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MARTÍN BADIA (Bariloche, 1979)."The oracle".Digital art and mixed media on Fine Art paper - Hahnemühle, 308 gr/m2 paper.Edition 1/5.Size: 40 x 50 cm.The illustrator, designer and artist Martín Badia lives and works in Barcelona, from where he explores new paths that lead him to create somewhat baroque works expressed with bright colours. It could be said that classical and folk art are some of his main sources of inspiration, borrowing some formalisms and aesthetic features that converge with something new and current.

Coldplay / ParisMylo Xyloto 1, 2013signed Digital Art Print, from an edition of 8, created following the release of the band's album, signed by each member of the group and by the artist, framed and glazed, accompanied by a Kids Company Charity certificate additionally signed by each member of the band 100 x 100cm (39 x 39in).Footnotes:ProvenancePurchased by the vendor at the Kids Company Under One Roof Charity Auction in 2013.Coldplay and street artist Paris created original and limited edition 'Mylo Xyloto' artworks to raise funds for the Kids Company in collaboration with Album Artists. The original exhibition raised over £630,000 for Kids Company and the last limited editions and final one original painting were then auctioned with all proceeds being donated to Kids Company to fund their work helping disadvantaged children in Britain. The auction ran from July 15th-July 25th 2013.Paris is a veteran in the world of graffiti, long loved in his home town of Bristol, not only for his work but for bringing the beauty of street art to the youth of his City. It was in this aspect of a teacher of graffiti that Paris was first introduced to Coldplay – initially being told he was to meet some band to teach them graffiti, much to his surprise when he walked in that room and found Coldplay as his students. Paris so impressed the band that what was initially to be an instruction session turned into more than a year long project with Paris directing and doing much of the work for the bands worldwide number one album Mylo Xyloto, as well as painting the albums imagery on 80 foot concert backdrops, the band's instruments and even the bands stage for the Olympics closing ceremony.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

DAMIEN HIRST (B. 1965)7028. Nothing you can do 2016 from the Currency signed, titled, dated 2016 and stamped with the artist's blindstamp, microdot, watermark and hologram on the reverseone-shot enamel paint on handmade paper21.4 by 30 cm.8 7/16 by 11 13/16 in.This work is number 7028 from a series of 10,000 unique examples. The corresponding non-fungible token has been burned.Footnotes:ProvenanceHENI, LondonAcquired directly from the above by the present owner in 2021Damien Hirst's The Currency has been one of the most hotly discussed artistic projects of recent seasons that will culminate in a grand and fiery finale this October at the artist's Newport Street Gallery. Hirst, the definitive enfant terrible and impresario of contemporary art since his monumental rise to global stardom in the 1990s as the figurehead of the Young British Artists (YBAs), created waves with The Currency when it launched in 2021, forcing buyers of the 10,000 unique pieces to choose between a physical and digital version of the work by June 2022. In October 2022, Hirst will fulfil his promise of burning the unclaimed physical pieces, as well as his own works, daily from Tuesday 11th October, making the present piece, aptly named 7028. Nothing you can do, still more rare from this collection. This sale thus represents the opportunity to acquire and participate in an unprecedented artistic project that has offered one of the most thrilling critiques of desirability, market-dynamics, and the nascent digital realm.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

MAURICE DE VLAMINCK (1876-1958)La forêt signed and inscribed 'Vlaminck La forêt' (lower left)oil on canvas81 x 100cm (31 7/8 x 39 3/8in).Painted circa 1907-1908Footnotes:This work is accompanied by an attestation from the Wildenstein Institute. This work will be included in the forthcoming Maurice de Vlaminck Digital Catalogue, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Please note that this work has been requested for the exhibition Maurice de Vlaminck: Modern Artist Rebel at the Museum Barberini, Potsdam, 14 September 2024 – 12 January 2025.ProvenanceDaniel-Henry Kahnweiler, Paris and Zurich, no. 68 (probably acquired directly from the artist); on consignment with Galerie Alfred Flechtheim, Dusseldorf, no. 616, subsequently with Galerie Paul Cassirer, Berlin, no. 17219, from 2 October 1919.Private collection, Berlin and London (acquired in the 1920s).Thence by descent to the present owner.ExhibitedDresden, Kunstsalon Emil Richter.(Possibly) Dusseldorf, Städtischer Kunstpalast, Ausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler, Düsseldorf 1910, 16 July - 9 October 1910, no. 182 (titled 'Der Wald').(Possibly) Dusseldorf, Galerie Alfred Flechtheim, Wilhelm Kreis, Max Hünten, Manolo, De Vlaminck, 17 August - 6 September 1919, no. 43 (titled 'Der Wald').'When painting I experienced a source of joy, a constantly renewed pleasure, an intense cerebral excitement... I was in communion with the sky, the trees, the clouds, with life... An unceasingly renewed but fleeting illusion... It was precisely that appearance, continually renewed, always ungraspable that I worked furiously at capturing, at fixing on the canvas in greens, yellows, blues and reds.' - M. de VlaminckUnseen in public for almost a century, La forêt is a luminescent example of Maurice de Vlaminck's liberal and emotional presentation of colour and the evolving modernisation of his style. At the same time the work has a history as rich as its palette, traversing the shifting tides of European art collecting and dealing in the 20th century. Passing through the hands of Daniel-Henry Kahnweiler, Alfred Flechtheim and Paul Cassirer, before being taken to London following the rise of Nazi Germany, the provenance trajectory of the present work encapsulates some of the most fundamental developments in the history of art and of the world.A chance meeting in July 1900, on the same suburban St Germain-en-Laye to Gare St Lazare rail line that had coincidentally brought together Paul Sérusier and Maurice Denis some ten years previously, gave birth to a blossoming friendship and to two of Fauvism's most ardent proponents: André Derain and Maurice de Vlaminck: 'It is certain that if it had not been for that meeting... the idea would never have entered my mind to make 'Painting' my livelihood!' (M. de Vlaminck, Portraits avant décès, Paris, 1943, p. 13).Together Derain and Vlaminck set up in Chatou, a quiet suburb of Paris, penniless, but nonetheless flush with a burning passion for their impending artistic endeavours. As Renoir and Monet had done in the summer of 1869, the pair worked on the banks of the Seine, inspiring one another in turn and ceaselessly conversing to generate a unique aesthetic. Over the 1900-1905 period, the 'School of Chatou' was born. When apart, the two artists would continue their discussion via letter and Vlaminck kept the entire body of letters written to him by Derain, eventually giving them to the Musée de Chartres. These invaluable notes offer an important insight into the aesthetic development of Derain and, in turn, Vlaminck, offering a gauge on the exchange of ideas, discussion of aesthetics, and questionings that nourished and stimulated the relationship between the young artists.Galerie Bernheim-Jeune's major exhibition of Vincent van Gogh in March 1901 was to have an unimaginably profound effect on Vlaminck, who was 'bowled over' by the Dutch artist's 'revolutionary direction, an almost religious feeling in his interpretation of nature' (M. de Vlaminck, op. cit., 1943, p. 31), an effect we see come to the fore through Vlaminck's later use of lengthened brushstrokes, to give form to his subjects. At this same exhibition, Derain introduced his friend and visionary accomplice to the third Fauve master of colour, Henri Matisse. Matisse later recalled to his son-in-law, Georges Duthuit, the exclamation of Vlaminck at this meeting: 'You see, you have to paint using pure cobalts, pure vermilions, pure Veronese greens!' (Matisse quoted in G. Duthuit, Les Fauves, Braque, Derain, Van Dongen, Dufy, Friesz, Manguin, Marquet, Matisse, Puy, Vlaminck, Geneva, 1949, p. 72).Vlaminck's artistic output in the following years was as monumental as it was influential, ultimately creating an oeuvre of some 6,000 works. He was, however, constantly financially challenged in these early years. Juggling a young family and a voracious appetite for painting, he supplemented his salary as an evening musician by giving violin lessons. As he recalled later, 'I quite often went without the necessaries in order to be able to cover my canvases with colours, which I later scraped off so I could use them again. My most recurrent problem was that I lacked the money to buy tubes and stretchers!' (M. de Vlaminck, Le Ventre ouvert, Paris, 1937, p. 50).This hardship prevented Vlaminck from travelling with Derain and Matisse to the South of France and discovering the light of the Midi. Instead, he remained in the regions along the Seine valley to the west of Paris, travelling by foot and by bicycle in search of the perfect place to paint en plein air. This did not matter for Vlaminck, for his relationship to the landscape, the motif, was instinctive and it was 'far from the intense southern light that Vlaminck's personal style rose to a level on which the colour exploded' (M. Vallès-Bled, Maurice de Vlaminck, La période fauve, 1900-1907, Paris, 2008, p. 37). His emotional and aesthetic attachment to the landscape drew comparisons to Cézanne, who was often drawn back to the views of Mont-Sainte Victoire and the gardens of Jas du Bouffan.Some financial respite was to come later however, from his first dealer Ambroise Vollard. After the preliminary exhibitions of his Fauvist works, Vollard bought up much of his stock and made monthly purchases that allowed Vlaminck to live as a painter. He also played a crucial role in disseminating Vlaminck's works through the frequency of his purchases, his national and international sales and his loans to a wide number of exhibitions. To find himself in such a position however, Vlaminck had to first run the gauntlet of the 1905 Salon d'Automne, a Salon that would secure itself in the annals of art history.'A tremendously bright room, of the most daring, the most extreme, of those whose intentions have to be decoded... At the centre of the room, the torso of a child and a small marble bust by Albert Marquet, whose modelling is a delicate science. The ingenuousness of these busts is striking, set amidst the orgy of pure colours: Donatello amongst the wild beasts' (L. Vauxcelles, 'Le Salon d'Automne', in Gil Blas, 17 October 1905).Thenceforth Matisse, Derain and Vlaminck became known as les Fauves (wild beasts), proudly and defiantly adopting the sobriquet given at the infamous Salon. Now the Fauvists would continue their vivid journey with a new title and exacerbated purpose. As Vlaminck recalls: 'Fauvism was no... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

MARCELA JARDÓN (Buenos Aires, 1964)."Mutating perception III".2017.Acrylic and oil on canvas.Size: 100 x 100 cm.Degree in Visual Arts. National Professor of Visual Arts. National School of Fine Arts Prilidiano Pueyrredón, Buenos Aires. Her works have been exhibited and published in America, Europe and Asia, in institutions such as the University of Valencia, Sociedad Argentina de Artistas Plásticos de Buenos Aires, the Opera House of Sydney, Australia, the Kanazawa Art Center Citizen, Japan, the Museo Universidad de Alicante, the Bangkok Regional Office of The Rockefeller Foundation, the Centro de Cultura Contemporánea de Barcelona, the Departamento de Expresiones Artísticas de la Universidad de Panamá, the Museo Social Argentino de Buenos Aires, Buenos Aires, the Centro de Cultura Contemporánea de Barcelona, the Museo Social Argentino de Buenos Aires, Buenos Aires, and the Museo Social Argentino de Buenos Aires, Buenos Aires, the Museo Social Argentino in Buenos Aires, the Museo Provincial de Quilmes in Argentina, the Museo de Arte Moderno in Buenos Aires, the Museo y Archivo Histórico Cabildo de Montevideo in Uruguay, the Museo de Aveiro in Portugal, the Museu de Reus, the Museo La Neomudéjar in Madrid, the Centro de Arte Santa Mónica in Barcelona, the Reial Cercle Artístic de Barcelona, at the Spectrum Fair Miami (2018), LA Art Show, Fair (2019) and in several galleries. Some of them already belong to private and public collections in Argentina, Spain, Canada, Panama, Australia, Italy, Germany, France, UK, Japan, Sweden, USA, Mexico, Netherlands, Belgium, among others.Work in public collections -Catalogue of the Department of Fine Arts and Cartography of the National Library of Spain, BNE. -Library Specialising in Contemporary Photography of the Forvm Foundation for Photography, in Tarragona -AICOA -Art Fund of the University of Valencia. -Pinacoteca Universitaria, University of Panama, Panama -Procreation-Postcreation. womanifesto2003. Bangkok Regional Office, The Rockefeller Foundation, Thailand. -The University of the West of England, Department of Creative Arts, Centre for Fine Print Research, Bristol. Awards and recognitions 2004 -First Prize, Azulazul Audiovisual Competition, Barcelona; -Finalist in Canariasmediafest04. 2002 -Finalist in Canariasmediafest 02. 2001 -Finalist for the Discoveries of Photoespaña 01;-Third Prize in the Photography Competition "mirar i veure" University of Valencia;2000 -Accessit Photography Competition "Festa Major de Gracia 2000" Barcelona. 1995 - Mention in the Small Format Exhibition at Neumann Gallery & Assoc,Bs As; 1993 - First Prize Salón Sociedad Argentina de Artistas Plasticos, Bs As.1992 -First Prize VII Salón la Actualidad en el Arte, Buenos Aires; -Second Prize IX Salón de Artistas Plásticos Municipalidad de San Isidro; -First Prize II Salón de Almagro, Buenos Aires; 1991 -Third Prize IV Salón Arte Joven, Municipalidad de San Isidro; -Second Prize VIII Salón Anual de Artistas Plásticos, Municipalidad de San Isidro; 1990 -First Prize III Salón de Arte Joven, Municipalidad de San Isidro. His artistic practice is at the intersection of drawing, photography, video, new media, installation, visual poetry, artist's books. He investigates the relationship between images and language as symbolic productions. The exploration of hybrid forms, vision and production process spans various disciplines and distances between the past and the present, the analogue and the digital. In his projects he incorporates texts as "graphic repentisms", fragments of texts, decontextualised quotations from different sources, as well as original photography, and the recreation of fragments of his own earlier works. He works using everyday images, rescuing previous images, simple objects, exploring the dark places of the unconscious, controversial concepts, and the hidden histories that often underlie what surrounds us.

A Pigment Of Your Imagination Artist:Ellie HignettEllie studied art and product design at school as well as AS-Level. She is mostly creative in her spare time by drawing, painting and primarily digital illustration Sponsor:ReachReach offers bespoke support for individuals or groups through its unique blend of counselling, coaching, supervision and training. reach will help you move forward in a way that's right for you.https://reachfortheway.com/ Measurements (approx.)Length 95cmHeight   45cmWidth    30cm

This Little Piggy Went To The Disco Artist:Cora StudiosRachael took the leap into self-employment founding Cora Studios in 2019 having worked in the education sector. She is now a full-time freelance illustrator and graphic artist and is terrified and elated in equal measure! Supporting clients with a wide range of disciplines, including graphic art, digital marketing and communication, illustration, and website design, she is never ever bored! Rachael is an East Anglian through and through; born in Cambridge, raised in Suffolk, and now living on the Norfolk Broads. Rachael feels privileged to have had the opportunity to design her own pig this, her second, year after designing the logo and marketing literature since the trail began. Sponsor:Minster Cleaning Services Norfolk & SuffolkMinster Cleaning has been providing office and commercial cleaning services since 1982 and now take great care of thousands of organisations, across many sectors, throughout the UK. To provide you with the very best service, reliability is just as important as high standards of cleaning. By delivering both, their value-for-money cleaning service will ensure your premises are consistently clean, welcoming and hygienic. Their regional office in Eye, Suffolk manages hundreds of cleaning contracts across Norfolk & Suffolk with a strong focus on medical centres, schools, offices and showrooms.https://www.minstercleaning.co.uk/ Measurements (approx.)Length 95cmHeight   45cmWidth    30cm

* EDWARD SUMMERTON RSA,ICE CREAM FOR CROWoil on canvas, signed, titled and dated 1986 versoimage size 153cm x 123cm, overall size 154cm x 124cm Framed.Note: The Royal Scottish Academy entry states: "Edward Summerton RSA is a critically-acclaimed artist whose work has expanded from the practice of painting into photography, sound works, prints, objects, collaborations and the organising of events and exhibitions. He has recently curated Blind Sight where 50 visual artists were invited to submit sound works to be exhibited as a jukebox installation; Doctor Skin, a unique public art event where artists designed temporary tattoos to be worn by the public; Bird of the Devil, a publication collaborating with 17 writers, and Digital VD, a one hour film work involving one minute films by 60 artists. Summerton is Senior Lecturer in Art and Media at Duncan of Jordanstone College of Art, Dundee. His work has been exhibited in solo and group exhibitions worldwide and is held within public collections including the BBC and the Museum of Modern Art, New York (MOMA)". Edward Summerton's paintings very rarely appear at auction.

* EDWARD SUMMERTON RSA,THE MARINERcharcoal on paper, signed, titled label versoimage size 46cm x 40cm, overall size 68cm x 59cm Mounted, framed and under glass.Label verso: Paisley Art Institute Exhibition.Note: The Royal Scottish Academy entry states: "Edward Summerton RSA is a critically-acclaimed artist whose work has expanded from the practice of painting into photography, sound works, prints, objects, collaborations and the organising of events and exhibitions. He has recently curated Blind Sight where 50 visual artists were invited to submit sound works to be exhibited as a jukebox installation; Doctor Skin, a unique public art event where artists designed temporary tattoos to be worn by the public; Bird of the Devil, a publication collaborating with 17 writers, and Digital VD, a one hour film work involving one minute films by 60 artists. Summerton is Senior Lecturer in Art and Media at Duncan of Jordanstone College of Art, Dundee. His work has been exhibited in solo and group exhibitions worldwide and is held within public collections including the BBC and the Museum of Modern Art, New York (MOMA)". Edward Summerton's paintings very rarely appear at auction.

* CRAIG MULHOLLAND (SCOTTISH b. 1969), TWO HEADS SELF PORTRAITcharcoal on paper, titled label versoimage size 77cm x 55cm, overall size 101cm x 79cm Mounted, frame and under glass.Note: Craig Mulholland was born in Glasgow and studied Drawing and Painting at Glasgow School of Art. He lives and works in Glasgow and is currently Course Leader and Lecturer in Fine Art at The Glasgow School of Art. Mulholland’s work is included in a variety of public and private collections including: Scottish National Gallery Of Modern Art, Glasgow; The Royal Bank of Scotland; the Rudin Dewoody Collection; the Gregory Papadimitriou Collection and The Fleming Collection, London. He has been the recipient of a number of visual arts awards from the Scottish Arts Council and Creative Scotland, and exhibits regularly. Artistically, Mulholland is preoccupied with dialogues between emerging digital technologies and the clearer limits of more traditional painting and sculpture.

Giovanni Boldini (Italian, 1842-1931)Al caffè signed and inscribed 'To Miss B. Pearce/with admiration/Boldini' (on the reverse)oil on card10.5 x 18.5cm (4 1/8 x 7 5/16in).Footnotes:ProvenancePrivate collection, Italy.Please note that this lot is accompanied by a digital certificate of authenticity issued by expert on the artist and author of his catalogue raisonné, Dr Francesca Dini.The son of an artist, Boldini undertook training in his hometown of Ferrara before moving to Florence where he lived for about a decade. Here, from 1864, he joined the Macchiaioli group of artists, now known as the greatest exponents of Realist art in Italy. The portraits painted by the young Boldini at this time - mainly of his artist friends and of some members of the Russian and English aristocracy residing in Tuscany - mark in Italy the renewal of this pictorial genre and they cemented the young Boldini's reputation. Subsequently, in 1871, he travelled to London where he sought patrons amongst English high society; however, in the same year, drawn by the light and glamour, he decided to settle in Paris. Here, he began producing small fanciful oils designed not only to capture the costumes and lifestyle found in the city's grand homes, but also to please the international clientele of the famous gallery, La Maison Goupil. During the 1880s, however, Boldini moved away from these somewhat staid subjects and instead devoted himself to the more faithful representation of his beloved Paris. Now, the French capital appears at its most vital with paintings depicting the squares and animated streets, the outdoor cafes, the transit of carriages and their horses' manes in the wind, the elegant bourgeoisie and street vendors, all characterised by a new freedom of brushstroke and modern spatiality. The present lot can be placed during this period of the artist's life.This work is an early example of his Parisian café sketches, a subject which he revisited several times. These studies seem to have been produced in preparation for one his masterworks, Scène de fête au Moulin Rouge, currently housed at the Musée d'Orsay in Paris. In the Musee d'Orsay painting, during one of the usual night sorties, Boldini stops in at the famous Parisian restaurant, made characteristic by the bright reds of the tapestries; he welcomes the clamour of the voices that mix with the sounds of music, of shimmering garlands of suspended lights that come down from the ceiling and make the glasses sparkle, illuminating the wonderful costumes; he has revelled in the attitudes of bystanders, with their desire to seduce and be seduced, as in the case of the seated gentleman to the right of the scene, who confidently perches in front of the cocotte that has approached his table, smiling at him, winking and amused. The atmosphere of this finished oil is captured in the present study, and this shows how the immediacy of these sketches could inform his more highly finished works. This painting can therefore be seen as an early idea on this theme, defined with quick brushstrokes with the characteristic Tiepolesque white lighting. The dedication placed on the back of the card brings us to the second half of the eighties, at which time Boldini - who was perfecting his new style of portraiture, highlighted by elegant figures painted on a large scale, with energetic and loose brushwork - befriended John Singer Sargent and the group of American painters active in Paris at the time, including Charles Sprague Pearce, a genre painter native to Boston who was distinguished by his gold medal at the Salon of 1883. Pearce married a French lady and remained in France for the rest of his life, so the Miss Pearce mentioned on the reverse of the card could be an American relative of the painter.We are grateful to Dr Francesca Dini for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sir Peter Blake R.A. (British, born 1932)Under Milk Wood The complete set of six digital prints in colours, 2013, on wove, each signed and numbered 'A/P 3/10' in pencil, one of ten artist's proofs aside from the numbered edition of 50, published by Enitharmon Editions, London, the full sheet, 390 x 297mm (15 3/8 x 11 5/8in)(SH)(6)Footnotes:Dylan Thomas's groundbreaking radio play Under Milk Wood (1954) has long echoed in the imagination of the founding father of British Pop Art, Sir Peter Blake. Blake's Under Milk Wood project comprises richly detailed sequences of 140 watercolours, pencil portraits and collages — one of his most significant bodies of work. These six signed original print editions were published on the occasion of its first public exhibition at the National Museum Wales in 2013.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A unique Lenticular image 'Avro Lancaster over Beachy Head' by Jim Dooley Living Pictures Limited,a Lenticular Animation picture, whereby the image of the Lancaster moves across the width of the picture together with the movement of the viewer, whilst the background stays static. This is the only image of a Lancaster aircraft in this format, common mounted with 8 signatures of members of 617 Squadron including Johnny Johnson and Leonard Cheshire. in Gilded frame, 116 x 150cm overall. The successful bidder will receive a letter from 617 Squadron Association confirming the picture's authenticity and with an endorsement by Guy Gibson VC., plus an invitation to the Dambusters 80th anniversary dinner. This exclusive work is donated by Jim Dooley Living Pictures Ltd., Jim was chairman of fundraising for the much acclaimed RAF Bomber Command Memorial in Piccadilly. Footnotes:This lot is offered for sale to raise funds for the 617 Squadron 80th Anniversary Appeal in aid of the Scampton Chapel Windows and Guy Gibson Flying Scholarships for the disabled.The Lenticular Process. The genesis of this unique piece of interactive wall art was first created by using an original sequence of images captured by an extremely high resolution digital camera. Each frame was then hand picked by Jim Dooley to maximise the drama of this Avro Lancaster flying over the iconic white cliffs of Beachy Head. The selected images were then converted into an HD GIF by computer modelling. Once the GIF was received by the printers, the lenticular conversion process could begin. Firstly, the correct lens pitch needed to be chosen (how many lenses to use per inch) in order to project the best and most realistic movement across the entire picture. This part of the manufacturing process was pivotal and needed to be accurate within 1/100mm tolerance. Weather and temperature changes can affect image quality, so this unique Living Picture was created within a controlled environment. Once the correct lens width had been selected, they were individually laid by hand across the entire length of the picture (this is always the most time consuming part of the manufacturing process). It was then ready to print using a UV flatbed printer. In order for the UV ink to bond with the individual lenses, they were secured by using a powerful vacuum. The inks were printed and cured to the back of the picture, the final colour finish for this unique Living Picture being white. The 3mm resin print then needed to harden for a further 24 hours before the picture was ready to be cut, sized and framed. This Living Picture doesn't require any power cell to project movement, this is achieved by using just optics and natural light.For further information on this lot please visit Bonhams.com

printed or framed 2012, a set of six colour photographs, Cibachrome prints, each from (1970s?) negatives of manipulated images using pre-digital technology, some or all these prints are from multiple superimposed negatives, five signed in ink on the image, four with photographer's hand written notes taped verso regarding the images and framing, images 31cm x 29.3cm, in identical glazed frames 51cm x 49cm Note 1: These six photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey Note 2: : Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”

PACO PEREGRÍN; (Almería, 1976)."Efimera,II".Caja de luz, 2018.Digital photography. Round LED light box 100 cm in diameter. Fine art print on Samba canvas with water-repellent and fireproof latex inks mounted with black phenolic wood profile Banova. Material and inks 100% ecological.Current edition of 10 copies plus an artist's proof. Copy 1/10.Enclosed certificate issued by the artist.Signed and numbered by the artist.Measurements: 100 cm (diameter).Exhibitions: Artificio position, retrospective of Paco Peregrín curated by Rafael Doctor Roncero at the Centro Andaluz de la Fotografía. Almería, 2018. Catalogue.Photo that belongs to a polyptych made up of 10 photographic works of different sizes, like a cosmology, where different periods and dimensions of the life cycle are symbolically captured. The series "Ephemeral" deals with the unknown and imperfect beauty. Focusing on the various interconnected artistic views of an androgynous female model, these images evoke the four ages of human beings (through aspects such as birth, breastfeeding, adolescent rebellion, maturity, ageing and death). Concepts such as existence, destruction, life and death are treated symbolically in this project, thus proposing a reflection on loneliness and the transience of life. This international and innovative project, which combines 3D computer graphics with digital photography, delves into the unknown origin and end of the human being and the fragile imperfect beauty as a metaphor for the ephemeral nature of beauty and life.The series focuses on a face that acts as a changing and versatile entity (plays of colour and light, marked features with unconventional make-up, movement and constant evolution). The face, the protagonist, stands out against a neutral background and alludes to a particular concept of beauty (sometimes unusual, alien and even monstrous), to its ephemeral nature and to the passage of time. Make-up, a symbol of consumerism, also functions as a mask, moving away from conventionalisms and the traditional representation of the portrait, reflecting on the idea of identity and constituting a proposal of make-up as a contemporary mask that camouflages and protects us and also helps us to construct a superego. With a dramatic and creative aesthetic, Efímera is a reflection on the passing of time, but also a powerful ode to diversity and freedom.Paco Peregrín is a visual artist and photographer from Andalusia, currently considered one of the world's leading talents in artistic, editorial and advertising photography, always highlighting his experimental side in all his work, characterised by its strength and forcefulness. He studied Fine Arts in Seville, adopting then a mystical sensibility of compositional schemes and chromatisms inspired by baroque art. He later trained at leading centres such as the International Center of Photography (New York) and the Central Saint Martins College of Art and Design (London). It is possible that it has been his theatrical experience that has allowed him the ability to direct the models in front of his camera, the development of his spatial perception and to show the body, presence and time in his work. He currently lives in Madrid, a detail that, together with his time in important cultural capitals, has added contemporaneity and freshness to his unique work. It is also important to highlight his wide experience in design, communication, theatre and painting. He alternates fashion photography for magazines such as Vogue, Harper's Bazaar or L'Officiel with commercial work for brands such as Dior, Chanel, Saint Laurent, L'Oréal Paris, Adidas, Nike, Gant, Toyota, Lancôme, Shiseido... with signature photography, having exhibited his work in galleries in New York, Paris, Barcelona, Beijing, Madrid, Berlin, Seville, San Sebastian, etc. and

Zeitgenössische Kunst - Street Art - - Banksy. (1974). The Walled Off Hotel Box Set. Digitaldruck auf Papier, Beton, Sprühfarbe, IKEA Rahmen. 25,5 x 25,5 x 4,5 cm. Verso nummeriert. - Guter Zustand. Beigegeben: Original nummerierte Rechnung. - Jedes Exponat durch die jeweils individuelle Verwendung der Sprühfarbe mit unikatärem Charakter. - Die Arbeit wurde ausschließlich im Walled Off Hotel in Palästina vertrieben und ist seit längerem ausverkauft. Digital print on paper, concrete, spray paint, IKEA frame. Numbered on verso. - Good condition. - Each exhibit with unique character thanks to the individual use of spray paint. The work was sold exclusively in the Walled Off Hotel in Palestine and has been sold out for a long time. - Added: original numbered invoice.

TWO BOXES OF CDS, TENNIS RACKETS, BINOCULARS AND MISCELLANEOUS ITEMS, three 'Grays' of Cambridge tilt head Real Tennis rackets, a Dunlop 'Tactical Rage' ShokBlok tennis racket, a Slazenger 'Princes' tennis racket, Sony ear phones, a hard cased Rank Aldis 1000 slide projector, a 100K digital camera, over seventy CDs mostly classical music, a 1950s black and white photo of Alec and Eric Bedser, known as the Bedser Twins (British cricket bowlers), six Celtic Art placemats, a Novelty Tennis 'Bryn Parry' clock, a Ted Baker men's 'Well Groomed' manicure set, four pairs of binoculars (Miranda, Zenith, Aquilus, Praktica), etc (s.d) (2 boxes + loose)

* CRAIG MULHOLLAND (SCOTTISH b. 1969), TWO HEADS SELF PORTRAITcharcoal on paper, titled label versoimage size 77cm x 55cm, overall size 101cm x 79cm Mounted, frame and under glass.Note: Craig Mulholland was born in Glasgow and studied Drawing and Painting at Glasgow School of Art. He lives and works in Glasgow and is currently Course Leader and Lecturer in Fine Art at The Glasgow School of Art. Mulholland’s work is included in a variety of public and private collections including: Scottish National Gallery Of Modern Art, Glasgow; The Royal Bank of Scotland; the Rudin Dewoody Collection; the Gregory Papadimitriou Collection and The Fleming Collection, London. He has been the recipient of a number of visual arts awards from the Scottish Arts Council and Creative Scotland, and exhibits regularly. Artistically, Mulholland is preoccupied with dialogues between emerging digital technologies and the clearer limits of more traditional painting and sculpture.

Signed LPs. Collection of 15 modern 21st century vinyl records, all signed and/or sealed as indicated, including Glass Animals "Dreamland" (2020, 180g LP, Wolf Tone 0883362, signed and sealed), Idles "Ultra Mono, Momentary Acceptance of the Self" (2020, Limited Edition Vortex Vinyl, Partisan Records, signed and sealed), Doves "The Universal Want" (2020, Heavenly VY 3248, signed and sealed), Celeste "Not Your Muse" (2021, Both Sides / Polydor 0881443, signed and sealed), The Streets "None of Us Are Getting Out of This Life Alive" (2020, Island 0889985, signed and sealed), Lyr "Call In The Crash Team" (2020, 180g LP, Mercury 0857439, signed and sealed), Longpigs "The Sun Is Often Out" (2020 re-issue, 180g blue vinyl, Demon DEMREC707, signed and sealed), Jack Garratt "Love, Death & Dancing" (2020, Island 0882868, signed and sealed), Phoebe Bridgers "Punisher" (2020, Dead Oceans DOC200, sealed, signed 12" x 12" art print included), Fontaines D.C. "A Hero's Death" (2020, Partisan PTKF 2182-1, Limited Edition Colour Vinyl, sealed, signed 12" x 12" art print included), The Divine Comedy "Office Politics" (DCRL 112LP, 180g gatefold Limited Edition coloured vinyl 2-LP, digital download included, sealed, signed A4 photo included), Laura Marling "Song For Our Daughter" (2020, Chrysalis / Partisan BRRVC002, Limited Edition Marble Vinyl, sealed, signed 12" x 12" art print included), Angel Olsen "Whole New Mess" (2020, JAGJAGUWAR JAG354, digital download included, sealed, signed 12" x 12" art print included), David Byrne & St. Vincent "Love This Giant" (2012, Todo Mundo / 4AD CAD 3231, sealed, signed 5" x 5" art print included) and Haim "Women in Music, Part III" (2020, Polydor 0813817, sealed, signed 12" x 12" art print included)QTY: (15)

Jenna Gribbon (American 1978-), 'Comment Section', 2021, digital print in colours on 305gr Hahnemuhle photo rag paper, signed, from an edition of 20 + 2 APs, published by Art for Black Lives; sheet: 29.7 x 21cm

After Ronnie Wood (b. 1947). Weaving; limited edition digital screen print 235/295, signed, printed by Pratt Studios and published by Scream Art 2007, 75cm x 50cm, with certificate of authenticity.

After Ronnie Wood (b. 1947). Play on Hands; limited edition digital screen print 235/295, signed, printed by Pratt Studios and published by Scream Art 2007, 75cm x 50cm, with certificate of authenticity.

After Ronnie Wood (b. 1947). Twang; limited edition digital screen print 235/295, signed, printed by Pratt Studios and published by Scream Art 2007, 75cm x 50cm, with certificate of authenticity.

Hondartza Fraga Turntable Drawings I, 2022 Inks on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Fraga's practice combines traditional forms of drawing with a wider range range of media. Her interests lie in the tensions between drawing and digital forms of image making. She is interested in our relationship to remote places, places like deep sea and deep space and the mediated images through which we might experience them. Her work often zooms in on the errors, noise and fragmentation of the imagery and how those idiosyncrasies shaped our understanding of the images and their objects.   Education   2017-present PhD Practice-led Candidate School of Design, University of Leeds, UK 2005-07 MA Fine Art at Sheffield Hallam University, UK 2000-05 BA Fine Art at University of the Basque Country, Spain   Select Exhibitions/Awards   Solo Shows 2021 Ghosts of Saturn, Espacio Alexandra, Santander, Spain 2021 Wonderful Order, new work commissioned by North Lincolnshire Museum 2020 Conjunctions and Oppositions, Beyond Scale (miniature gallery), Online 2018 Not for Navigation, (curated by Our Big Picture) Grimsby Minster, Grimsby, UK (solo exhibition) Group Shows 2022 Seeing Stars (also curated by Fraga), The Stanley and Audrey Burton Gallery, University of Leeds 2021 Definitions of Drawing, Sunny Bank Mills, Leeds 2021 Letting it Settle, Touchbase Gallery, Folskstone 2018 Cosmic Perspectives, curated by Lumen Studios, Ugly Duck, London 2018 Truth and Fantasy, Chrysalis Arts, touring exhibition, UK Awards 2017-present White Rose of the Arts and Humanities Full Scholarship Award (PhD Practice-Led) 2014 Arts Council GfA Award for the project Cuiroseaty, with Lorna Johnson 2013 The Leverhulme Trust: Artist in Residence, Maritime Historical Studies Centre, University of Hull   Gallery Representation   Espacio Alexandra, Santander, Spain   Statement about AOAP Submitted Artwork   Turntable Drawings' are abstract drawings produced with ink on wet paper using an adapted turntable. As the paper rotates at a speed of 33rpm (revolutions per minute) it spreads and distorts how the ink settles on it. The work is an exploration of tensions between control and letting go, chaos and order, gesture and trace, form and content, stillness and movement. Each little drawings is the trace of an encounter between materials and actions.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Hondartza Fraga Turntable Drawings II, 2022 Inks on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Fraga's practice combines traditional forms of drawing with a wider range range of media. Her interests lie in the tensions between drawing and digital forms of image making. She is interested in our relationship to remote places, places like deep sea and deep space and the mediated images through which we might experience them. Her work often zooms in on the errors, noise and fragmentation of the imagery and how those idiosyncrasies shaped our understanding of the images and their objects.   Education   2017-present PhD Practice-led Candidate School of Design, University of Leeds, UK 2005-07 MA Fine Art at Sheffield Hallam University, UK 2000-05 BA Fine Art at University of the Basque Country, Spain   Select Exhibitions/Awards   Solo Shows 2021 Ghosts of Saturn, Espacio Alexandra, Santander, Spain 2021 Wonderful Order, new work commissioned by North Lincolnshire Museum 2020 Conjunctions and Oppositions, Beyond Scale (miniature gallery), Online 2018 Not for Navigation, (curated by Our Big Picture) Grimsby Minster, Grimsby, UK (solo exhibition) Group Shows 2022 Seeing Stars (also curated by Fraga), The Stanley and Audrey Burton Gallery, University of Leeds 2021 Definitions of Drawing, Sunny Bank Mills, Leeds 2021 Letting it Settle, Touchbase Gallery, Folskstone 2018 Cosmic Perspectives, curated by Lumen Studios, Ugly Duck, London 2018 Truth and Fantasy, Chrysalis Arts, touring exhibition, UK Awards 2017-present White Rose of the Arts and Humanities Full Scholarship Award (PhD Practice-Led) 2014 Arts Council GfA Award for the project Cuiroseaty, with Lorna Johnson 2013 The Leverhulme Trust: Artist in Residence, Maritime Historical Studies Centre, University of Hull   Gallery Representation   Espacio Alexandra, Santander, Spain   Statement about AOAP Submitted Artwork   Turntable Drawings' are abstract drawings produced with ink on wet paper using an adapted turntable. As the paper rotates at a speed of 33rpm (revolutions per minute) it spreads and distorts how the ink settles on it. The work is an exploration of tensions between control and letting go, chaos and order, gesture and trace, form and content, stillness and movement. Each little drawings is the trace of an encounter between materials and actions.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Hondartza Fraga Turntable Drawings III, 2022 Inks on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Fraga's practice combines traditional forms of drawing with a wider range range of media. Her interests lie in the tensions between drawing and digital forms of image making. She is interested in our relationship to remote places, places like deep sea and deep space and the mediated images through which we might experience them. Her work often zooms in on the errors, noise and fragmentation of the imagery and how those idiosyncrasies shaped our understanding of the images and their objects.   Education   2017-present PhD Practice-led Candidate School of Design, University of Leeds, UK 2005-07 MA Fine Art at Sheffield Hallam University, UK 2000-05 BA Fine Art at University of the Basque Country, Spain   Select Exhibitions/Awards   Solo Shows 2021 Ghosts of Saturn, Espacio Alexandra, Santander, Spain 2021 Wonderful Order, new work commissioned by North Lincolnshire Museum 2020 Conjunctions and Oppositions, Beyond Scale (miniature gallery), Online 2018 Not for Navigation, (curated by Our Big Picture) Grimsby Minster, Grimsby, UK (solo exhibition) Group Shows 2022 Seeing Stars (also curated by Fraga), The Stanley and Audrey Burton Gallery, University of Leeds 2021 Definitions of Drawing, Sunny Bank Mills, Leeds 2021 Letting it Settle, Touchbase Gallery, Folskstone 2018 Cosmic Perspectives, curated by Lumen Studios, Ugly Duck, London 2018 Truth and Fantasy, Chrysalis Arts, touring exhibition, UK Awards 2017-present White Rose of the Arts and Humanities Full Scholarship Award (PhD Practice-Led) 2014 Arts Council GfA Award for the project Cuiroseaty, with Lorna Johnson 2013 The Leverhulme Trust: Artist in Residence, Maritime Historical Studies Centre, University of Hull   Gallery Representation   Espacio Alexandra, Santander, Spain   Statement about AOAP Submitted Artwork   Turntable Drawings' are abstract drawings produced with ink on wet paper using an adapted turntable. As the paper rotates at a speed of 33rpm (revolutions per minute) it spreads and distorts how the ink settles on it. The work is an exploration of tensions between control and letting go, chaos and order, gesture and trace, form and content, stillness and movement. Each little drawings is the trace of an encounter between materials and actions.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Bex Massey Hawez!, 2022 Acrylic and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Massey's practice incorporates figurative painting and installation. She uses collage and traditional making techniques to discuss ideas surrounding value. Reoccurring themes surrounding this 'value' are intersectional feminist issues, the post digital and British subcultures. Recent series have discussed the beginnings of misogyny with the Pandora myth ('We didn't start the fire' (solo) 2020); social media and the echo chambers created within ('Primaries', 2021) and current more autobiographical series ('The truth is out there' (solo) 2022) which discusses 'Section 28'and its impact on a generation of Queer teens.   Education   Chelsea College of Art   Select Exhibitions/Awards   Selected recent exhibitions: 2020 - We didn't start the fire, (SOLO) VOLT Eastbourne; Pop Now, Gallery 46, London; Body Politic, Susan Boutwell Gallery, Munich. 2021 - Play and the post peak, The Factory, London; The Big Show, Good Mother Gallery, San Francisco; Everywoman, Superchief Gallery, New York. 2022 - Hyper Contemporary, Hasbrook Galleries, Milwaukee; Instagram Live, 19 Karen, Queensland; Kunst the clown and friends, Lebenson Gallery, Paris and The truth is out there, (SOLO) Roman Road Gallery, London. Shortlisted awards: 'The Signature Art Prize' (2014), 'Young Masters Art Prize' (2014), 'The Taking Shape Prize (2016), 'Blooom Award' (2016) and received the 'Butterbiggens Prize in British Painting' in 2019 and 'Repaint History' in 2021. Statement about AOAP Submitted Artwork   'Hawez' and 'Nah Man' are largely based on the same titled 'Hawez, Nah Man!' diptych from 2020. I chose to refashion a study from this canvas for AOAP as when I think of post cards I think of travel and contacting loved ones. Both of these delights were curtailed in 2020 due to Covid 19. 'Hawez, Nah Man' was in my solo show 'We didn't start the fire' at VOLT, Eastbourne that year. The show was extended for two months but only physically open for a week due to two national lockdowns. Although a very limited number of people were able to see the work IRL prints of which sold quickly through the Artist Support Pledge and enabled me to connect with people again virtually and physically whilst queuing for/posting the items.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.          

Bex Massey Nah Man!, 2022 Acrylic and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Massey's practice incorporates figurative painting and installation. She uses collage and traditional making techniques to discuss ideas surrounding value. Reoccurring themes surrounding this 'value' are intersectional feminist issues, the post digital and British subcultures. Recent series have discussed the beginnings of misogyny with the Pandora myth ('We didn't start the fire' (solo) 2020); social media and the echo chambers created within ('Primaries', 2021) and current more autobiographical series ('The truth is out there' (solo) 2022) which discusses 'Section 28'and its impact on a generation of Queer teens.   Education   Chelsea College of Art   Select Exhibitions/Awards   Selected recent exhibitions: 2020 - We didn't start the fire, (SOLO) VOLT Eastbourne; Pop Now, Gallery 46, London; Body Politic, Susan Boutwell Gallery, Munich. 2021 - Play and the post peak, The Factory, London; The Big Show, Good Mother Gallery, San Francisco; Everywoman, Superchief Gallery, New York. 2022 - Hyper Contemporary, Hasbrook Galleries, Milwaukee; Instagram Live, 19 Karen, Queensland; Kunst the clown and friends, Lebenson Gallery, Paris and The truth is out there, (SOLO) Roman Road Gallery, London. Shortlisted awards: 'The Signature Art Prize' (2014), 'Young Masters Art Prize' (2014), 'The Taking Shape Prize (2016), 'Blooom Award' (2016) and received the 'Butterbiggens Prize in British Painting' in 2019 and 'Repaint History' in 2021. Statement about AOAP Submitted Artwork   'Hawez' and 'Nah Man' are largely based on the same titled 'Hawez, Nah Man!' diptych from 2020. I chose to refashion a study from this canvas for AOAP as when I think of post cards I think of travel and contacting loved ones. Both of these delights were curtailed in 2020 due to Covid 19. 'Hawez, Nah Man' was in my solo show 'We didn't start the fire' at VOLT, Eastbourne that year. The show was extended for two months but only physically open for a week due to two national lockdowns. Although a very limited number of people were able to see the work IRL prints of which sold quickly through the Artist Support Pledge and enabled me to connect with people again virtually and physically whilst queuing for/posting the items.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Adam Dix Untitled (1), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam Dix Untitled (2), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam Dix Untitled (3), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Rachel Isabel Mukendi Untitled Waves III, 2022 Mixed Media Collage Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Rachel is a multidisciplinary artist, born in Kinshasa, raised in London. Graduated from Chelsea College of Arts London in 2017, and is currently studying Contemporary Art History at Goldsmiths. Her work explores blackness, femininity and being soft using mediums such as digital collage, illustration, film and poetry to unpack these themes.   Education   Chelsea College of Arts 2017   Select Exhibitions/Awards   POW WOW Black History Month Group Show WAW Studios, London 2021   Statement about AOAP Submitted Artwork   I wanted to be play more with this work. I recycled pervious artwork to make these pieces. Water is a consistent feature in my work and I want to expand the flow with yarn. The process was an integral part of the work and required a delicate touch and care. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Chike Azuonye The Search for Answer, 2022 Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   My name is Chike Azuonye, a Nigeria-born British artist living and working in London, and have been active in the London art scene since the late 1980s. I am a graduate of Fine and Applied Arts from the University of Nigeria. I have a diploma in digital origination from the University of the Arts London. Also, I am a qualified artist working in schools. I have had several solo exhibitions and many group exhibitions both in London and abroad. My paintings are in public and private collections in Nigeria, UK, France, Finland and Italy. My paintings are remarkable for their depths of expression and thought. I believe that art is life, a celebration and made to be enjoyed and appreciated. My artworks go beyond the aesthetic and delve deep into the narrative of my African roots, as well as my philosophical leaning and pursuits. I am eclectic in my approach to painting, and challenge myself with the mastery of various artistic media, such as acrylic, oil, pastel, charcoal and watercolour, even though I paint mainly in oil and acrylic."   Education   University of Nigeria, Nsukka 1987 University of the Arts London 2005 University of London (Institute of Education) Artists in Schools Programme 1995   Select Exhibitions/Awards   2021/2022: Nigeria Art Society UK - "Legacies of Biafra" Touring Exhibition-Gallery Oldham, 2021: Combat Stress Secret Postcard Auction, Bohnams London 2018: Nigeria Art Society UK - "Legacies of Biafra" Art Exhibition, The Brunei Gallery SOAS 2017: Nigeria Art Society UK - "Ariya" Art Exhibition, WAC Gallery, London 2016: Nigeria Art Society UK - "Aurora" Art Exhibition, WAC Gallery, London   Statement about AOAP Submitted Artwork   It is said that "it takes two to tango." In every endeavour in life, two factors are at work to produce something further. This painting "The Search for Answers" looks at how to resolve a complex question and finding an answer. The problem posed by Hepatitis C today is very serious and poses a lot of questions about finding a lasting cure, but with our combined efforts, a solution will be found one day. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.      

Adam Bridgland You Are The One That Matters Most, 2022 Digital Print with Unique Hand Drawn and Painted Element Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Since graduating from the Royal College of Art in 2006, Bridgland has used a diverse range of materials and working methods to pursue an incisive and often witty exploration of distinctively British sentiments, externalising the underlying sense of loss and nostalgia that permeates our memories. Vignettes of British back-packer's holidays, old-fashioned bus-tours, and childhood seaside breaks that figure strongly in his visual repertoire are often tinged with this feeling of time having passed too quickly, our memories gradually fading. Twinned with this however, is an upbeat celebration of themes distilled from children's colouring books, paint-by-numbers kits, old public transport posters and kitsch postcards, which he imbues with the kaleidoscopic richness of carefully chosen and thickly applied primary colours. These everyday, almost mundane subjects are treated with the importance and status of emblems; centred in each work and often encapsulated within related text or target-like circular borders that focus our gaze.   Select Exhibitions/Awards   2021 Time Spent Together In Your Head, Jealous Gallery, London (solo). 2019 Royal Academy Summer Show. Contents of Your Excitement, Saffron Waldon (solo). 2017 Splice Artist Residency, Old Street, London (solo). We're Still Good Friends, Curwen Gallery, London (solo). We Came Here To Conquer, Norwich Castle, Norwich, Norfolk. Turf Projects and Fungus Press, Reeves Corner, Croydon - collaboration with Lee Johnson. 2016 Interesting Borings, CP+B London, York Way, London. (solo). Artist Language Location (ALL), Kettle's Yard, Cambridge (project with Lee Johnson).   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardises the charitable work we do. Anyone found doing will subject to legal action.    

Adam Bridgland Wake Up Next To People Who Make you Happy, 2022 Digital Print with Unique Hand Drawn and Painted Element Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Since graduating from the Royal College of Art in 2006, Bridgland has used a diverse range of materials and working methods to pursue an incisive and often witty exploration of distinctively British sentiments, externalising the underlying sense of loss and nostalgia that permeates our memories. Vignettes of British back-packer's holidays, old-fashioned bus-tours, and childhood seaside breaks that figure strongly in his visual repertoire are often tinged with this feeling of time having passed too quickly, our memories gradually fading. Twinned with this however, is an upbeat celebration of themes distilled from children's colouring books, paint-by-numbers kits, old public transport posters and kitsch postcards, which he imbues with the kaleidoscopic richness of carefully chosen and thickly applied primary colours. These everyday, almost mundane subjects are treated with the importance and status of emblems; centred in each work and often encapsulated within related text or target-like circular borders that focus our gaze.   Select Exhibitions/Awards   2021 Time Spent Together In Your Head, Jealous Gallery, London (solo). 2019 Royal Academy Summer Show. Contents of Your Excitement, Saffron Waldon (solo). 2017 Splice Artist Residency, Old Street, London (solo). We're Still Good Friends, Curwen Gallery, London (solo). We Came Here To Conquer, Norwich Castle, Norwich, Norfolk. Turf Projects and Fungus Press, Reeves Corner, Croydon - collaboration with Lee Johnson. 2016 Interesting Borings, CP+B London, York Way, London. (solo). Artist Language Location (ALL), Kettle's Yard, Cambridge (project with Lee Johnson).   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardises the charitable work we do. Anyone found doing will subject to legal action.    

Josh Rowell Gratitude on Pink, 2022 Acrylic Paint on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Josh Rowell generates his artistic vision by focusing on technological advances that shape our contemporary lives, communicating our increasingly mediated human interactions within the confines of visual art. The artist balances analogue techniques with the instantaneous nature of the digital age. This juxtaposition produces a language that explores and reshapes information, and celebrates the hand-made in a time that is increasingly being enveloped by the virtual. Since his emergence as an abstract painter, Rowell has expanded to sculpture, mixed media, and often times working with light, video, and sound installations. Despite these disparate media, everything is underpinned by a coding system, "everything can be reduced to a molecular binarism where all systems can be simplified to yes/no decisions," the artist explains.   Education   MFA Fine Art: Kingston University, 1st Class with Distinction Art Criticism: Central Saint Martins, Short Course Ba Hons Degree Fine Art: Kingston University, 1st Class with Distinction   Select Exhibitions/Awards   2022 Breaking Boundaries - (TWO PERSON), Firetti Contemporary, Dubai, UAE Arte Bergamo - Atipografia, Bergamo, Italy Volta New York - Blond Contemporary, New York City, USA (UPCOMING) London Art Fair - Blond Contemporary, London, UK (UPCOMING) Solo Exhibition - Tsivrikos Shake Gallery, London, UK (UPCOMING) Solo Exhibition - Atipografia, Arzignano, Italy (UPCOMING) 2021 Mythologies - Group Exhibition, Kopple Projects, Neon Gallery, London, UK NFT | IRL - Group Exhibition, Firetti Contemporary x Morrrow Collective, Dubai, UAE Metamorphosis - Group Exhibition, Neon Gallery, London, UK Volta Basel - Blond Contemporary, Basel, Switzerland Art Verona - Atipografia, Verona, Italy WOP Art - Atipografia, Lugano, Switzerland 2020 False Memory - Group Exhibition, Rugby Town Art Museum, Rugby, UK Salon Acme - (SOLO) Daniel Benjamin Gallery, Mexico City, Mexico Dentons Art Prize - (JOINT WINNER) Private Exhibition, London, UK The Freud/Jung Letters - (SOLO) Moyshen Gallery, San Miguel De Allende, Mexico Kinesis - Group Exhibition, Kopple Projects, Neon Gallery, London, UK Virtual Room II - (ONLINE SOLO) Daniel Benjamin Gallery, London, UK Reset, Tales From The Vanguard - (ONLINE) Group Exhibition, Programa Taide with Colección Aldebarán Arte Verona - (ONLINE) Atipografia, Verona, Italy WOP Art - (ONLINE) Atipografia, Lugano, Switzerland   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.

Josh Rowell Gratitude on Blue, 2022 Acrylic Paint on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Josh Rowell generates his artistic vision by focusing on technological advances that shape our contemporary lives, communicating our increasingly mediated human interactions within the confines of visual art. The artist balances analogue techniques with the instantaneous nature of the digital age. This juxtaposition produces a language that explores and reshapes information, and celebrates the hand-made in a time that is increasingly being enveloped by the virtual. Since his emergence as an abstract painter, Rowell has expanded to sculpture, mixed media, and often times working with light, video, and sound installations. Despite these disparate media, everything is underpinned by a coding system, "everything can be reduced to a molecular binarism where all systems can be simplified to yes/no decisions," the artist explains.   Education   MFA Fine Art: Kingston University, 1st Class with Distinction Art Criticism: Central Saint Martins, Short Course Ba Hons Degree Fine Art: Kingston University, 1st Class with Distinction   Select Exhibitions/Awards   2022 Breaking Boundaries - (TWO PERSON), Firetti Contemporary, Dubai, UAE Arte Bergamo - Atipografia, Bergamo, Italy Volta New York - Blond Contemporary, New York City, USA (UPCOMING) London Art Fair - Blond Contemporary, London, UK (UPCOMING) Solo Exhibition - Tsivrikos Shake Gallery, London, UK (UPCOMING) Solo Exhibition - Atipografia, Arzignano, Italy (UPCOMING) 2021 Mythologies - Group Exhibition, Kopple Projects, Neon Gallery, London, UK NFT | IRL - Group Exhibition, Firetti Contemporary x Morrrow Collective, Dubai, UAE Metamorphosis - Group Exhibition, Neon Gallery, London, UK Volta Basel - Blond Contemporary, Basel, Switzerland Art Verona - Atipografia, Verona, Italy WOP Art - Atipografia, Lugano, Switzerland 2020 False Memory - Group Exhibition, Rugby Town Art Museum, Rugby, UK Salon Acme - (SOLO) Daniel Benjamin Gallery, Mexico City, Mexico Dentons Art Prize - (JOINT WINNER) Private Exhibition, London, UK The Freud/Jung Letters - (SOLO) Moyshen Gallery, San Miguel De Allende, Mexico Kinesis - Group Exhibition, Kopple Projects, Neon Gallery, London, UK Virtual Room II - (ONLINE SOLO) Daniel Benjamin Gallery, London, UK Reset, Tales From The Vanguard - (ONLINE) Group Exhibition, Programa Taide with Colección Aldebarán Arte Verona - (ONLINE) Atipografia, Verona, Italy WOP Art - (ONLINE) Atipografia, Lugano, Switzerland   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Mel Reese Tiny Bay Sunset, 2022 Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Mel Reese is a Brooklyn-based abstract painter. She is an observational artist inspired by formalism. Lines, shapes, colors, and textures are as central to her work as is the process of creating them. A complex layering of these abstract elements allows her work to echo the representational through symbolic formalism.   Education   2017 MFA Fine Arts, School of Visual Arts, New York City, NY 2014 Post-Baccalaureate Certificate, San Francisco Art Institute, San Francisco, CA 2013 B.S. Studio Art, Skidmore College, Saratoga Springs, NY Select Exhibitions/Awards   Solo Exhibitions 2021 Echo, MILCON Gallery, Digital Exhibition 2019 Color & Light, 173 Green Street Gallery, Greenpoint, Brooklyn, NY 2018 Alaska Landscapes, Suzette LaValle, Brooklyn, NY 2018 SSS #26, R&D Studios Ridgewood, NY 2018 BLUEPRINT Piano Series: 1913, Greenwich Music House, New York, NY 2018 New Year, New Nature, R&D Studios Ridgewood, NY 2017 4 Trumps, Suzette LaValle, Brooklyn, NY Group Exhibitions 2022 TRUE STORIES, Untitled Space, New York, NY 2022 Les Étrangers, Maison 10, New York, NY 2022 EMBRACING 2022, THE GALLERY by Odo, New York, NY 2022 Depth Perception, The Yard - City Hall Park, New York, NY 2021 Leaving the Body, The Yard - City Hall Park, New York, NY Other Professional Activities & Awards 2022 Artist Talk - THE GALLERY by Odo 2021 IG Live Interview - A Women's Thing 2017 Residency - Vermont Studio Center, VT [November] 2017 Award of Excellence - 58th Long Island Artist Exhibition, Art League of Long Island 2013 Residency - Elsewhere Studios, CO [October]   Gallery Representation   Counterpoint Gallery   Statement about AOAP Submitted Artwork   Reese's most recent series of paintings is inspired by nature. Observations are distilled down, removing the extraneous, to capture the essence of human interaction with natural forms. Each layer considers the negative space, which she paints with liquid tape. Once sealed, a shape is revealed in the positive space of the canvas, into which she pours acrylic paint and drag across the canvas with a squeegee. Every gesture creates new lines and textures. The liquid tape removed, a monochromatic shape with a precise edge is revealed. Repeating this process, Reese methodically builds up sheer layers of monochromatic forms. Each new layer is informed by all previous layers.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Mel Reese Tiny Salt Marsh, 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Mel Reese is a Brooklyn-based abstract painter. She is an observational artist inspired by formalism. Lines, shapes, colors, and textures are as central to her work as is the process of creating them. A complex layering of these abstract elements allows her work to echo the representational through symbolic formalism.   Education   2017 MFA Fine Arts, School of Visual Arts, New York City, NY 2014 Post-Baccalaureate Certificate, San Francisco Art Institute, San Francisco, CA 2013 B.S. Studio Art, Skidmore College, Saratoga Springs, NY Select Exhibitions/Awards   Solo Exhibitions 2021 Echo, MILCON Gallery, Digital Exhibition 2019 Color & Light, 173 Green Street Gallery, Greenpoint, Brooklyn, NY 2018 Alaska Landscapes, Suzette LaValle, Brooklyn, NY 2018 SSS #26, R&D Studios Ridgewood, NY 2018 BLUEPRINT Piano Series: 1913, Greenwich Music House, New York, NY 2018 New Year, New Nature, R&D Studios Ridgewood, NY 2017 4 Trumps, Suzette LaValle, Brooklyn, NY Group Exhibitions 2022 TRUE STORIES, Untitled Space, New York, NY 2022 Les Étrangers, Maison 10, New York, NY 2022 EMBRACING 2022, THE GALLERY by Odo, New York, NY 2022 Depth Perception, The Yard - City Hall Park, New York, NY 2021 Leaving the Body, The Yard - City Hall Park, New York, NY Other Professional Activities & Awards 2022 Artist Talk - THE GALLERY by Odo 2021 IG Live Interview - A Women's Thing 2017 Residency - Vermont Studio Center, VT [November] 2017 Award of Excellence - 58th Long Island Artist Exhibition, Art League of Long Island 2013 Residency - Elsewhere Studios, CO [October]   Gallery Representation   Counterpoint Gallery   Statement about AOAP Submitted Artwork   Reese's most recent series of paintings is inspired by nature. Observations are distilled down, removing the extraneous, to capture the essence of human interaction with natural forms. Each layer considers the negative space, which she paints with liquid tape. Once sealed, a shape is revealed in the positive space of the canvas, into which she pours acrylic paint and drag across the canvas with a squeegee. Every gesture creates new lines and textures. The liquid tape removed, a monochromatic shape with a precise edge is revealed. Repeating this process, Reese methodically builds up sheer layers of monochromatic forms. Each new layer is informed by all previous layers.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Mel Reese Tiny Winter Wind, 2022 Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Mel Reese is a Brooklyn-based abstract painter. She is an observational artist inspired by formalism. Lines, shapes, colors, and textures are as central to her work as is the process of creating them. A complex layering of these abstract elements allows her work to echo the representational through symbolic formalism.   Education   2017 MFA Fine Arts, School of Visual Arts, New York City, NY 2014 Post-Baccalaureate Certificate, San Francisco Art Institute, San Francisco, CA 2013 B.S. Studio Art, Skidmore College, Saratoga Springs, NY Select Exhibitions/Awards   Solo Exhibitions 2021 Echo, MILCON Gallery, Digital Exhibition 2019 Color & Light, 173 Green Street Gallery, Greenpoint, Brooklyn, NY 2018 Alaska Landscapes, Suzette LaValle, Brooklyn, NY 2018 SSS #26, R&D Studios Ridgewood, NY 2018 BLUEPRINT Piano Series: 1913, Greenwich Music House, New York, NY 2018 New Year, New Nature, R&D Studios Ridgewood, NY 2017 4 Trumps, Suzette LaValle, Brooklyn, NY Group Exhibitions 2022 TRUE STORIES, Untitled Space, New York, NY 2022 Les Étrangers, Maison 10, New York, NY 2022 EMBRACING 2022, THE GALLERY by Odo, New York, NY 2022 Depth Perception, The Yard - City Hall Park, New York, NY 2021 Leaving the Body, The Yard - City Hall Park, New York, NY Other Professional Activities & Awards 2022 Artist Talk - THE GALLERY by Odo 2021 IG Live Interview - A Women's Thing 2017 Residency - Vermont Studio Center, VT [November] 2017 Award of Excellence - 58th Long Island Artist Exhibition, Art League of Long Island 2013 Residency - Elsewhere Studios, CO [October]   Gallery Representation   Counterpoint Gallery   Statement about AOAP Submitted Artwork   Reese's most recent series of paintings is inspired by nature. Observations are distilled down, removing the extraneous, to capture the essence of human interaction with natural forms. Each layer considers the negative space, which she paints with liquid tape. Once sealed, a shape is revealed in the positive space of the canvas, into which she pours acrylic paint and drag across the canvas with a squeegee. Every gesture creates new lines and textures. The liquid tape removed, a monochromatic shape with a precise edge is revealed. Repeating this process, Reese methodically builds up sheer layers of monochromatic forms. Each new layer is informed by all previous layers.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Mel Reese Tiny Night Walk, 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Mel Reese is a Brooklyn-based abstract painter. She is an observational artist inspired by formalism. Lines, shapes, colors, and textures are as central to her work as is the process of creating them. A complex layering of these abstract elements allows her work to echo the representational through symbolic formalism.   Education   2017 MFA Fine Arts, School of Visual Arts, New York City, NY 2014 Post-Baccalaureate Certificate, San Francisco Art Institute, San Francisco, CA 2013 B.S. Studio Art, Skidmore College, Saratoga Springs, NY Select Exhibitions/Awards   Solo Exhibitions 2021 Echo, MILCON Gallery, Digital Exhibition 2019 Color & Light, 173 Green Street Gallery, Greenpoint, Brooklyn, NY 2018 Alaska Landscapes, Suzette LaValle, Brooklyn, NY 2018 SSS #26, R&D Studios Ridgewood, NY 2018 BLUEPRINT Piano Series: 1913, Greenwich Music House, New York, NY 2018 New Year, New Nature, R&D Studios Ridgewood, NY 2017 4 Trumps, Suzette LaValle, Brooklyn, NY Group Exhibitions 2022 TRUE STORIES, Untitled Space, New York, NY 2022 Les Étrangers, Maison 10, New York, NY 2022 EMBRACING 2022, THE GALLERY by Odo, New York, NY 2022 Depth Perception, The Yard - City Hall Park, New York, NY 2021 Leaving the Body, The Yard - City Hall Park, New York, NY Other Professional Activities & Awards 2022 Artist Talk - THE GALLERY by Odo 2021 IG Live Interview - A Women's Thing 2017 Residency - Vermont Studio Center, VT [November] 2017 Award of Excellence - 58th Long Island Artist Exhibition, Art League of Long Island 2013 Residency - Elsewhere Studios, CO [October]   Gallery Representation   Counterpoint Gallery   Statement about AOAP Submitted Artwork   Reese's most recent series of paintings is inspired by nature. Observations are distilled down, removing the extraneous, to capture the essence of human interaction with natural forms. Each layer considers the negative space, which she paints with liquid tape. Once sealed, a shape is revealed in the positive space of the canvas, into which she pours acrylic paint and drag across the canvas with a squeegee. Every gesture creates new lines and textures. The liquid tape removed, a monochromatic shape with a precise edge is revealed. Repeating this process, Reese methodically builds up sheer layers of monochromatic forms. Each new layer is informed by all previous layers.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

THANKYOUXStarting Somewhere 2022 signed; signed, titled and dated '22 on the reverseacrylic, oil, enamel, gold foil on panel with digital screen152.4 by 122.3 cm. 60 by 48 1/8 in.This work was executed in 2022 and is accompanied by an NFT. NON-FUNGIBLE TOKENStarting SomewhereToken minted on OpenSea, 15 June 2022Smart Contract Address: 0xD8Ff23D27Fe7b4382Dc8953D7F685E269Ea22687Token ID: 9Token Standard: ERC-721Metadata: MP4View on OpenSea (for viewing purposes only, bidding on this item can only be done through the Bonhams website): https://opensea.io/assets/ethereum/0xd8ff23d27fe7b4382dc8953d7f685e269ea22687/9Footnotes:ProvenanceCollection of the artist, LAThroughout ThankYouX's distinguished career, the artist has paid homage to his inspirators, the Los Angeles native spending his formative years surrounded by the street art of Invader and Shepard Fairey. Before his international recognition as a pioneering NFT visual artist, ThankYouX's stencilled public pieces from the late 2000s drew inspiration from the works of Andy Warhol, nodding to the Pop Art luminary's technique of photographic silkscreen printing. Themes of Americana and pop culture permeate the present two works, Starting Somewhere and Purpose. Like Warhol, himself a champion of integrating new technologies including computers into his art, ThankYouX's artworks challenge the binary nature of the traditional art versus digital art debate. The present works attest to ThankYouX's dexterity as an artist; they embrace materiality, the theme of constant change, and technological innovation. Amongst the artist's studio works, his canvases with an embedded digital screen have elicited excitement both with online crypto art communities and the wider contemporary art audience. ThankYouX has honed this technique in recent years to express multiple layers of a story, and to allow the audience to switch between a microcosmic and macrocosmic perspective. Whilst the canvas provides a commentary on how an individual's choices can lead to new frontiers in life, the NFT display extrapolates this idea further by inviting the viewer into a new visual plane and, metaphorically, a new dimension. In the artist's words, 'Starting Somewhere expresses being unafraid to venture into new unknowns. Not letting obstacles hold you back from new ideas. To get to where you want to be, you must start somewhere.' This committed and passionate attitude reverberates throughout ThankYouX's technical approach in the present work. The atmospheric swathes of white, grey and black are disrupted by thick flashes of energetic cerulean and crimson. The dramatic impasto imbues the canvas with an instinctive character, and the cube motifs allude to the artist's digital NFT artworks as well as his larger murals painted on the streets of Los Angeles. True to his curiosity and innovative nature, ThankYouX includes unconventional materials in his works – a practice which echoes the masters of Neo-Dadaism such as John Chamberlain, César, and Christo and Jeanne-Claude. In Starting Somewhere, ThankYouX uses a unique, gold-coloured material called aluminised polyimide which was gifted to him by NASA. This material is typically used to protect satellites from the Sun as they orbit the Earth. In combining the realms of technology and painting, ThankYouX's works amplify the interdependency of mankind. Pioneering a hybrid of physical art and digital art, he juxtaposes blockchain based technology and digital displays with canvases and paint. The two works on offer effectively convey the tension and liminal feelings one encounters when pursuing a life-changing objective.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A high-quality photo print depicting George Michael, taken by photographer Martyn Goddard in 1987. The photo depicts George Michael during the video shoot for 'I Want Your Sex'. Measures 20 x 16". Signed by the photographer. Numbered 18/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting Pete Townshend, taken by photographer Martyn Goddard in 1980. The photo depicts Pete Townshend at Soho Studio. Measures 20 x 16". Signed by the photographer. Numbered 13/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

Zeitgenössische Kunst - Street Art - - Banksy. (1974). The Walled Off Hotel Box Set. Digitaldruck auf Papier, Beton, Sprühfarbe, IKEA Rahmen. 25,5 x 25,5 x 4,5 cm. Verso nummeriert. - Guter Zustand. Beigegeben: Original nummerierte Rechnung. - Jedes Exponat durch die jeweils individuelle Verwendung der Sprühfarbe mit unikatärem Charakter. - Die Arbeit wurde ausschließlich im Walled Off Hotel in Palästina vertrieben und ist seit längerem ausverkauft. Digital print on paper, concrete, spray paint, IKEA frame. Numbered on verso. - Good condition. - Each exhibit with unique character thanks to the individual use of spray paint. The work was sold exclusively in the Walled Off Hotel in Palestine and has been sold out for a long time. - Added: original numbered invoice.

SLASKY (Artena, Rome, 1972)."San Michele", 2020.Digital art on canvas.Signed.Limited edition 1/1.Unframed.Certificate of authenticity enclosed.The artwork will be sent in a tube.This work will be available approximately 15 days after the payment has been made.Measurements: 150 x 100 cm.Fascinated by the baroque painting of Caravaggio, the digital artist Slasky creates classic works of art using digital art techniques. With his classic neo-urban style, he unites tradition and modernism, bringing the protagonists of the original artworks into modern-day social and artistic environments. By inserting the characters from the original works into contemporary spaces, he has created new images that send completely different messages to the original concept and idea with which they were created by their authentic creators, strikingly capturing the viewer's attention and, at the same time, requiring a level of collaboration from the viewer in order to be understood.The works have an immediate sense of familiarity, but presented with an injection, sometimes explosion, of colour and life that absorbs them with richness and modernity. Details take centre stage in his works, using contrasting colour techniques, textured backgrounds and screen printing to create the same subject matter in a variety of ways, separating it from its traditional backgrounds.

SLASKY (Artena, Rome, 1972)."Lady and Gentleman".Digital art on canvas. Pair. Unframed.Limited edition 1/8.Signed.Certificate of authenticity enclosed.The artwork will be sent in a tube.This work will be available approximately 15 days after the payment has been made.Sizes: 40 x 30 cm and 40 x 30 cm.Fascinated by the baroque paintings of Caravaggio, the digital artist Slasky creates classical works of art using digital art techniques. With his classical neo-urban style, he unites tradition and modernism, bringing the protagonists of the original artworks into modern-day social and artistic environments. By inserting the characters from the original works into contemporary spaces, he has created new images that send completely different messages to the original concept and idea with which they were created by their authentic creators, shockingly capturing the viewer's attention and, at the same time, requiring a level of collaboration from the viewer in order to be understood.The works have an immediate sense of familiarity, but presented with an injection, sometimes explosion, of colour and life that absorbs them with richness and modernity. Details take centre stage in his works, using contrasting colour techniques, textured backgrounds and screen printing to create the same subject matter in a variety of ways, separating it from its traditional backgrounds.

Louis Erard x Alain Silberstein. A set of 3 Limited Edition titanium automatic wristwatchesModel: Le Triptyque: La Semaine, Le Chrono Monopoussoir, Le Régulateur IIReference: 75357TT02, 85358TT02, 74359TT02Date: Purchased June 2021Movement: All jewelled automaticDial: La Semaine: Black, applied yellow baton hour markers with red at 12, white outer minute divisions, apertures above 6 for day and date, red and blue arrow and red circle pinned with a triangle hand, yellow serpentine centre secondsLe Chrono Monopoussoir: Black, applied yellow baton hour markers with red at 12, white outer minute divisions, subsidiary dial at 12 for 30 minute recording, red and blue arrow and red circle pinned with a triangle hand, yellow serpentine centre chronograph handLe Régulateur II: Black, applied yellow baton hour markers with red at 12, white outer minute divisions, subsidiary dials at 12 and 6 for hours and seconds, blue arrow tipped central hand for minutes Case: All brushed and polished tonneau form, exhibition backs each secured by 8 screws, single chronograph button via crown of Le Chrono Monopoussoir Strap/Bracelet: All black fabricBuckle/Clasp: All velcroSigned: All cases, dials & movementsSize: All 40mm Accompaniments: Louis Erard x Alain Silberstein box, International Warranty cards, Certificate of Authenticity cards, USB with NFT guarantees and digital artworkFootnotes:A native of Paris, Alain Silberstein created his own watchmaking firm at the end of the 1980s in Besançon, France. Trained as an architect and designer, he and a group of Swiss makers worked to revive the mechanical watch. These watches demonstrate extraordinary timekeeping and are also viewed as contemporary works of art. Silberstein designs are famous for their Calder inspiration and use of colours.In 2021 Louis Erard collaborated with Alain Silberstein for the second time to create 'Le Triptyque'. Consisting of 178 examples for each model, La Semaine, Le Régulateur II and the Le Chrono Monopoussoir.For further information on this lot please visit Bonhams.com

NINE BOXES AND LOOSE OFFICE ITEMS, STATIONERY AND CRAFT MATERIALS, to include a boxed HP Photosmart A516 compact photo printer, a boxed Sony digital photo frame, sealed packs of printer paper, including photographic, plain and coloured, packs of envelopes, art materials including Daler Rowney watercolours (used) and artist's colouring pencils, folders, files and notebooks, Create-a-Bear kit, craft foam sheets, holographic card, poster and watercolour paint, stencils and other children's art materials, etc (sd) (7 BOXES + LOOSE)

Buetti, Daniele -- "Bulgari". 1996. Chromogenic digital print on Kodak Professional Digital paper. 36,5 x 25,5 cm (40,5 x 31,4 cm). Signed, titled and editioned 7/15 by the photographer in ink on the verso. From a limited edition by Artinvestor, Munich.What appears to be a disturbing scar on the face of the model Christy Turlington is actually created by the artist. Buetti writes on the back of the photo with a ball-point pen, then re-photographs the image so it appears as scarification. From Buetti's series "Looking for Love". – A few minimal handling marks, otherwise in very good condition.Lit.: Ute Grosenick. Art Now. 137 Artists at the Rise of the New Millennium. Cologne 2002, ill. p. 73.

An Art Glass bowl; two picture frames and a digital camera

James Cauty (British, b. 1956) Reface Digital print on paper with gold pen (Hirst + Face)   Signed to the verso and numbered 6/13 to the front 70 x 61 cm (27 x 24 in) each one Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recorded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions. 

Mark Lyken (Scottish, b. 1973) Let Me Taste Your Smoke KissSpray paint and acrylic on canvas Signed titled and dated by the artist in black pen verso50 x 50 cm (19 x 19 in)Mark Lyken is a multitalented visual and acoustic artist dividing his time between painting, composing electronic sound works and film making. His paintings and visual art are heavily influenced by digital transformation, technological meditation and the idea of computers as prosthesis of human personality as well as scale and time of a living cosmos. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Shikha Kuen & Sarah Jeffs Symmetry Double exposure, printed on fine art paper 300gsm Signed to the front in pencil 29 x 29 cm (11 x 11 in) Kuen's work entertains the cosmic and mythical, creating spaces where crystals become entire galaxies and birds are re-imagined as glorious versions of their former selves. Carefully planned photographic images using long exposure and time-lapse techniques in controlled studio conditions formulate new meaning from the original artefacts. I exhibit and sell my work all over the world. Kuen is a photographer and digital artist working in Bristol and also co-founded the not-for-profit POSITIVE IMAGE ART. BA Hons Fine Art, Bretton Hall, Yorkshire Sculpture Park, University of Leeds.  This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Simon Lovelace (British b. 1967) Hands Across Infinity Digital art print on foam lambdaboardSigned, dated 2006 and titled in black marker to the verso35 x 60 cm (11 x 23 in)Simon Lovelace was born in England in 1967 and emigrated to Australia in 1991.  He studied graphic design at Plymouth College of art, specialising in advertising and received The Proctor & Mather Award for typographical excellence in 1990. Lovelace has been painting professionally for 5 years and paints in a neo-pop art style. He embraces technique with style and his portraits command a beauty and personality born from his intimate photographic rendering of image. His paintings are in private collections internationally and he has exhibited in Sydney & Melbourne.  Simon Lovelace now runs Blank_Space gallery in Sydney's Surry Hills district.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Simon Lovelace (British b. 1967) Mech-Anix  Digital art print on foam lambdaboardSigned, dated 2006 and titled in black marker to the verso35 x 60 cm (13 x 23 in)Simon Lovelace was born in England in 1967 and emigrated to Australia in 1991.  He studied graphic design at Plymouth College of art, specialising in advertising and received The Proctor & Mather Award for typographical excellence in 1990. Lovelace has been painting professionally for 5 years and paints in a neo-pop art style. He embraces technique with style and his portraits command a beauty and personality born from his intimate photographic rendering of image. His paintings are in private collections internationally and he has exhibited in Sydney & Melbourne.  Simon Lovelace now runs Blank_Space gallery in Sydney's Surry Hills district.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Simon Lovelace (British b. 1967) Sezme Street Digital art print on foam lambdaboardSigned, dated 2006 and titled in black marker to the verso35 x 60 cm (13 x 23 in)Simon Lovelace was born in England in 1967 and emigrated to Australia in 1991. He studied graphic design at Plymouth College of art, specialising in advertising and received The Proctor & Mather Award for typographical excellence in 1990. Lovelace has been painting professionally for 5 years and paints in a neo-pop art style. He embraces technique with style and his portraits command a beauty and personality born from his intimate photographic rendering of image. His paintings are in private collections internationally and he has exhibited in Sydney & Melbourne.  Simon Lovelace now runs Blank_Space gallery in Sydney's Surry Hills district.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Zdzislaw Beksinski (1929 Sanok, Polen - 2005 Warschau)Turmbau zu Babel, Öl auf Hartfaserplatte, 92,5 cm x 74 cm, verso signiert, 74 datiert, 11 nummeriert, leicht craqueliert, partiell kleine weiße Farbspritzer, partiell leichte oberflächliche Kratzer.Erschreckend, beängstigend und geradezu albtraumhaft sind die Werke des polnischen Künstlers Zdzislaw Beksinski. In seiner düsteren Formensprache bezieht er die Schattenseiten des Lebens nicht nur ein, sondern setzt sie ganz deutlich in den Fokus. Der gelernte Architekt begann sein Schaffen als junger Künstler mit Schwarz-Weiß-Fotografien, wodurch er rasch Bekanntheit erlangte und Preise in internationalen Wettbewerben gewann. Schon diese frühen Arbeiten waren auf seine werktypische Atmosphäre getrieben. Eigens erlebte Schicksalsschläge in der Kunst zu verarbeiten ist eine Methode, die sich einige Künstler angeeignet haben, so auch Beksinski. Morbide und visionär zugleich zeigt der Künstler offen seine Wunden und die der gesamten Menschheit. Als er sich in den 1970er Jahren der Malerei zuwendet, widmet er sich ausschließlich der figurativen Malerei, darunter fällt auch das Gemälde des roten Turms. Es zeigt wohl den "Turmbau zu Babel" - jene biblische Geschichte, in der Menschen einen Turm hoch zu Gott bauen wollten. Doch ließ Gott eben diesen einstürzen und gab ihnen verschiedene Sprachen, sodass sie nicht mehr miteinander kommunizieren konnten und sprachlich voneinander getrennt wurden. Der Buchstabe "Ain", der weit oben am Turm gesetzt wurde und im hebräischen ähnlich ausgesprochen wird wie das englische "Eye", könnte auf das Auge Gottes anspielen. Zudem symbolisiert dieser Buchstabe oft auch die Bibel selbst. Dieses Werk zeigt die Richtung seiner tiefgründigen Odyssee durch die Unterwelt der Traum- und Gedankenwelt. Wahre Gefühle, Angst und Verzweiflung können genauso wie die Suche nach einem Sinn des Lebens meist in Träumen tatsächlich bildhaft stattfinden und oft auch nur dort von der eigenen Psyche verarbeitet werden. Denn hier fließen die Bilder ineinander über, ohne alltägliche Grenzen oder Beschränkungen durch den geregelten Tagesablauf. Diese gestalterische Lösung hat sich Beksinski über Jahrzehnte seines Schaffens in verschiedensten Gattungen, über Fotografie, Zeichnungen, Malerei bis hin zu Digitalmedia-Kunst zu eigen gemacht, um wohl nicht nur für sich selbst, sondern auch für den Betrachter alle Oberflächen des Alltags aufzubrechen und offen auch auf die Schattenseiten des Lebens zu blicken. Zdzislaw Beksinski (1929 Sanok, Poland - 2005 Warsaw)Tower of Babel, oil on hardboard, 92.5 cm x 74 cm, verso signed, 74 dated, 11 numbered, slightly craquelated, partially small white splashes of paint, partially slight scratches on the surface.The works of the Polish artist Zdzislaw Beksinski are frightening, scary and downright nightmarish. In his gloomy formal language, he not only includes the darker sides of life, but puts them very clearly in focus. The trained architect began his work as a young artist with black-and-white photographs, which quickly brought him fame and won him prizes in international competitions. Even these early works were driven by his work-typical atmosphere. To process one's own experienced strokes of fate in art is a method that some artists have adopted, including Beksinski. Morbid and visionary at the same time, the artist openly shows his wounds and those of all humanity.When he turned to painting in the 1970s, he devoted himself exclusively to figurative painting, including the painting of the Red Tower. It probably shows the "Tower of Babel" - the biblical story in which people wanted to build a tower high up to God. But God caused this very tower to collapse and gave them different languages, so that they could no longer communicate with each other and were linguistically separated from each other. The letter "Ain", which was placed high up on the tower and is pronounced similarly to the English "Eye" in Hebrew, could allude to the eye of God. Moreover, this letter often symbolises the Bible itself.This work shows the direction of his profound odyssey through the underworld of dreams and thoughts. True feelings, fear and despair, just like the search for a meaning to life, can mostly actually take place pictorially in dreams and can often only be processed there by one's own psyche. For here the images flow into one another, without everyday boundaries or restrictions imposed by the regular daily routine. Beksinski has adopted this creative solution over decades of his work in various genres, from photography, drawings and painting to digital media art, in order to break open all the surfaces of everyday life not only for himself but also for the viewer and to look openly at the darker sides of life.

"SVCCY" MATTEO SUCCI (Ravenna, 1997). "Game over", 2019.Digital collage art on aluminium.Edition 1/15.Size: 40 x 40 cm.Svccy is a self-taught digital artist who creates totally unpublished images using 2d and 3d graphic programs. His works are inspired by the art of digital collage, permeated by the Vaporwave visual current developed during the first decade of the 2000s. This trend born on the Internet embodies a retro style influenced in part by "chillwave" artists, who developed an imaginary associated with the use of images dominated by violet and fuchsia colours, the use of Greek sculptures, palm trees, pixel art, sunsets and references to Japanese culture at the end of the millennium.In contrast to the classic images of the genre, Svccy tends towards a darker, more introspective variant. The images reflect the human condition in today's society. The human figure is represented by statues, often faceless or covered by objects, symbolising the total lack of identity of the individual, subjugated by technology and the ultra-consumerist society. References to Rodin's classical and neoclassical sculpture intersect with post-apocalyptic scenarios of large abandoned, or rather finished and never used, shopping malls.All his works are processed by computer creating "collage-art" by joining images that apparently have nothing between them, where light and a good angle of vision are fundamental.Svccy aims to show us the reality in which man lives, an insubstantial, unreal reality, which is based on models of behaviour imposed by the media, which control our lifestyles through fashion and advertising, making us believe that we live a free and self-determined life when in reality it is only an illusion.

CECILIA CASTELLI (Varese, 1991)."Lovers", 2021.Digital art on fine art paper.Limited edition, 1/5.Size: 59,4 x 42 cm.Cecilia Castelli studied product design at the NABA in Milan before discovering graphic design and, above all, illustration, which has become her full-time job. She has already done work for clients such as Adobe and Facebook, IKEA, Polaroid, and has collaborated with several magazines such as Cosmopolitan, Vogue Italia, TIME Magazine or The Daily Telegraph.Her illustrations are full of passion and a touch of irony, depicting the female human comedy with minimal shapes and vivid colours. Whether they are women in the throes of motherhood or girls with grown-up dreams, the protagonists of Cecilia's stories remain, at any age, "good girls" at heart, optimistic and full of hope.She creates intriguing images for both editorial and commercial purposes with the aim of telling a story in a simple way. Her work has been described as bright, optimistic and full of humanity.