Gina Beavers
Heart in Hands (Heart Health)

2019
acrylic on linen
122 x 92 cm
48 x 36 in
unique
unframed


available
USD 22.000 (+ VAT if applicable)

Working before with references taken from the original pop movement of the 1950’s, Beavers evolved to paint the 'current pop', starting to search on social media posts for image templates to her extravagant canvases. Beavers' anthropological interest in society translates in paintings that explore the banality of internet: makeup tutorials, the so called food-porn pictures, body builder selfies, etc. In tune with the eccentricity of her artistic process, Gina Beavers maximizes the visual potential of her medium, taking tridimensionality to its higher possible level and bringing painting closer to sculpture. In 2019 Beavers had a solo exhibition at MoMA PS1, and in 2020 she was part of a group show in the Frans Hals Museum in Haarlem.

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Umut Yasat
Der Stapel 22

2018
acrylic, cotton, jute, plastic, cardboard, paper, ink, glass, stainless steel, steel, aluminum, silver, gold, brass, felt, felt-tip pencil, pencil, crayon, ballpoint pencil, wine, mayonnaise, leather, glue, tobacco, wood, hair, tooth, tangerine, foam
175 x 57 x 55 cm
69 x 22.5 x 22.5 in
unique


available
EUR 7.000 (+ VAT if applicable)

At first Umut Yasat's process encompassed tiding all of the artist’s previous works together and then it evolved into the agglomeration of not only works of art but also several everyday objects both meaningful and trivial. Yasat works on these sculptures until they reach his own height - a self-imposed limitation, which is merely a material necessity, since he cannot work on an endless Stapel without separating it into segments. Therefore, his sculptural pieces are in fact all parts of one continuous work of art, of one life-long Stapel.

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Serge Attukwei Clottey
Keep me posted

2017
charcoal and pastel on paper
107 x 76 cm
42 x 30 in
unique
framed


available
EUR 4.000 (+ VAT if applicable)

Clottey’s drawings, made of raw materials such as charcoal and pastel have a cubist quality but, unlike western modernism, Clottey’s perspective is not European. In his figures one sees that the artist is depicting his people, since these erotically charged images clearly show African men and women.

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