Works 307








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


It was Cambodian New Year, and my mom had requested a monk to come bless our family. It’s not often I see all my siblings gathered in one place at once. We all pay our respects, taking cue from our mother and auntie while they chant along and bow several times throughout the hymn. When all is done, everyone is sprinkled with blessed water and the monk ties a red string around each of the family member’s wrists, enchanted with protection and good fortune. In this painting, one of my elder sisters is holding her youngest. She’s holding her daughter firmly, cupping her hand into her palm as the monk uses a lighter to burn off the ends of the string.
























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)










Within the picture plane, this portal suggests the dimension of space on a flat surface. This painting began with a composite image of a temple from Cambodia. The doorway acts as a threshold bringing together different perspectives of places and times of the day. I merged the temple’s facade into the coastal sidewalks of Long Beach, using the sky, domesticated plants, and the surrounding man-made structures to bring the settings together. Ascending, a woman emerges into view, her attention focused on something out of sight from the viewer. Another figure is depicted outside the frame made present through a casted shadow which contrasts with the lighting. In the foreground, there’s a plate of fruit along with a bowl of rice grains with three sticks of incense in it – a gesture to a practice my mom continues to exercise from her religion of Buddhism.














My family has been asking me lately if I plan to get married to my partner. My parents have seven kids and we’re all in our 30s and 40s now. None of us have wed in a traditional Khmer ceremony. Our mother has told us indirectly that she would like to see at least one of us celebrate it before she passes. I didn’t really care growing up in America, though. The idea of marriage just seemed like a play on commitment followed by divorce. For my mother, marriage was a sense of security for a woman. She was constantly pressing my older siblings to have an arranged marriage with someone back in her home country. All her plans failed, even when one sibling said yes. I wanted to wait until I truly found the one. She hated boyfriends – she thought of it as a tainted act. It hurt to know she felt that way, but I think she gets it now. I grew up with the liberty to choose who could be my forever partner, and I think I finally found him.








Unframed: 52 × 76.8 x 0.5 cm
Framed: 62.5 × 87 × 5 cm


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)





In Cookie Jar, I wanted to create a work that plays with perception and forces the viewer to do a double take. That shift between what you think you're seeing and what's actually there is central to this piece. The title, Cookie Jar, is a playful nod to the phrase ‘hand in the cookie jar’, but with a cheeky twist. I wanted to add a layer of humour and mischief, balancing this illusion with a deeper exploration of how we interpret the body. The hand's placement and the way the leg folds are carefully composed to heighten the illusion, making the body feel both intimate and abstract. It's not about shock value, but about inviting curiosity and encouraging people to look closer. This piece is as much about playfulness as it is about challenging how we see and interpret familiar shapes and gestures.




