wang

Anna Weyant

Jamie Gray Williams

Jordan Wolfson