Mark Wallinger 'Proteus VI' Print Available

Artist: Mark Wallinger
Title: Proteus VI
Medium: Framed Giclee Print
Size: 68.5 x 93 cm
Edition: 25
Price: $1,750

  

Mark Wallinger is a British contemporary artist born in 1959 in Chigwell, Essex, celebrated for works that probe identity, nationhood and belief through poetic wit and conceptual rigour. After studying at the Chelsea School of Art and Goldsmiths, he first gained notice in the 1980s with paintings that inserted humble racehorses into Old Master compositions, questioning ideas of value, lineage and spectacle. This fascination with overlooked symbols continued in A Real Work of Art (1994), for which he bought and raced a horse named after the piece, blurring the boundary between artwork and living creature.

In 2007 Wallinger won the Turner Prize for State Britain, a meticulous recreation of Brian Haw’s protest camp outside Parliament, complete with banners, banners and slogans. Installed in Tate Britain, the work transformed a site of dissent into a haunting monument to free speech and civil liberty. Equally powerful is Ecce Homo (1999), a marble resin figure of Christ placed on the Fourth Plinth in Trafalgar Square, its diminutive scale and exposed vulnerability confronting imperial grandeur and inviting reflection on power, compassion and public space.

Religious and philosophical inquiry runs throughout his practice. Labyrinth (2013) comprises 270 enamel plaques installed across the London Underground, each bearing a red maze that invites contemplation amid commuter rush. The World Turned Upside Down (2019) presents a giant globe with the South Pole at the top, challenging viewers to reconsider familiar perspectives and the constructs that govern perception.

Wallinger works across media, from film and sculpture to installation and text, always seeking the poetic moment when concept and material align. Whether filming himself walking a white line through Jerusalem or casting his own shadow in bronze, he invites viewers to question certainties and to recognise the complex, often contradictory forces that shape contemporary life.

Hera 'The World Needs All The Super-Heroes It Can Get' Print Available

Artist: Hera
Title: The World Needs All The Super-Heroes It Can Get
Medium: 3 Color Lithograph
Size: 24 x 30 Inches
Edition: 100
Price: €570

 

Hera is the public alias of Jasmin Siddiqui, the Frankfurt-raised half of German streetart duo Herakut. Born in 1981 to a Pakistani-German family, she grew up between two languages and cultural codes, an experience that feeds her image-making today. While studying art therapy she began painting walls with fellow student Akut, forming Herakut in 2002 and quickly gaining notice for their dreamlike murals that merge her gestural drawing with his photorealistic spray technique.

Hera’s role centres on storytelling. She sketches loose, expressive figures in charcoal or watered-down acrylic, allowing drips and splashes to remain as emotional evidence. Giant children, weary elephants and cloaked storytellers stare out from brick façades, their eyes often half closed as if weighed down by unseen burdens. Around these protagonists she writes short poetic lines in English or German, fragmentary thoughts on innocence, exile and resilience that invite passers-by to pause and complete the narrative.

Her palette is muted yet tender: dusty roses, bruised purples and moonlit blues swirl together, creating atmospheres that feel both comforting and unsettling. She applies paint with brushes, rags and fingers, leaving fingerprints and gritty brush marks visible, proof that the wall is alive and breathing.

When not travelling for festivals or commissions, Hera works in the studio on canvas and paper pieces, often layering old children’s book pages beneath translucent washes, embedding forgotten stories into new ones. Through every image she offers a gentle reminder: vulnerability is not weakness, but a bridge that connects disparate lives across concrete and language.

Nathan Bowen 'Basquiat + Warhol' Original Available

Artist: Nathan Bowen
Title: Basquiat + Warhol
Medium: Ink + Pen on Paper
Size: 42 x 60 cm
Edition: UNIQUE
Price: £300

 

Nathan Bowen is a British street artist whose raw, expressive style brings urgency and dark humour to city walls across London and beyond. Born in 1982 and raised in Deptford, he began drawing on whatever surfaces he could find, developing a compulsive need to mark public space that continues to drive his daily practice. Working primarily with black acrylic and chunky charcoal sticks, he creates frantic figures that seem to claw their way out of brickwork, their wide eyes and gaping mouths suggesting both protest and despair.

His process is immediate and instinctive. Carrying paint and brushes in a backpack, Bowen approaches walls with no preliminary sketches, allowing the texture, cracks and graffiti beneath to guide each stroke. This spontaneity results in images that feel alive, as if the characters might shuffle or scream at any moment. Recurring motifs include skeletal birds, distorted clowns and suited men with melting faces, all rendered with aggressive mark-making that leaves drips and splatters as evidence of speed and emotion.

Beyond murals, Bowen produces smaller works on found wood and cardboard, often incorporating torn adverts, rusted metal and shattered glass to amplify themes of urban decay and resilience. He also stages “live attacks,” painting rapidly while interacting with passers-by, turning the act of creation into a public performance that challenges perceptions of vandalism and art.

Despite brushes with authority, he remains committed to unauthorised work, believing the street offers the most honest dialogue with society. Through every frantic figure and smeared grin, Nathan Bowen invites viewers to confront the chaos of modern life and to find catharsis in the act of rebellion.

Karma Phuntsok 'Invocations Of Buddha' Print Available

Artist: Karma Phuntsok
Title: Invocations Of Buddha
Medium: Multi Color Screen Print
Size: 18 x 24 Inches
Edition: UNSURE
Price: $65

 

Karma Phuntsok is a Tibetan painter whose life and art form a bridge between ancient Buddhist tradition and contemporary global expression. Born in Lhasa in 1952, he fled the Chinese invasion as a child, crossing the Himalayas to reach refugee schools in India where monks first taught him thangka painting, the meticulous scroll art used for meditation and teaching. Years of copying iconometric grids gave him flawless brush control, yet his restless curiosity pushed him toward new colours, perspectives and subjects.

Working now from a bright studio near Dharamshala, he layers mineral pigments and 24 carat gold over hand woven cotton, building luminous surfaces that glow like sunrise over the plateau. Traditional deities sit beside astronauts, motorbikes and city skylines, symbols that speak to exile, modern identity and the resilience of culture in diaspora. Lotus blossoms float above subway cars, suggesting that compassion can travel any route.

Collectors worldwide prize his pieces for their technical mastery and emotional clarity. Proceeds support refugee education, allowing young Tibetans to study art and language. Workshops in Europe and North America invite students to grind malachite, mix egg tempera and feel the calm focus required to outline a single lotus petal.

Through every stroke Karma insists that heritage is not a museum piece but a living conversation, one that welcomes new voices while honouring ancient lineages. His canvases remind viewers that beauty born from displacement can still point toward home, painted in gold, sky blue and the steady pulse of hope.

Shepard Fairey Obey 'Live Anthology' Tom Petty Print Release Details

Artist: Shepard Fairey/Obey
Title: Live Anthology (Tom Petty)
Medium: Multi Color Screen Print
Size: 18 x 24 Inches
Edition: 1,000
Price: $75

Tom Petty was an American singer, songwriter and guitarist whose plain spoken lyrics and chiming guitars helped define heartland rock. Born in Gainesville, Florida in 1950, he formed the Epics at fourteen, then Mudcrutch, which evolved into Tom Petty and the Heartbreakers in 1976. Their debut album delivered radio staples Breakdown and American Girl, establishing a signature sound built on jangling Rickenbacker chords, driving bass and Petty’s nasal, everyman drawl.

Over four decades he released thirteen studio albums with the Heartbreakers, plus three solo projects and two as part of the Traveling Wilburys. Songs like Refugee, Don’t Come Around Here No More and I Won’t Back Down blend defiance with vulnerability, chronicling restless lovers, dreamers and outsiders who refuse to surrender. His writing prizes concise storytelling and memorable hooks, influenced by the Beatles’ melodic craft and Southern roots of Creedence Clearwater Revival.

Petty’s stage presence was deceptively laid back; behind the lacid smile lay meticulous attention to arrangement and dynamics. He fought record industry greed, declaring bankruptcy in 1979 to void a bad contract, and later battled streaming services over artist royalties, earning a reputation as a defender of creative control.

In 2017 he concluded a triumphant fortieth anniversary tour with the Heartbreakers, then died suddenly of cardiac arrest, prompting an outpouring of grief from fans and peers who hailed him as a voice of quiet rebellion. His catalog remains a roadmap for navigating disappointment with melody, humor and stubborn hope, proof that simple chords can carry complex truths and that rock and roll, at its best, is an act of compassionate defiance.

Judy Chicago 'Reincarnation' Triptych Available

Artist: Judy Chicago
Title: Reincarnation (Triptych)
Medium: Sparkle Gloss Varnished 24 Color Screen Print
Size: 105 x 44 cm
Edition: 50
Price: €3,025 

 

Judy Chicago is an American artist, educator and writer born in 1939 in Chicago, Illinois, celebrated for her pioneering role in feminist art and her commitment to exploring the female experience through bold, collaborative works. Trained at UCLA, she challenged the male-dominated art world by creating powerful pieces that celebrate women’s history, sexuality and creativity. Her most famous work, The Dinner Party (1974-79), is a monumental installation featuring a triangular table with 39 elaborate place settings dedicated to significant women from history and mythology, each rendered in ceramics, textiles and embroidery, merging craft with fine art to elevate traditionally feminine skills.

Chicago’s practice spans painting, sculpture, installation and performance, often employing vivid colours and symbolic forms to confront taboos and reclaim female narratives. Her Birth Project (1980-85) involved hundreds of volunteers in creating textile pieces depicting childbirth, while The Holocaust Project (1985-93) explored genocide through tapestry and stained glass, demonstrating her ability to tackle complex historical subjects with emotional depth and visual impact.

A dedicated educator, Chicago founded the first feminist art program in the United States at Fresno State College in 1970, inspiring generations of artists to question gender roles and institutional power. Her teaching emphasized collaboration, personal narrative and the validation of craft as high art, breaking down barriers between disciplines and hierarchies.

Today, Chicago continues to create and advocate, producing works that address climate change, ageing and the ongoing struggle for gender equality. Her art is held in major museums worldwide, including the Brooklyn Museum and the Tate Modern. Through her unwavering commitment to feminist principles and collaborative practice, Judy Chicago has transformed contemporary art, ensuring that women’s voices and experiences are seen, heard and celebrated.

Ron English 'Rabbit and Raccoon' Print Available

Artist: Ron English
Title: Rabbit and Raccoon
Medium: Giclee Print
Size: 12 x 16 Inches
Edition: 30
Price: $150

 

Ron English is an American contemporary artist born in 1959 in Dallas, Texas, celebrated for his vibrant, subversive works that critique consumer culture, advertising and political power. Trained at the University of North Texas, he pioneered “POPaganda,” a term he coined to describe his fusion of high and low imagery, blending iconic characters with grotesque or satirical twists. His photorealistic technique, honed through years of billboard takeovers, allows him to seamlessly merge familiar icons with unsettling alterations, creating images that are both humorous and disturbing.

English’s most famous creations include “MC Supersized,” an obese Ronald McDonald that critiques fast-food culture, and “Abraham Obama,” a portrait blending Abraham Lincoln and Barack Obama, symbolising the intersection of history and contemporary politics. His “Cereal Killers” series reimagines breakfast mascots as decaying or zombie like figures, targeting the sugarcoated marketing aimed at children. Working across painting, sculpture and street art, he often employs bright, candy colours to lure viewers into darker narratives about addiction, conformity and corporate greed.

A key figure in the street-art movement, English has illegally altered billboards across America, replacing advertisements with his own twisted versions, a practice he calls “culture jamming.” These interventions challenge the passive consumption of media and encourage viewers to question the images that surround them. His work has been exhibited internationally, from New York’s Whitney Museum to galleries in London and Tokyo, and he continues to produce new works that critique contemporary society.

Whether painting a canvas, sculpting a toy or hijacking a billboard, English aims to disrupt the norm, using art as a tool for social commentary and cultural critique. His enduring message is clear: question everything, consume critically and never accept the surface at face value.

Anthony Lister 'Spider Woman' Print Available

Artist: Anthony Lister
Title: Spider Woman
Medium: Giclee Print
Size: 21 x 26 cm
Edition: 30
Price: $290 AUD

 

Anthony Lister is an Australian painter and street artist born in Brisbane in 1979, celebrated for his raw, expressive style that fuses high and low culture into visceral contemporary narratives. He studied at the Queensland College of Art before moving to New York in the early 2000s, where he apprenticed under pop surrealist Ron English, absorbing techniques that blend graffiti energy with classical figuration. Working across canvas, wall and found objects, Lister builds surfaces through layered aerosol, oil stick and acrylic, allowing drips, smears and gestural marks to remain as evidence of speed and emotion.

His imagery centres on masked or distorted figures, often female, who appear to wrestle with inner turmoil or societal expectation. Eyes are frequently obscured by splashes or bold strokes, suggesting vulnerability and defiance simultaneously. Colour is applied with urgency, hot pinks and bruised purples colliding against asphalt greys, creating a visual tension that mirrors the chaos of urban life. Influences range from Francis Bacon’s existential anguish to the raw mark making of Jean-Michel Basquiat, filtered through a distinctly antipodean lens that celebrates both beauty and decay.

Lister's work has been exhibited internationally, from London’s Saatchi Gallery to public walls in Berlin and Los Angeles, while his paintings are held in private collections worldwide. Despite commercial success, he continues to paint illegally, believing that the street offers an unfiltered dialogue with the public. Whether rendering a six-metre wall or a small canvas, Lister seeks to capture the fragile moment when personal emotion spills into shared space, reminding viewers that vulnerability can be a source of strength and that art, like life, is most powerful when it remains unfinished, honest and free.

Cat Phillipps + Peter Kennard 'Photo Op' Print Available

Artists: Cat Phillipps + Peter Kennard
Title: Photo Op
Medium: Photo Lithographic Print
Size: 49 x 49 cm
Edition: UNSURE
Price: £75 

 

Cat Phillipps is a British artist and printmaker based in London who uses bold graphics and stark contrast to question power, memory and national myth. Born in the Midlands and trained at the Royal College of Art, she works primarily in screen print, combining hand drawn imagery with found photographs and archival material to build layered compositions that feel both urgent and timeless. Her palette is restricted to black, white and flashes of red, a deliberate choice that amplifies the emotional charge of each piece while echoing the visual language of propaganda posters and newsprint.

Phillipps first gained notice for Proud Haddock, a series that reimagines historical British symbols as fragile, crumbling icons, suggesting that imperial glory is built on shifting sand. She cuts stencils directly from old maps, military ledgers and children’s storybooks, then overlaps them until portraits of generals dissolve into silhouettes of factory workers, creating visual collisions that ask who is remembered and who is erased. The process is physical: ink is pushed through mesh by hand, registration is intentionally misaligned, and tears in the paper are left visible, evidence that history itself is imperfect and contested.

Recent exhibitions at the Imperial War Museum, Peckham Platform and group shows across Europe have drawn critical acclaim, while her prints are held in the collections of the British Library and the Victoria and Albert Museum. Alongside studio work she runs community workshops, teaching teenagers to cut their own stencils and question the monuments they walk past every day.

Whether producing a pocket sized zine or a three metre wall piece, Phillipps approaches every surface with the same intent: make the viewer stop, look again, and confront the stories that nations tell about themselves.

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Peter Kennard is a British artist and educator born in London in 1949, widely regarded as one of the most influential political artists of his generation. He studied at the Slade School of Fine Art and the Royal College of Art, where he began developing a practice that fuses photomontage, painting, and digital media to interrogate power, war, and social injustice. Rejecting traditional notions of beauty, Kennard uses found images, newspaper photographs, and official documents, tearing and recombining them to create jarring visual critiques that disrupt the narratives of mass media.

His breakthrough series Haywain with Cruise Missiles (1981) reimagines Constable’s pastoral painting as a nuclear battlefield, replacing the rural idyll with a convoy of warheads, a visual that became iconic in the Campaign for Nuclear Disarmament movement. Throughout the 1980s and 1990s, Kennard produced searing photomontages addressing the Falklands War, the Gulf War, and the arms trade, often collaborating with activists and writers to distribute his work on posters, postcards, and banners. His technique is raw and immediate: images are torn, burned, and re-photographed, then overlaid with aggressive brushwork, creating compositions that feel both urgent and timeless.

In recent years, Kennard has embraced digital tools while retaining his signature fragmentation, producing works that confront climate collapse, surveillance capitalism, and the refugee crisis. Exhibitions at the Imperial War Museum, Tate Modern, and the Victoria and Albert Museum have cemented his reputation, yet he continues to prioritize accessibility, posting new works online and distributing prints at protests. Whether producing a postcard or a museum installation, Kennard’s mission remains constant: to make visible the violence and inequality that official images conceal, and to empower viewers to question the world they inhabit.

Pat Cantin 'Patente a Grosses' Print Available

Artist: Pat Cantin
Title: Patente a Grosses
Medium: Giclee Print
Size: 20 x 30 Inches
Edition: 10
Price: $420 CAD

 

Pat Cantin is a Canadian artist who paints bold geometric abstractions that pulse with rhythmic colour and tactile depth. Born in Montreal and trained in design, he spent years directing commercial graphics before turning full time to fine art, a shift that allows him to merge disciplined composition with intuitive gesture. Working from a bright studio in Victoriaville, Quebec, he builds each canvas through patient layering, pouring, scraping and glazing until smooth gradients collide with crisp angles, creating a sense of movement frozen mid beat.

His palette leans toward saturated oranges, electric blues and sunlit yellows, hues that echo the neon signage of nighttime city drives and the warm glow of analog television test patterns. Cantin avoids brushes, preferring squeegees, palette knives and taped edges to push acrylic across the surface, a method that leaves subtle ridges and glossy pools, evidence of physical negotiation between artist and material. Recent series explore the idea of sonic visualization, translating bass lines and drum breaks into interlocking shapes that seem to reverberate off the canvas.

Exhibitions at Galerie Bernard in Montreal, Art Basel Miami and group shows across Canada have sold out, while corporate collections including Cirque du Soleil and Ubisoft have acquired large scale pieces that energise open office spaces. Despite growing demand, Cantin keeps production intimate, hand finishing every work and releasing small editions of archival prints that carry the same luminous depth as the originals.

Whether rendering a three metre wall commission or a pocket sized study, he seeks the fragile moment when colour, rhythm and memory lock into perfect sync, reminding viewers that abstraction can feel as immediate as a favourite song heard on a late night highway.