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. 

<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!

<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>


<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>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>


DUSTIN YELLIN | Help!

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