The Thirty Six for Coral auction runs through June 22. A special gala event in Cap Ferrat on June 20th features 10 lots that will be auctioned off live & via-live stream for bidders that cannot attend in person. All proceeds benefit coral reefs. To learn more visit www.forcoral.org

Bid to create a future for coral reefs. 

<p>The Coral Collective brings some of the worldʼs most celebrated artists together with its Thirty Six for Coral exhibition and sale.</p><p>The online auction opens on May 28th and bidding will remain open until June 22nd.  Ten pieces will be selected for a live auction on June 20th.  Bidders will be informed on June 19th which pieces will be in the live auction and are able participate in the live auction online via livestream from Cap Ferrat.</p><p>Thirty Six for Coral is being exhibited at the iconic Grand Hôtel du Cap-Ferrat in the South of France from June 12-20. This immersive exhibition brings together 36 celebrated artists whose stunning works will serve as a powerful call to action for global conservation efforts for coral reefs, the rainforests of the sea.  Thirty Six for Coral aims to raise global awareness and secure essential funding for protection and restoration of one of the most critically endangered ecosystems on Earth.</p><p>Thirty Six for Coral has been made possible by the Pavoncelli Foundation.   We would also like to thank Hedley's and OMOSS for their support.</p><p>To learn about conservation impact being made,  please visit:  <a href="https://www.forcoral.org/impact" target="_blank">https://www.forcoral.org/impact</a></p><p>For enquiries, please contact: michele@weareprojectzero.org</p><p></p>


<div><div>Bio Resin, Pigment, Brass Chains, Brass ring, Brass eye hooks, Brass wall hook, Brass caribiners</div><div><br></div><div>130cm x 40cm x 35cm</div><div><br></div><div>2025</div><div><br></div><div><br></div><div><b>HENRIETTA ARMSTRONG</b></div><div>&nbsp;</div><div><i>Medusa's Blood</i></div><div><br></div><div><br></div><div><span>Medusa’s Blood is a ritual object for a dying world. Inspired by traditional Italian apotropaic charms, such as the mano figa and corno, often carved from Corallium rubrum, the red coral of the Mediterranean, this work reimagines their protective power at an exaggerated scale. Glowing in coral reds and pinks, it hangs suspended like an oversized pendant or sacred offering. According to Greek mythology, red coral was born from the blood of Medusa, the Gorgon whose severed head turned men to stone. When Perseus beheaded her, the legend says her blood spilled into the sea, staining seaweed and transforming it into living coral. This myth ties red coral to both death and creation, a duality that lies at the heart of the piece.  In various belief systems, red coral is more than decorative: it is alive with meaning. It is said to offer protection from harm, promote well-being, and guard against negativity. In some traditions, if red coral changes colour, it’s considered a warning, an omen of illness or misfortune. These beliefs imbue the material with a sense of urgency and power, further deepening its connection to themes of life, loss, and transformation.  Drawing on these histories and associations, Medusa’s Blood evokes the contradictory beauty and devastation of coral reefs under threat. As the Great Barrier Reef fades to white through bleaching and death, the charms become relics, symbols of protection, grief, and feminine fury. Part shrine, part fossil, the work asks what we are trying to preserve, and what we are already mourning. It is a spell for the reef, and a curse for the forces undoing it.</span></div></div><div><br></div><div><br></div><div>Henrietta Armstrong MRSS is a multimedia artist and curator based in London, specialising in sculpture, installation and public art. She looks at man-made objects and structures from everyday technologies that are often obsolete or defunct, and the symbolism or meaning that we imbue them with. Henrietta creates work that can sometimes be playful but has a serious message that stays with the viewer about the effects we are having on the planet and what we will be leaving behind for the future. Protection and defence are recurring themes, looking at the brutalist forms of sea defences, sea erosion and the global threat of rising sea levels due to global warming. Her most recent work continues her exploration of themes related to personal relics, the mystical unknown and ritualistic practices. Considering the hypocrisy between the Catholic Church's veneration of relics and its historical condemnation of witchcraft. While relics, often mass-produced religious items with supposed divine significance, are celebrated and revered, the Church's stance on witchcraft has been one of persecution and condemnation. This contrast adds an intriguing layer to Armstrong's exploration of religious artefacts and their cultural symbolism, urging viewers to reflect on the complex dynamics of the symbols, rituals and shifting perceptions that shape human belief systems. The paradox between the acceptance of institutional idolatry and the persecution of marginalised groups for similar behaviour, raises questions about the role of power and biases embedded in historical narratives. Through her work, she encourages us to confront the incongruities within our societal norms, inviting us to question the malleable boundaries between the sacred and the condemned.</div><div><br></div><div><br></div><div>Henrietta Armstrong BA Fine Art (Hons) at Sir John Cass School of Art, London, graduating in 2003. Recent exhibitions include: ‘Entangled: Saatchi Gallery X Liminal Gallery’ - Saatchi Gallery, London, Take A Seat - HA.LF X Bow Arts FRIEZE Takeover, London, Art Car Boot Fair - Sweet ‘Art, London, Sex Sells - Beyond The Historical Matrix - Semjon Contemporary, Berlin, The Garden of Delights on Earth - Gallery 46, London, HOW LONG IS FOREVER - G37 Galerie, Berlin, solo show SANCTUM FUTURUM: Relics and Forbidden Desires at Liminal Gallery, Margate, Throwing Bones II at Chaucer Group Ltd, The Scalpel Building, London. She is a member of the Royal Society of Sculptors, her work is part of the Soho House permanent collection and is held in private collections around the world.</div>

HENRIETTA ARMSTRONG |  Medusa's Blood

<p><b>BRITT BOUTROS-GHALI</b></p><div><br></div><div><i>Untitled&nbsp;</i></div><div><i><br></i></div><div><br></div><div>Acrylic on Canvas</div><div><br></div><div>180 x 123 cm</div><div><br></div><div>2024</div><div><br></div><div><br></div><div>Britt Boutros-Ghali, the esteemed Norwegian-Egyptian abstract expressionist, has woven her artistic legacy into the very fabric of her adopted homeland of Egypt over the past five decades. Her journey is one of vibrant hues and boundless creativity, punctuated by accolades and recognition from around the globe. Born in 1937 against the stark backdrop of Svolvaer, Norway, Britt's early years were etched with contrasts — from the luminous summers to the enveloping darkness of winter, and the tumult of World War II looming in the background. It was amidst this emotional maelstrom that her artistic spirit took flight, finding solace and expression through bursts of color and emotion. Stepping into Britt's world is akin to embarking on a visual odyssey. Her canvases, marked by a kaleidoscope of colors and dynamic brushstrokes, exude an energy that is both captivating and enigmatic. Rooted in the principles of action painting, her process is a dance of spontaneity and structure, where the materials themselves become conduits for storytelling. At the heart of Britt's practice lies a deep reverence for her surroundings. Egypt's rich and exotic tapestry of culture and history serves as a perpetual wellspring of inspiration. From the bustling souks of Cairo to the tranquil shores of Agami, her dual studios reflect her profound connection to the land and its people.</div><div><br></div><div><br></div><div><b>A Journey Through Color: The World of Britt Boutros-Ghali</b></div><div><br></div><div>In the bustling streets of Cairo, amidst the vibrant tapestry of Egyptian culture, resides a luminary whose canvases pulsate with life. Britt Boutros-Ghali, the esteemed Norwegian-Egyptian abstract expressionist, has woven her artistic legacy into the very fabric of her adopted homeland over the past five decades. Her journey is one of vibrant hues and boundless creativity, punctuated by accolades and recognition from around the globe.</div><div><br></div><div>Born in 1937 against the stark backdrop of Svolvaer, Norway, Britt's early years were etched with contrasts — from the luminous summers to the enveloping darkness of winter, and the tumult of World War II looming in the background. It was amidst this emotional maelstrom that her artistic spirit took flight, finding solace and expression through bursts of color and emotion.</div><div><br></div><div>Stepping into Britt's world is akin to embarking on a visual odyssey. Her canvases, marked by a kaleidoscope of colors and dynamic brushstrokes, exude an energy that is both captivating and enigmatic. Rooted in the principles of action painting, her process is a dance of spontaneity and structure, where the materials themselves become conduits for storytelling.</div><div><br></div><div>At the heart of Britt's practice lies a deep reverence for her surroundings. Egypt's rich and exotic tapestry of culture and history serves as a perpetual wellspring of inspiration. From the bustling souks of Cairo to the tranquil shores of Agami, her dual studios reflect her profound connection to the land and its people.</div><div><br></div><div>In 1996, Britt's contributions to the arts were honored with the prestigious St. Olav's Order, Norway's highest artistic accolade, bestowed upon her by King Haakon himself. Yet, it is perhaps her 2023 Lifetime Achievement Award for Women in the Arts from the Egyptian government that resonates most deeply. A testament to her indelible impact on the artistic landscape of her adopted homeland, it serves as a fitting tribute to a lifetime devoted to creativity and expression.</div><div><br></div><div>Today, Britt's home in Agami stands as a living testament to her artistic vision. Adorned with intricately crafted mosaics and murals, it serves as a beacon for local artists, collectors, and admirers alike. Here, amidst the whispers of the Mediterranean breeze, her legacy continues to unfold, inviting all who encounter it to embark on a journey through color, emotion, and the boundless depths of the human spirit.</div><div><br></div><p></p>


BRITT BOUTROS-GHALI  |  Untitled 

<p><b>TESSA CAMPBELL FRASER&nbsp;&nbsp;</b></p><div><i>Coda Conversation 34</i></div><div><i><br></i></div><div><br></div><div>28 x 36cm	</div><div><br></div><div>Oil paint on paper	Original&nbsp;</div><div><br></div><div>2024</div><div><i><br></i></div><div><i><br></i></div><div>Tessa Campbell Fraser is a British painter and sculptor based in Oxfordshire. Born in Edinburgh, she studied at Chelsea School of Art and afterwards established herself as one of the country’s leading animal artists. She has completed several major life-size, and larger than life, sculptures for clients including the late Queen Elizabeth II, the King of Bahrain, Knuthenborg Safari Park Denmark, William Grant &amp; Son, the Household Cavalry and Sir Jackie Stewart. She has work in private collections around the world including Australia, South Africa, Monaco, and the USA, and has exhibited widely including at the Royal Academy Summer Shows, Sculpture at Goodwood, the Pitt Rivers Museum, Oxford and the Natural History Museum in London where she had a major solo show in 2004. In 2001, she was elected an Associate Member of the Royal Society of Sculptors and became a Fellow of the Society in 2004.&nbsp;</div><div><br></div><div>Campbell Fraser’s work is informed by her travels, notably to Greenland, which inspired a series of paintings and allegorical sculptures exploring the interspecies relationship between man and animal. She Portrayed this in a group of sculptures for her Bishop and Bear series, which raise her concerns for the world in the face of the twin threats of War (and specifically people using religion as a pretext for conflict) and Climate Change (represented by the polar bear). She has been concerned with the effects of Climate Change for over twenty years and her sculptures offer a poignant and beautiful reflection on the symbiosis between man and animal, and how precarious this balance is for both as man encroaches more and more into the wild spaces. Her latest sculptures have articulated the effects of Climate Change, seen in the fragility of the 42,000 year old frozen foal encased in the Siberian permafrost and only now revealed by the retreating ice of the melting glaciers as a potent and portentous warning; or the empty polar bear skin hung on a peg, entitled ‘I keep thinking he’ll return’. Campbell Fraser’s current solastalgic sculptures are haunting, and eloquent reminders of our ‘One Foot in Eden’ ; of what may be lost if we refuse to recognise our symbiotic and tentacular connections and responsibilities.</div><p></p>


TESSA CAMPBELL FRASER  |  Coda Conversation 34

<b>ROB &amp; NICK CARTER</b><div><i><br></i></div><div><i>Valle della Luna II, Capo Testa, Sardinia&nbsp;</i></div><div><i><br></i></div><div><br></div><div>Framed Cibachrome print&nbsp;</div><div><br></div><div>50 x 50 in</div><div><br></div><div>2007</div><div><i><br></i></div><div><i><br></i></div><div>Rob and Nick Carter are a husband and wife artistic duo who have been collaborating for over 20 years. The Carter’s work is centered on the boundaries between the analogue and the digital and has taken many mediums including camera-less photography, painting, installation, neon, sculpture and time-based media. Their acclaimed Transforming series has been 10 years in the making and creates a unique intersection between the art of the past and cutting edge computer generated imagery.&nbsp;</div><div><br></div><div>Their work is housed in the collections of the Frick, Pittsburgh; Mauritshuis, The Hague; Frans Hals Museum, Haarlem; Victoria &amp; Albert Museum, London; David Roberts Foundation, London; Städel Museum, Frankfurt; and the Fondation Custodia, Paris, as well as being the only living artists to show a work at the Frick Museum, New York.</div>

ROB & NICK CARTER  |  Valle della Luna II, Capo Testa, Sardinia 

<b>CHARLOTTE COLBERT</b><div><br></div><div><i>Out With Lanterns</i></div><div><i><br></i></div><div><i><br></i></div><div>Stainless steel</div><div><br></div><div>Height 50cm</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>'Out With Lanterns', a riff on Emily Dickinson’s famous line “I am out with lanterns looking for myself,” playfully references the archetypal nature of all fairy tales—ultimate origin stories which shed light or guidance on our narratives of identity. "Fairy tales feel like narratives of our universal unconscious, in a similar way to tarot, symbols and archetypes," says Colbert. A small angel-like figure braves giant waves, morphing into swan-like creatures—in this epic quest of self-discovery. “The girl is small, the waves are big but maybe they can be reimagined not as a drowning force but as something which might allow you to fly.”</div>

CHARLOTTE COLBERT  |  Out With Lanterns

<p><b>PHILIP COLBERT</b></p><div><br></div><div><i>The Coral Lobster</i></div><div><i><br></i></div><div><i><br></i></div><div>Acrylic</div><div><br></div><div>95.5 x 79.7 x 5 cm</div><div><i><br></i></div><div><i><br></i></div><div><i>2025</i></div><div><i><br></i></div><div><i><br></i></div><div>Philip Colbert’s tongue-in-cheek practice combines references to Pop icons such as Andy Warhol and Roy Lichtenstein with the compositional techniques of Old Masters such as Peter Paul Reubens and Anthony Van Dyck, all shot through with the psychologically probing humor of the Surrealists. His canvases collage recognizable such pop-cultural imagery as Captain America’s shield and branded Lacoste hoodies in jam-packed tableaux full of wry humor, often featuring his signature lobster character. Colbert occasionally translates his multilayered canvases to three-dimensional sculptural and installation works. He has exhibited in London, Busan, Seoul, Shanghai, Hong Kong, Tokyo, Los Angeles, and Miami, and his work has been exhibited at institutions including the Van Gogh Museum, the Modern Art Museum, Shanghai, and the Multimedia Art Museum in Moscow.</div><div><br></div><div><br></div><div><br></div><div><br></div><p></p>


PHILIP COLBERT  |  The Coral Lobster

<p><b>CAVIER COLEMAN</b></p><div><br></div><div><i>Coral Uprising	</i></div><div><br></div><div><br></div><div>Acrylic latex, oil pastel, graphite, paper collage on canvas</div><div><br></div><div>56 x 56 inches&nbsp; &nbsp;</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>Cavier Coleman is a multidisciplinary artist whose work bridges fine art, fashion, photography, and street culture. Known for layering visual metaphors and subversive iconography, his work challenges conventional boundaries of genre, identity, and representation. With a background in communications and a visual style that merges charm with critical commentary, Coleman explores themes of cultural memory, futurism, race, and power structures through painting, installation, design, and new media.</div><div><br></div><div>His practice is rooted in storytelling, often using abstraction, text, and portraiture to uncover hidden meanings and social tensions. Equally comfortable within white-wall galleries and unconventional spaces, Coleman has exhibited internationally—from Bali to Mexico City, Los Angeles to Havana—while collaborating with global brands, agencies, and nonprofits. He has produced solo installations, public murals, and commercial campaigns, and his work has been featured at high-profile venues such as the World Trade Center, Saks, and Sotheby’s.</div><div><br></div><div>In addition to a robust exhibition history, he has been profiled in numerous publications, including Forbes, Interview Magazine, L’uomo Vogue, and HYPEBEAST. Coleman continues to expand his interdisciplinary vision, positioning himself as a voice of his generation and working toward his goal of becoming a household name in the contemporary art world.</div><p></p>


CAVIER COLEMAN  |  Coral Uprising

<p><b>SHEZAD DAWOOD</b></p><div><br></div><div><i>Ghost Reef I&nbsp;</i></div><div><br></div><div><br></div><div><span>Composite sand print and luminescent paint finishes.&nbsp;</span></div><div>226 x 120 x 90 cm&nbsp;<span>(Including base: 30 x 80 x 70 cm)</span></div><div><br></div><div>2025</div><div><br></div><div><br></div><div>Courtesy of the artist</div><div><br></div><div>Portrait copyright of Jonathan Glynn Smith</div><p></p>


SHEZAD DAWOOD  |  Ghost Reef I

<p><b>WALTON FORD</b></p><div><br></div><div><i>Study for Bisclavret	</i></div><div><br></div><div><br></div><div>Watercolor, gouache, and ink on paper</div><div><br></div><div>42.54 x36.83cm&nbsp;&nbsp;</div><div><br></div><div>Framed&nbsp;</div><div><br></div><div>2022</div><div><br></div><div><br></div><div>Turning the work of naturalist and painter John James Audubon on its head, Walton Ford imbues the flora and fauna in his own watercolors and prints with sex, violence, and melodrama. His aim is to satirically comment on the history of colonialism, slavery, and other forms of oppression. The beauty and naturalism of his meticulously rendered scenes belie their comedic grotesqueness. As he explains, “I think that there’s almost no subject that you can’t treat with some humor, no matter how brutal it can seem.”</div><p></p>


WALTON FORD  |  Study for Bisclavret

<b>DEBORAH KASS</b><div><br></div><div>VOTE HILLARY	</div><div><br></div><div><br></div><div>Silkscreen Ink on Paper</div><div><br></div><div>44 x 44 inches&nbsp;</div><div><br></div><div><br></div><div>Walking the line between respectful homage and tongue-in-cheek appropriation, Deborah Kass mimics and reworks the signature styles of iconic 20th-century male artists including Frank Stella, Andy Warhol, Jackson Pollock, and Ed Ruscha; in the process, she comments on the patriarchal narratives and subject matter that have dominated art history. Kass is perhaps best known for her riffs on Warhol’s famous color-blocked screenprints, but her practice has also included text-based works, neon signs, sculptures, photographs, and paintings—all united by a feminist approach. Kass has exhibited in cities across the world, and her work belongs in the collections of the Brooklyn Museum, the Metropolitan Museum of Art, the Museum of Modern Art, the Guggenheim Museum, and the Whitney Museum of American Art.&nbsp;</div>

DEBORAH KASS  |  VOTE HILLARY

<p><b>JEMIMA KIRKE</b></p><p><i>Fickle Flags</i></p><p><br></p><p>Mixed Media</p><p>2008</p><p><br></p><p><br></p>


JEMIMA KIRKE  |  Fickle Flags

<p><b>BETH O'DONNELL</b></p><div><br></div><div><i>Project Zero: A Gathering Storm of Force &amp; Fury	</i></div><div><br></div><div><br></div><div>Encaustic wax, oil and pen on Japanese rice paper&nbsp;</div><div><br></div><div>38 x 86 inches</div><div><br></div><div>2024</div><div><br></div><div>Beth began combining photography with encaustic wax at a joint workshop offered by the Center of Photography at Woodstock and R&amp;F Paints in Kingston NY, in 2005.Her most recent mixed media art is inspired by the natural light and landscapes nearby her studio on the East End of Long Island. Using encaustic wax and pigmented oil sticks to add texture mounted on an array of papers and panels, O' Donnell captures ethereal geometric forms and abstract landscapes. Prior, Beth O'Donnell studied photography at the Evanston Art Center in Evanston, Illinois and The International Center for Photography in New York City. Her photojournalistic work in Africa, for which she spent months in 2000 working in the slums of Nairobi, Kenya, was published in The London Daily Telegraph and Marie Claire magazines. She has also been published in The Financial Times and has appeared twice as a guest on Oprah Winfrey's Oxygen Network, for "Angels in the Slums" and "AIDS and Orphans.” O'Donnell exhibited work at the United Nations in conjunction with the Istanbul +5 Conference and her photographs have been auctioned at several major philanthropic events around the United States.</div><p></p>


BETH O'DONNELL  |  Project Zero: A Gathering Storm of Force & Fury

<b>MAURO PERUCCETTI</b><div><br></div><div><i>SUPERFICI	</i></div><div><br></div><div><br></div><div>Mixed Media</div><div><br></div><div>93 x 93 cm&nbsp;&nbsp;</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>A Pop artist for the 21st Century, Mauro Perucchetti addresses pressing societal issues and conveys the pulse of contemporary culture: Barbie, Sex and the City, and the global economy have all found their way into his artwork. For instance, the birth of Dolly, the first cloned animal, and the ensuing debate over the ethics of cloning, prompted him to create “Jelly Babies”, figurines bearing resemblance to the Pillsbury Doughboy that serve as a metaphor for cloned human beings. Like Andy Warhol, Jeff Koons, and Piero Manzoni, whom his work playfully references, Peruchetti uses bright colors, recognizable shapes, and smooth shiny surfaces to entice his viewers. Perucchetti has worked with diverse materials, ranging from Swarovski crystals to steel, but over five years developing his technique of working with pigmented resin has made it his signature. To paint in 3D, the former architect turned contemporary artist let nature inspire him to create luscious textural surfaces that immerse the viewer in a sea of colours, shadows and highlights. His groundbreaking approach coupled with a vibrant palette give the effect of an organic, living topography that pulls the viewer in and allows one to have a different experience every time a Perucchetti 3D painting is seen. Viewers marvel in the fact each of his SUPERFICI artworks never look the same twice, much like the wonder of nature that it honors and celebrates. Ultimately, SUPERFICI is Perucchetti’s love letter to nature, one that reaffirms his commitment to using his art to help protect it.</div><div><br></div><div><br></div><div><i>"Addressing climate change is crucial now more than ever. Seeing surfaces of earth, caves, volcano eruptions, coral reefs eroding, deforestation and wildfires, we need to respect planet earth. Being in nature has always been my heaven on earth." </i>Mauro Peruccetti</div>

MAURO PERUCCETTI  |  SUPERFICI

<p><b>MARC QUINN</b></p><div><br></div><div><i>Before and After Humans (The Paleozoic Era) Salt Water</i>&nbsp;</div><div>&amp;&nbsp;</div><div><i>Before and After Humans (The Paleozoic Era) Fresh Water&nbsp;</i></div><div><i><br></i></div><div><br></div><div>Both items:</div><div>Pigment print on 300gsm Somerset Photo paper</div><div><br></div><div>Diameter: 85cm&nbsp;</div><div><br></div><div>Ed. 10 of 50, both framed&nbsp;</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>Marc Quinn expands the material and conceptual possibilities of sculpture. He emerged in the 1990s as part of the iconoclastic group of Young British Artists and is best known for his unusual, organic media: He’s made art from frozen flowers, slides of human DNA, and—in his self-portraits—his own frozen blood. Quinn has also embraced provocative subject matter and made monumental depictions of disabled and transgender subjects. Quinn studied art history at the University of Cambridge and has exhibited in London, New York, Paris, Milan, Seoul, Tokyo, and other cities. His work belongs in the collections of the Tate, the Centre Pompidou, the Stedelijk Museum, the Astrup Fearnley Museum of Modern Art, the Museum of Modern Art, and the Metropolitan Museum of Art.</div><p></p>


MARC QUINN  |  Before and After Humans (The Paleozoic Era) Salt Water & Before and After Humans (The Paleozoic Era) Fresh Water

<p><b>ROCCO RITCHIE</b></p><p><i>Veiled Christ</i></p><p><i><br></i></p><p>55 x 55 cm	</p><p>Oil on canvas</p><p><i><br></i></p><p>This painting is a study of Giuseppe Sanmartino’s original work. It forms part of a series exploring the intersection of painting and sculpture, aiming to bring a more three-dimensional, sculptural feel to the painted surface.</p>


ROCCO RITCHIE  |  Veiled Christ

<b>ALEXIS ROCKMAN</b><div><br></div><div><i>Ephyra	</i></div><div><br></div><div><br></div><div>Watercolor and acrylic on paper</div><div><br></div><div>18 x 24 inch</div><div><br></div><div>2024</div><div><br></div><div><br></div><div>Alexis Rockman, a painter based in Warren, Connecticut, is an environmental activist who began making paintings and works on paper to build environmental awareness in the mid-1980s. Embarking on expeditions to distant locations like Antarctica and Madagascar in the company of professional naturalists, his work tells stories of natural histories confronting the dystopian future of the biodiversity crisis, global warming, and genetic engineering.&nbsp;</div><div><br></div><div>Rockman’s work has been exhibited around the world and showcased at prestigious galleries and museums including the Venice Biennale, Carnegie Museum of Art, Smithsonian American Art Museum, and Serpentine Galleries. Rockman worked on the 2012 movie Life of Pi with Ang Lee as “Inspirational Artist.” Recent exhibitions include Alexis Rockman: Oceanus, a major exhibition that premiered at Mystic Seaport Museum in 2023 and is now touring. Mark Dion and Alexis Rockman: Journey to Nature’s Underworld, the first two-person exhibition of these closely allied artists, opened at the Lowe Art Museum in February 2025. The show will tour to four additional museums.</div>

ALEXIS ROCKMAN  |  Ephyra

<b>BRADLEY THEODORE&nbsp;</b><div><b><br></b><div><i>Marie Antoinette in the coral gardens&nbsp;</i></div><div><br></div><div><br></div><div>34 x44.5 inches	</div><div><br></div><div>acrylic on cold press paper&nbsp;</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>Born in Turks and Caicos, Bradley Theodore is a contemporary artist who started his career in New York City and has been an internationally-inclined artist and collaborator from his very beginnings. Having worked in the tech and design sector after his graduation from the School of Visual Arts, Theodore eventually moved back to New York where his artistic career took off. With roots in graphic design, Theodore’s beginnings as an artist came from adorning the streets of New York City with vibrant, chromatic murals of skeletons depicting contemporary pop culture and fashion “royalty.” Bradley Theodore is known for his colorful depictions of icons. He is a multi-disciplinary artist whose iconoclastic approach to art can be found internationally, from 10-foot murals on the streets of Tokyo, Paris and Milan, to sold-out solo exhibitions in London, Tokyo and NYC. Evoking the universality of color, skeletons, and celebrity, Theodore distills figures to skeletal forms, a confrontation that the artist calls “an act of living”, pushing color to express memory, emotion, and lived experiences. Theodore’s portraits juxtapose the legendary and mortal qualities of modern and contemporary icons and the artist has become a staple in the art and fashion scene in New York City.&nbsp;</div><div><br></div><div>Theodore has collaborated with popular artists and brands on creative projects for Puma, Waldorf Astoria, Haig Club, Moët, Rolls-Royce, Lego, and Moleskine. In 2016, Bradley was the official artist for the US Open, where he created four murals on display at the tournament's venue; and was the subject of independent film “Becoming: Bradley Theodore”, which premiered at the Tribeca Film Festival. In 2017, Google invited Theodore to their Artist in Residence program (AiR), where he employed the tech giant’s Tilt Brush tool to create art in another dimension. In 2018 for the 50th anniversary of PUMA’s iconic Suede sneaker, Theodore designed a limited edition shoe which was followed by a full collection of sneakers, garments and accessories for the streetwear giant’s Spring Summer 2019 offering. More recently in 2020 Theodore partnered with LEGO as an official artist for the LEGO Dots campaign, and created a limited edition series of bottles for HAIG Whisky and David Beckham. 2022-23 saw collaborations with the Waldorf Astoria, Snapple and Project Zero.</div></div>

BRADLEY THEODORE  |  Marie Antoinette in the Coral Gardens 

<b>JORDAN "WATTS" WATSON&nbsp;</b><div><br></div><div><i>Been There Saw That	</i></div><div><br></div><div><br></div><div>Oil on Canvas</div><div><br></div><div>20 x 20 inches</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>Jordan Watson is a New York-based artist, curator, and founder of the influential art platform Love Watts. His work blends fine art with cultural commentary, often exploring themes of identity, luxury, and Black excellence. A self-taught artist with a background in music and finance, Watson has built a global audience through his distinctive eye and commitment to spotlighting emerging talent.</div>

JORDAN "WATTS" WATSON  |  Been There Saw That

<p><b>MANUELA ZERVUDACHI</b></p><div><br></div><div><i>Potato Coral	</i></div><div><br></div><div><br></div><div>Manuela Zervudachi was born in London on July 15, 1963, to an Irish mother and a Greek father. Since childhood, Manuela has chosen sculpture as a means of expression. She then moved to New York in the 1980s to study at the Parsons School of New York, where she primarily learned metal working. After the United States, Manuela moved to Tuscany in 1988, to Pietra Santa, a true Mecca of sculpture, home to a dozen of the world's best bronze foundries. In this legendary place, Manuela followed the teachings of her master, the sculptor Fiore de Henriquez, who taught her for three years to discover the alchemical dimension of lost wax casting and bronze.&nbsp;</div><div><br></div><div>Living with her family in Paris since 1991, Manuela Zervudachi regularly exhibits in London, Paris, and Switzerland. Her work reveals her fascination with the state of humanity in its environment. She has worked successively around the themes of tarot, the symbolism of the body, time, and seeds. At the same time, Manuela regularly collaborates with interior designers and collectors to create commissioned pieces.</div><div><br></div><div><i>"The seabed and coral reefs re a sculptors paradise with such incredible volumes, which is truly inspiring.  This piece is an edition of 11/8 wth 4 artist proofs.  This one is 1/8." - Manuela Zervudachi&nbsp;</i></div><p></p>


MANUELA ZERVUDACHI  |  Potato Coral

<p><b>TOUILS</b></p><div><i>La Pêche Aux Perles&nbsp;</i></div><div><br></div><div><br></div><div>Oil, acrylic and oil pastel on canvas</div><div><br></div><div>200 x 220cm</div><div><br></div><div>2025</div><div><br></div><div>Touils has learned that personal success is a solo journey. From his studio in Lille, France, the Moroccan-born artist infuses his canvases with warmth and joy, shunning dark tones. His art reflects his desire to explore new places, with vibrant colors and light defining his style. Touils’s challenging upbringing forged him into a resilient self-taught artist, split between Morocco and France during his childhood. From a tender age, he shouldered responsibilities beyond his years, laboring to support his family instead of attending school. His move to Lille at age 18 marked a pivotal moment, igniting his determination to overcome adversity through art. Inspired by Impressionists like Monet and Van Gogh, Touils employs acrylic, spray, and oil paints to construct vibrant layers on canvas. His brushstrokes, reminiscent of his idols, evoke feelings of joy and tranquility.</div><p></p>


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