Works 217
Edition 4+2AP
An iconic and unique design by Marzio Cecchi for Studio Most in Italy, circa early 1970s. Made of wicker rope, the graceful and sculptural “S” form is supported by a circular base. By Marzio Cecchi, (1940-1990) Born near Florence on March 1st 1940, Marzio Cecchi comes from a design environment, his mother being Giulia Carla Cecchi, a name famous in the world of fashion with her haute couture creations paraded at Palazzo Vecchio and Palazzo Pitti in Florence, Italy. Marzio Cecchi was a famous architect from Firenze who totally designed his projects. He graduated as an Architect from the University of Florence. Marzio Cecchi was an eclectic and visionary Architect, Designer and Artist. He died in an accident in New York on January 1st 1990, leaving timeless designs and one of a kind pieces highly collectible on the market
A pair of 1960’s armchairs designed by Tatra. Tatra’s designs are characterized by simple geometric shapes and bright colours, typical of the art and design movement known as "functionalism", which advocated a rational, utilitarian aesthetic. Their furniture was also known for its high quality craftsmanship, using materials such as beech, walnut and rosewood. These timeless chairs have bee upholstered in Paul Smith Maharam’s new pattern released this summer – Stepped Plaid, Lake.
"Rendered in a palette of blue, greens and yellows with figures depicting transient experiences, the work is part of a group of my long term projects which I work on periodically. Everytime I learn something new I try it on one of my ‘monalisas’, 2 or 3 projects I am slowly working on. Officially beginning in 2021, the work attempts to study 3 things: 1) How to prime a secondhand cotton fabric into a canvas robust enough to handle a continuous tactile process of working. Towards the middle of 2022 is when I figured out the right proportions for a matt non-cracking finish. 2) Building layered narratives. The material offers a diverse range of storytelling opportunities. Each layer offers multiple entries into the work. 3) The work studies textures both applied and markmade. It was definitely an exercise in restraint."
Edition of 3 with 2 AP
In a time of extreme polarization, climate catastrophe, and an endless terrifying news cycle, the artist team Ghost of a Dream has created their multi-faceted digital project Aligned by the Sun in an effort to bring hope to our collective experience and unify our fractured planet. Each work in this series is created by overlaying images of a setting sun that align vastly different and often non-neighboring locations.
Aligned by the Sun (a total revolution) collages videos of the sunset by capturing stills, then layering, desaturating and combining these disparate images into one place. The videos in Aligned by the Sun have been contributed by artists in 225 nations around the globe that Ghost has been in communication with about the project (including artists from each of the UN Member States as well as many other locations). Ghost of a Dream’s Aligned by the Sun (a total revolution) offers an approach, or entry point, to important conversations around equality, location, migration, and the environment.
Please note that dimensions include hanging threads
Main panel dimensions: 58 x 58 cm
“My figurative expressions are a negotiation between styles often favoring a deskilled approach to rendering the body. Aput and two others were made around the time I was thinking about composition and balance. There was an active meditation on ratios and weights."
"It is an artwork coming from my recent body of work exploring my Ugandan history and self-understanding. So far the project has given birth to The exhibition “Ateker, ijasi biyayi? - Greetings from the road (A dedication)”, a homecoming for me, showcasing my works in my first solo exhibition in the country.
The work is a translation of multiple influences including a black and white flat coiled basket currently hanging on my wall, time spent in Venice working with the Ca Pesaro Museum Permanent Collection where Paul Chagall’s Praying Jew was on display.
It is a multi-layered exploration of the ethics of knowledge or intelligence translation. It questions the translator’s responsibility towards Care in Witness."
Signed, titled and dated 'J. Eielson, Bandiere-99' (on the reverse)
1920 × 1080
16:9
In the style of American sculptor and designer Paul Evans, famed for his contributions to the American Craft Movement, who rejected mass production in favour of hand applied finishes, creating one of kind unrepeatable pieces.
Each Panel: 180 x 140 cm (70.87 x 55.12 in)
Sheet: 31.3 cm × 43.2 cm
Framed: 45.4 × 57.5 × 3.8 cm
To create this new work, Manning asked Sara Mearns, Principal Dancer with the New York City Ballet, to sit for her. The dancers of NYCB are renowned for their dynamism, athleticism and speed and these qualities are evident in Manning’s fiercely energetic and fluid handling of paint. Manning was drawn to what she describes as Mearns’s ‘rare combination of strength and delicacy’ in movement. At the centre of the composition, she paints the serene face of Mearns, a still point amidst the centrifugal force of her own body, which Manning suggests is arching, bending, folding and reaching around her.
Flickering white highlights imply a body in constant motion and rapid, swirling brushstrokes prevent our eye from settling. To look is to be caught up in the explosive action that is unfolding in front of us. The title of the work, Staccato, adds to the image the sound of a sharp, punctuated musical rhythm and evokes a sense of duration.
In 2023, Manning collaborated with choreographer, Christopher Wheeldon, designing sets for a new ballet for New York City Ballet entitled From You Within Me. These graphite ‘gesture’ studies, as Manning refers to them, exhibited here for first time, were made in the studios of New York City Ballet and were an attempt to record the continuous, rapid movement of dancers’ bodies at the very moment that Wheeldon found the shapes and vocabulary he desired. As Wheeldon coaxed new shapes from the dancers, so Manning tried to capture that process on paper, describing the resulting sketches as ‘a visual metronome.’
Courtesy of A.I. and artist
Haffendi Anuar’s webbed work mimics a spider’s scaffolding poised, at the ready to ensnare and entangle flying prey. The attachment of such silk fibres, in this case, foregrounds a two dimensional architecture enclosing memories in sepia [tins of Nestle Nespray, nenek’s baju (grandmother’s outfit), a limb, a traditional Malay sarong, a child’s pinafore] intersected by swatches of colour [royal and mayan blue]. Elements of autobiography sourced from a found family photo nod towards the archive and present.
© Alvaro Barrington. Courtesy Thaddaeus Ropac gallery, London · Paris · Salzburg · Seoul. Photo: Charles Duprat.
![Compass Pose [Deanna]](https://cdn.sanity.io/images/nijaqtbv/production/d81ffd0e25633d8f34df0015fb775882698e705b-1000x992.png?h=800&q=80&auto=format)
![Compass Pose [Deanna]](https://cdn.sanity.io/images/nijaqtbv/production/d81ffd0e25633d8f34df0015fb775882698e705b-1000x992.png?w=30&q=1&auto=format)
Edition 3 of 5 + 1 AP
Signed and dated
Legs that extend, bend and kick erupt from the surface, a writhing mass of movement interspersed with rippling fabric and organic forms. It is as though some kind of dynamic metamorphosis is enacted in front of our eyes – what Kneebone refers to as ‘the pulse of life.’ Astonishingly, this illusion of continuous movement is created through porcelain, a medium that although malleable when wet, hardens to become one of the most brittle. Kneebone pushes the medium of porcelain to its limits. This work partly collapsed in the kiln, losing some of its verticality, but finding beauty and movement in the result, this then becomes an important part of how she depicts the body moving in time and space.
This sculpture was originally made for an exhibition and performance project entitled The Dance Project (2018–19). The pencil drawings show Kneebone’s continued interest in how to portray a body moving through space to suggest duration. Elongated limbs that have multiplied and fused, feet touching feet, fall through the air. Our eye sees movement as we follow the shapes of the tumbling, twisting, arched forms.
Each: 177 x 136 cm. Image courtesy of the artist and ActionSpace.
Photo credit, Francis Ware.
Each: 158 x 136 cm. Image courtesy of the artist and ActionSpace.
Photo credit, Francis Ware
A visual artist, performer and choreographer, the media of Peake’s artistic practice are absolutely intertwined. This pair of paintings, specially made for this exhibition, form part on an ongoing series of work that Peake refers to as ‘Factual Actual.’ The process begins with her making a factual imprint of her own body on paper, drawing around it as she moves. She then builds on this embodied tracing, painting over to add marks that recall the sensations of the movement itself.
In these works, her body seems to twist from side to side, tumbling forward and upside down and we see multiple arms, breasts and heads. This multiplicity of bodies, Peake says, reflects the fact that we are multidimensional beings, which cannot be confined to single version of the self. As she adds marks to the paper, she also edits out, inviting us to contrast the imagined body with its objective form.
A visual artist, performer and choreographer, the media of Peake’s artistic practice are absolutely intertwined. This pair of paintings, specially made for this exhibition, form part on an ongoing series of work that Peake refers to as ‘Factual Actual.’ The process begins with her making a factual imprint of her own body on paper, drawing around it as she moves. She then builds on this embodied tracing, painting over to add marks that recall the sensations of the movement itself.
In these works, her body seems to twist from side to side, tumbling forward and upside down and we see multiple arms, breasts and heads. This multiplicity of bodies, Peake says, reflects the fact that we are multidimensional beings, which cannot be confined to single version of the self. As she adds marks to the paper, she also edits out, inviting us to contrast the imagined body with its objective form.
Carlos Sagrera’s work captures the intricacies of memory and the ever-evolving passage of time. The essence of his work lies in the masterful fusion of hyper-realism and abstraction, creating a mesmerizing interplay within his paintings.
Photo: Mason Kuehler
Bo Kim’s work examines the evolving dynamics of human relationships—both with one another and with nature—through the lens of time.
Reflecting on her parents, Bo writes, "They always seemed as strong as trees, but now I see the wrinkles on their faces. I never imagined my trees would bend; I believed they’d remain lush and green in the forest.” This reflection lies at the heart of her My Tree series, which delves into the finite nature of life. By chronicling her parents’ aging, Bo transforms a deeply personal story into a universal narrative. While time and aging are natural processes, accepting them with grace remains one of life’s greatest challenges.
Bo’s work also touches on the profound, timeless bonds between parents and children, inviting viewers to reflect on the enduring nature of cosmic time, which transcends individual relationships. In From a Pair, September 1993, she uses the image of two intertwined trees to symbolize the interconnected lives of parents and children. Through this visual metaphor, Kim gains insights, observes emotions, and comes to terms with life’s principles—truths that are often difficult to grasp. Her work ultimately reveals that while each person’s destiny is unique, our lives are intrinsically interconnected and interdependent.
Legs that extend, bend and kick erupt from the surface, a writhing mass of movement interspersed with rippling fabric and organic forms. It is as though some kind of dynamic metamorphosis is enacted in front of our eyes – what Kneebone refers to as ‘the pulse of life.’ Astonishingly, this illusion of continuous movement is created through porcelain, a medium that although malleable when wet, hardens to become one of the most brittle. Kneebone pushes the medium of porcelain to its limits. This work partly collapsed in the kiln, losing some of its verticality, but finding beauty and movement in the result, this then becomes an important part of how she depicts the body moving in time and space.
This sculpture was originally made for an exhibition and performance project entitled The Dance Project (2018–19). The pencil drawings show Kneebone’s continued interest in how to portray a body moving through space to suggest duration. Elongated limbs that have multiplied and fused, feet touching feet, fall through the air. Our eye sees movement as we follow the shapes of the tumbling, twisting, arched forms.
Legs that extend, bend and kick erupt from the surface, a writhing mass of movement interspersed with rippling fabric and organic forms. It is as though some kind of dynamic metamorphosis is enacted in front of our eyes – what Kneebone refers to as ‘the pulse of life.’ Astonishingly, this illusion of continuous movement is created through porcelain, a medium that although malleable when wet, hardens to become one of the most brittle. Kneebone pushes the medium of porcelain to its limits. This work partly collapsed in the kiln, losing some of its verticality, but finding beauty and movement in the result, this then becomes an important part of how she depicts the body moving in time and space.
This sculpture was originally made for an exhibition and performance project entitled The Dance Project (2018–19). The pencil drawings show Kneebone’s continued interest in how to portray a body moving through space to suggest duration. Elongated limbs that have multiplied and fused, feet touching feet, fall through the air. Our eye sees movement as we follow the shapes of the tumbling, twisting, arched forms.
