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>


<p><span>Bid to win a rare opportunity for Clemente to paint your portrait. <b>Clemente will paint an oval portrait of you</b> measuring approximately 67 x 92 inches, Oil on Canvas.</span></p><p><span>Francesco Clemente is one of the greatest portrait painters of our time. He paints each portrait from life in one sitting, beginning in the morning in his New York City studio.</span></p><div><div>Clemente has painted artists, writers, and other important figures including Fran Lebowitz, Kiki Smith, Salman Rushdie, Bill T. Jones, Renée Fleming, Andy Warhol, Jean-Michel Basquiat, Allen Ginsberg, Keith Haring, Robert Mapplethorpe,  William Burroughs, and Jessye Norman, among others. His portrait of Toni Morrison is in the Metropolitan Museum of Art’s permanent collection.</div></div><div><i><br></i></div><div><i>Portrait Photo of Francesco Clemente courtesy of Sante D'Orazio</i></div><div><i>Example "Portrait of Vito and Helena, 2024", Oil on Canvas, 67 &amp; 88 inches</i></div><p></p>


FRANCESCO CLEMENTE  |  PERSONAL PORTRAIT 

<b>HELEN BEARD</b><div><br></div><div><i>Oursins</i></div><div><br></div><div>2025</div><div><br></div><div><br></div><div><br></div><div>Oil on Canvas&nbsp;</div><div><br></div><div>40 x 40 cm&nbsp;</div><div><br></div><div><br></div><div><br></div><div>Working from found imagery, Helen Beard’s work explores themes relating to gender, sexual psychology, and eroticism. Her works, although derived from pornographic material, cannot be construed as crude, but instead are joyous and celebratory in nature. The works portray the vivid nature of sexual experience in a technicolor palette of stylized shapes, textured with a myriad fluid brushstrokes that stroke the skin of those depicted, like fingers on the skin. The works do an incredible amount to take back ownership of sexual imagery from the male gaze associated with artwork exploring the theme of sex.</div><div><br></div><div><br></div><div>"This is my first foray into pure abstraction. These elemental forms echo the shapes of coral and the tufts of hair evoke the sea urchin. Sea urchins symbolise protection, fertility and renewal - all reflective of Coral Collectives’ aim to conserve and restore the ocean. I am delighted to be participating in 36 For Coral to support this important cause.” - Helen Beard, April 2025</div><div><br></div><div><br></div><div>Portrait Image of Helen Beard - Copyright Jo Thorne</div>

HELEN BEARD  |  Oursins

<b>RETNA</b><div><br></div><div><i>Triple, double, quadruple</i></div><div><br></div><div>Enamel on canvas with diamond dust</div><div>60 x 48 inches</div><div><br></div><div>RETNA, born Marquis Lewis, is known for large-scale paintings covered in long, geometric scripts that evoke a secret language. The artist’s shapes take inspiration from Egyptian hieroglyphics, Arabic and Hebrew calligraphy, Gothic blackletter, and graffiti, among other global influences.&nbsp;</div><div><br></div><div>RETNA got his start as a graffiti artist while growing up in Los Angeles. He has since exhibited in New York, Los Angeles, and London, among other cities. His work regularly sells for five figures on the secondary market. RETNA has collaborated with brands including Louis Vuitton, Nike, and Chanel; created an album cover for Justin Bieber; and designed sets for a production of Aida at the Washington National Opera and San Francisco Opera.</div>

RETNA | Triple, double, quadruple

<b>PETROC SESTI</b><div><br></div><div><i>Heart of Okeanos Pacific</i></div><div><br></div><div>2024</div><div><br></div><div>Carbon Sink Sculpture, Embodied Negative Materials. Crafted in Carbonxinc, a material capable of sequestering significant quantities of greenhouse gases.</div><div><br></div><div>85 x 150 cm</div><div><br></div><div>Plinth Size - 70 x 80 cm (230 cm including plinth)</div><div><br></div><div><br></div><div>In 2014 the body of a blue whale washed ashore in Rocky Harbour, having tragically perished after being trapped in ice. Led by Mammalogy Technician Jacqueline Miller, the discovery prompted a team of scientists from the museum to remove the huge mammal's heart and meticulously preserve the specimen over the following 3 years.&nbsp;</div><div><br></div><div>Drawing inspiration from Roman Paleozoic cement and marine organisms like coral that capture carbon to create their structures. Sesti has been developing a carbon sink sculpture medium, a revolutionary material that combines eco-friendly concrete and carbon capture crystals to permanently store captured CO2 in rock form, a 1st for the art world.&nbsp;</div><div><br></div><div>Petroc Sesti is a British / Italian artist, born in London where he currently lives and works. His work pushes the boundaries of art and science, exploring in particular the ever-changing relationships between artwork, the viewer and the environment in which they are placed. Both sculptures and paintings perform an interactive role by engaging the location and movement of the viewer by way of vast optical lenses and Moire geometries, reconfiguring the landscape and providing the viewer with a unique and responsive interaction with the artwork. He has collaborated with scientists from space programs to forestry scientists laser scanning trees in the rainforests. Permanent collections include The Kistefos Museum Norway, MONA Museum Tasmania, the Boghossian Foundation Brussels, the Rockefeller Collection New York, the Sheikha Moza Collection - Rem Koolhaas’s Qatar Foundation, Norman Foster’s Yacht Club Monaco, SOM’s Manhattan Loft Gardens Stratford - International London, YUZI Museum China, H-66 Aedas LWK &amp; Partners Architects Shanghai.</div><div><br></div><div><br></div><div><b>HEART OF OKEANOS</b></div><div>Heart of Okeanos takes its title from the Greek personification of the world’s ocean, Okeanos, and presents a sculptural rendering of the cardiovascular system of the blue whale—the largest heart known in the animal kingdom.</div><div><br></div><div>Positioned at the convergence of artistic practice and scientific research, the sculpture is intended to be returned to the ocean as a symbolic and functional beacon for biodiversity at the Reefline project in Miami.</div><div><br></div><div>Originally unveiled at the United Nations Climate Change Conference (COP), Heart of Okeanos was developed using advanced carbon capture technologies. Composed of carbon-negative aggregates, the work constitutes one of the first known examples of a monumental sculpture operating as a functional carbon sink.</div><div><br></div><div>“Artists are free thinkers and placemakers; they create artworks that inspire paradigm shifts toward new cultural narratives, offering alternative frameworks through which to interpret our environments.</div><div><br></div><div>Through interdisciplinary collaboration and critical engagement with the natural world, artists are uniquely positioned to catalyse public discourse. Cultural dialogue with the biosphere is not only urgent it is also generative, and will define the future of art itself.</div><div><br></div><div>I believe we are entering a new cultural golden age—a renaissance shaped not by introspection alone, but by the discoveries that lie beyond ourselves.” Petroc Sesti</div>

PETROC SESTI  |  Heart of Okeanos

<b>OSGEMEOS</b><div><br></div><div><i>I See The Light&nbsp;</i></div><div><br></div><div><br></div><div>Mixed Media on Wood</div><div><br></div><div>120 x 100cm</div><div><br></div><div>OSGEMEOS is the collaborative project of Brazilian twin brothers Gustavo and Otavio Pandolfo, who got their start as graffiti artists. Under their chosen moniker, which means “the twins” in Portuguese, OSGEMEOS create a fantastical private universe filled with bright-yellow long-limbed characters and surrealistic landscapes. Their works, which span paintings, murals, sculpture, installation, and video, reflect contemporary and folkloric Brazilian culture in addition to the twins’ aesthetic influences, which include hip-hop, contemporary global youth culture, and the world of graffiti that launched their career. OSGEMEOS have exhibited in New York, London, São Paulo, Hong Kong, Seoul, and Berlin. Their work has sold for six figures on the secondary market and belongs in the collections of the Franks-Suss Collection, the Museu de Arte Moderna de São Paulo, the Museu de Arte Brasileira, and the Museum of Contemporary Art, Los Angeles.</div>

OSGEMEOS  |  I See The Light 

<b>DUSTIN YELLIN</b><div><br></div><div><i>Help!</i></div><div><br></div><div><br></div><div><br></div><div>UV printed glass, Epoxy</div><div><br></div><div>19 1/8 x 8 1/8 x 6 3/8 Inches</div><div><br></div><div><br></div><div>Dustin Yellin describes his inventive sculptures as works of “frozen cinema.” He embeds streaks of paint and a riot of tiny images snipped from old magazines, art history books, encyclopedias, dictionaries, and found notebooks into sheets of laminated glass. The collage elements coalesce into intricate, shape-shifting narrative scenes, human figures, or isolated natural forms. Yellin’s sculptures can feel once contemporary and ancient, like fossilized organisms preserved in amber. The artist has exhibited in Los Angeles, New York, Amsterdam, London, Madrid, and beyond, and his work has sold for six figures at auction. In 2012, Yellin founded Pioneer Works, a multidisciplinary community cultural center in Brooklyn that hosts artist residencies, mounts large-scale exhibitions (Bosco Sodi, Jacolby Satterwhite, Nan Goldin, and Anthony McCall have all enjoyed solo shows here), and counts artists Shirin Neshat, Mickalene Thomas, and Michael Joo among its advisors.</div>

DUSTIN YELLIN  |  Help!

<b>WALTON FORD</b><div><br></div><div><i>Study for Cabeza de Vaca&nbsp;</i></div><div><br></div><div><br></div><div><br></div><div>Watercolor, gouache, and ink on paper&nbsp;</div><div><br></div><div>32.7 x47.3cm (framed)</div><div><br></div><div>2021</div><div><br></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>

WALTON FORD  |  Study for Cabeza de Vaca 

<b>NANA FUNO</b><div><i>Fingerprints of Tide, Eardrum of the Sea</i></div><div><br></div><div>Acrylic on panel</div><div>162.0 x 112.0 cm each (set/2 pieces )</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>Nana Funo’s dense images are delicately and laboriously constructed, through a process the artist describes as “woolly yet very sharp at the same time.” Each of her works is built up in a complex series of layers: she paints acrylic on the work’s base, creates her image in pen, applies gesso to create gradation, and finally masks the surface in another layer of acrylic paint. The final work has both depth and kaleidoscopic texture. The subjects of Funo’s works appear fantastical, but are in fact based on her day-to-day experiences and moods; recurring motifs include figures, animals, flora and fauna, and writing.</div>

NANA FUNO  |  Fingerprints of Tide, Eardrum of the Sea

VIK MUNIZ<div><br></div><div>Garoupa</div><div><br></div><div>2022</div><div><br></div><div><br></div><div>Archival injet print</div><div><br></div><div>1 of 4 AP</div><div><br></div><div>40 x 53.3 inches&nbsp;</div><div><br></div><div>Framed</div><div><br></div><div><br></div><div>Mixed-media artist Vik Muniz recreates historical artworks with unusual materials, then photographs the results. He’s previously used chocolate, sugar, trash, and toys to appropriate and reinterpret the work of artists ranging from Andy Warhol and Mark Rothko to Caravaggio and Jacques-Louis David.&nbsp;</div><div><br></div><div>Muniz has exhibited in New York, London, Paris, San Francisco, and Tokyo, among other cities. His work belongs in the collections of the Art Institute of Chicago, the Los Angeles County Museum of Contemporary Art, the Metropolitan Museum of Art, the Museum of Modern Art, and the Museu de Arte Moderna de São Paulo. In addition to his mixed-media works, Muniz has also starred in "Waste Land" (2010), an Oscar-nominated film about garbage pickers at a Brazilian landfill and led a number of social justice–oriented projects that focus on education and development in his native Brazil. In 2001, the artist represented the country at the Venice Biennale.</div><div><br></div><div>“Money is perhaps one of the most important and efficient means of communication that exists, but for me it is a type of media. It is a means of communication that is on the verge of disappearing, and that is what interests me. The Dinheiro Vivo series did not happen out of nowhere. I think that since 2010, a time that coincides with the acceleration of this change from chemical to digital, we were changing a lot of things in the studio, and perhaps my attention turned to this story of paper, of the image still dependent on a medium of support, until we arrived at the idea of ​​money. I had this opportunity through the Mint, which gave us a huge amount of shredded money, which is stuff they don't use. They asked if I wanted some of this material to make something and of course I accepted, but we didn't know how much money they were offering. I had this opportunity through the Mint, which gave me a huge amount of shredded money, which is stuff they don't use. They asked if I wanted some of this material to make something, and of course I accepted, but we didn't know how much money they were offering. I was wondering what to do with this material, especially given the fact that Brazilian money has representations of animals, some of which are endangered. There's also the issue of animals, they offered a limit on the number of works, which would be seven in this case, and then I felt the need to perhaps explore this history of money a little more, and I opted for landscapes.” - Vik Muniz</div>

VIK MUNIZ  |  Garoupa

<p><b>MOYOSORE MARTINS</b></p><div><br></div><div><i>Emi Ko (It's Not Me)</i></div><div><br></div><div>62 x 52 inches</div><div><br></div><div>Oil, Oil Stick, Pigment, Graphite on Canvas</div><div><br></div><div>2023</div><div><br></div><div><br></div><div>Móyòsóré Martins is a self-taught mixed-media artist. Raised in Lagos, Nigeria by a Brazilian father and a Nigerian mother from Ekiti state, Martins adopted a paintbrush and pencil at a young age as instruments to express his innately curious and spiritual nature. Through his work, Martins blends his traditional Yoruba cultural roots with his contemporary vision of art.</div><div><br></div><div>Martins’ artwork combines figurative, abstract, and narrative elements drawn from his unique life experience and journey from Nigeria to his large Bronx studio. His work is deeply symbolic and frequently features cultural and personal iconography. Martins’ richly textured paintings feature bold brushstrokes, thick oil paint, drawings, scribbles, collaged materials, and text. The vibrant, heavily layered canvases are interspersed with spiritual elements and wishes manifested and fulfilled. Martins also works in three-dimensional form with clay sculpture. As Martins describes:</div><div><br></div><div>My artwork is intentionally raw. I like to use a lot of different materials and have rough-cut edges on the canvas. The paintings are textured with scratches, scribbles, and mud-like paint, as well as clay, liquid plastic, oil sticks, chunky layers of oil paint. I layer the background and then deconstruct them, which gives the feeling of wear and tear on the canvas. No painting is alike as each has symbolic patterns and encrypted messages hidden within it. I want to merge the vision with the given and the new world that I live in now. The word “Why?” is seen in a lot of the work because it leaves you asking the same question.</div><div><br></div><div>Forbidden by his father to create or study art, Martins spent his college years in Ghana and the Ivory Coast studying computer science. He immigrated to New York City in 2015 to further pursue his artistic ambitions. Martins’ artwork has been exhibited at the Varenne Contemporary (Geneva), TrafficArts (New York, Paris), Crossing Art Gallery (New York), Nassau County Museum (Roslyn, NY), Path Gallery (Los Angeles, CA), Robert Fontaine Gallery (Miami, Fl.), Dacia Gallery (New York, NY), Heath Gallery (New York, NY), Grady Alexis Gallery (New York, NY) and Long-Sharp Gallery (Indiannapolis, IN).</div><div><br></div><p></p>


MOYOSORE MARTINS  |  Emi Ko (It's Not Me)

NABIL NAHAS<div><br></div><div><br></div><div>Untitled</div><div><br></div><div><br></div><div>Acrylic on Canvas&nbsp;</div><div><br></div><div>44 x 42 cm</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>Drawing inspiration from the fractal patterns found in coral reefs, Nahas creates vibrant, multi-layered compositions that appear to pulsate with life, bridging the gap between the cosmic and the microscopic.</div><div>Nabil Nahas is an internationally acclaimed Lebanese-American artist known for his bold, three-dimensional paintings that merge geometric abstraction with organic forms, evoking the intricate beauty of nature. Drawing inspiration from the fractal patterns found in coral reefs, Nahas creates vibrant, multi-layered compositions that appear to pulsate with life, bridging the gap between the cosmic and the microscopic.</div><div>Born in Beirut in 1949, Nahas moved to the United States in 1969 to pursue his artistic education, earning a BFA from Louisiana State University before completing his MFA at Yale University in 1972. After settling in New York in 1973, he became a significant figure in the city’s contemporary art scene, drawing influence from both Islamic decorative patterns and the American abstract painting movement of the mid-20th century.</div><div>A pivotal moment in Nahas’s artistic journey came when he learned to scuba dive in Sharm el-Sheikh, Egypt. Immersed in the underwater world, he was profoundly moved by the complexity and delicate structure of coral formations. Since then, corals have remained a major influence in his work, inspiring his textured, richly pigmented “fractal” paintings that mirror the organic growth of marine life. His signature "Constellation" compositions reference both seabeds and celestial bodies, creating a hypnotic interplay of depth, movement, and luminous color.</div><div>Beyond his marine-inspired works, Nahas also explores themes of cultural identity and environmental fragility. His later works incorporate imagery of cedars, olive trees, and palms, symbolizing both the natural heritage and the resilience of his homeland, Lebanon. He had his first major retrospective at the Beirut Exhibition Center in 2010, and in 2002, he represented Lebanon at the 25th São Paulo Bienal in Brazil.</div><div>His work has been showcased in renowned institutions and exhibitions worldwide, including "Glasstress 2011," a Collateral Event of the 54th Venice Biennale, and "Glasstress: New York" at the Museum of Arts and Design in 2012. His paintings are housed in the permanent collections of prestigious museums, including:</div><div>The Metropolitan Museum of Art, New York</div><div>Tate Modern, London</div><div>Guggenheim Abu Dhabi, UAE</div><div>Mathaf: Arab Museum of Modern Art, Doha</div><div>Museum of Fine Arts, Boston</div><div>Pennsylvania Academy of the Fine Arts, Philadelphia</div><div>High Museum of Art, Atlanta</div><div>Nahas had his first solo show at the Robert Miller Gallery in New York in 1977, later exhibiting with Holly Solomon Gallery in 1986 and continuing his long-standing relationship with Sperone Westwater Gallery since 1997.</div><div>Through his innovative practice, Nahas transforms the microcosm of coral reefs into vast, immersive landscapes, inviting viewers to contemplate the delicate interplay between art, nature, and the infinite patterns of existence.</div><div>Represented by internationally recognized galleries Ben Brown Gallery,&nbsp;&nbsp;</div><div>Spironi Westwater, Saleh Barakat Gallery, Lawri Shabibi Gallery, and Galerie Tanit.</div><div><br></div>

NABIL NAHAS  |  Untitled

<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

<p><b>Tessa 	Campbell Fraser	</b></p><div><br></div><div><i>Coda Conversation 36</i></div><div><br></div><div><br></div><div>28 x 36cm	</div><div><br></div><div>Oil paint on paper&nbsp;</div><div><br></div><div>2024&nbsp;</div><div><br></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 36

<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>


TOUILS  |  La Pêche Aux Perles 

<b>KEVIN FRANCIS GREY</b><div><br></div><div><i>Ulster Boy</i></div><div><br></div><div><br></div><div>Paonazzo marble<div><br></div><div>60 x 25 x 26 cm / 23 ⅝ x 9 ⅞ x 10 ¼ in</div><div><br></div><div>2025</div></div>

KEVIN FRANCIS GREY | Ulster Boy

<p><b>STEVE HASH</b></p><div><i><br></i></div><div><span><i>Towel III</i></span></div><div><div>Concrete, cotton fiber, marble&nbsp;</div><div><br></div><div>32 x 6 x 4 inches</div><div><br></div><div>2022</div></div><div><br></div><div><br></div><div>Steve Hash is an American contemporary artist known for his monochromatic sculptures and installations that explore themes of isolation, spirituality, and human connection. His work has been exhibited in notable venues including the Institute of Contemporary Art in Los Angeles, LA Louver, and the Ann Norton Sculpture Garden, where he served as an artist-in-residence. Steve Hash currently lives and works in Los Angeles, CA.</div><p></p>


STEVE HASH  |  Towel III

<b>Akwetey	Orraca-Tetteh	</b><div><br></div><div><i>Automatic Break	</i></div><div><br></div><div><br></div><div>12 x 14 inches	</div><div><br></div><div>Oil on Canvas&nbsp;</div><div><br></div><div>2024&nbsp;</div><div><br></div><div><br></div><div>Akwetey Orraca-Tetteh (b. 1980, New York) is a Ghanaian American artist working in painting, collaborative performance, and 3D technology. He is best known as the voice of Grosse Fatigue, winner of the Silver Lion at the 55th Venice Biennale. "I'm interested in the mythology of the history of the future and the stories we will tell about what happened." - Akwetey Orracca-Tetteh</div>

AKWETEY ORRACA-TETTEH  |  Automatic Break

<b>Yiannis Voutsis</b><div><br></div><div><i>Poseidon’s Cry</i></div><div><br></div><div><br></div><div>Red coral, seashells, sea snails, crab shell and sea star on plaster</div><div><br></div><div>28 x 17 x 10cm.&nbsp;</div><div><br></div><div>Executed 2020-2025</div><div><br></div><div><br></div><div><br></div><div>Yiannis Voutsis, b. 22.2. 1982 is a Greek artist based on the island of Skiathos. Raised as a third generation fisherman, Voutsis started collecting Mediterranean found objects from the sea such as discarded fishing nets, plastic bottles and red sea coral which got caught in his nets fifteen years ago. Acutely aware of changes in the ocean Voutsis has been working on “Poseidon’s Cry” for five years and carefully added elements as the sea has revealed them allowing him to harvest these offerings. In addition to working as an artist, Voutsis takes guests on private fishing tours to show them the beauty and fragility of the Greek seas. He has become well known as an activist for change so much so that television presenter Julia Bradbury devoted a whole episode to him on her travel programme The Greek Islands with Julia Bradbury to much acclaim. Through his artwork, Voutsis not only repurposes waste but also calls attention to rising sea levels, overfishing, and the plastic crisis, urging communities to reconsider their relationship with nature before the tides of damage become irreversible. Voutsis is a polymath, an artist, a Philosopher, a poet and indeed a fisherman.&nbsp;</div>

Thirty Six for Coral

FRANCESCO CLEMENTE | PERSONAL PORTRAIT

HELEN BEARD | Oursins

RETNA | Triple, double, quadruple

PETROC SESTI | Heart of Okeanos

OSGEMEOS | I See The Light

DUSTIN YELLIN | Help!

WALTON FORD | Study for Cabeza de Vaca

NANA FUNO | Fingerprints of Tide, Eardrum of the Sea

VIK MUNIZ | Garoupa

MOYOSORE MARTINS | Emi Ko (It's Not Me)

NABIL NAHAS | Untitled

HENRIETTA ARMSTRONG | Medusa's Blood

BRITT BOUTROS-GHALI | Untitled

TESSA CAMPBELL FRASER | Coda Conversation 34

TESSA CAMPBELL FRASER | Coda Conversation 36

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

CHARLOTTE COLBERT | Out With Lanterns

PHILIP COLBERT | The Coral Lobster

CAVIER COLEMAN | Coral Uprising

SHEZAD DAWOOD | Ghost Reef I

WALTON FORD | Study for Bisclavret

DEBORAH KASS | VOTE HILLARY

JEMIMA KIRKE | Fickle Flags

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

MAURO PERUCCETTI | SUPERFICI

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

ROCCO RITCHIE | Veiled Christ

ALEXIS ROCKMAN | Ephyra

BRADLEY THEODORE | Marie Antoinette in the Coral Gardens

JORDAN "WATTS" WATSON | Been There Saw That

MANUELA ZERVUDACHI | Potato Coral

TOUILS | La Pêche Aux Perles

KEVIN FRANCIS GREY | Ulster Boy

STEVE HASH | Towel III

AKWETEY ORRACA-TETTEH | Automatic Break

YIANNIS VOUTSIS | Poseidon’s Cry

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