Olaolu Slawn 'Running Lies' Print Available

Artist: Olaolu Slawn
Title: Running Lies
Medium: Giclee Print
Size: 70 x 70 cm
Edition: UNSURE
Prices: $550

 

Olaolu Slawn born Olaolu Akeredolu-Ale in Lagos, October 24th, 2000 is a British-Nigerian painter, designer and self-branded “scam-artist” who has sprinted from Nigeria’s fledgling skate scene to the front pages of Sotheby’s and Silverstone in under five years. He learnt visual mischief stacking shelves and shaping boards at Wafflesncream, Lagos’ first skate shop, then co-founded street collective Motherlan, earning an early cosign from Virgil Abloh. A 2018 move to London (and lockdown boredom) pushed him from graphic-design classes at Middlesex University to slapping bright, grotesque caricatures on any surface that couldn’t run away canvases, club walls, even fried bread at after-parties.

Working in furious, lo-fi layers of spray paint, household emulsion and oil stick, Slawn fuses Yoruba pattern logic with 90s cartoon violence, re-appropriating golliwog-era stereotypes into bug-eyed, balloon-lipped grotesques that bait debates on race, identity and bad taste. The punchy immediacy of the imagery plus stunts like “fight-club” exhibitions where punters brawled for paintings quickly drew fans from Skepta to A$AP Rocky.

Major institutions followed: in 2023 he became the youngest artist ever to redesign the BRIT Award statuette, then repeated the trick for the 2024 FA Cup trophy. Auction records escalated when Three Yoruba Brothers sold at Sotheby’s and history was made again in July 2025 when his graffiti wrap on Racing Bulls’ Formula 1 VCARB 02 became the first artwork to race at the British Grand Prix. Whether you call it neo-expressionism or trolling at scale, Slawn’s work insists art can be loud, profane and still painfully honest about the pigment of prejudice.

Travis Louie 'Horned Sparkletail' Print Available

Artist: Travis Louie
Title: Horned Sparkletail
Medium: Giclee Print
Size: 16 x 20 Inches
Edition: UNSURE
Prices: $170

 

Travis Louie crafts monochrome “family albums” for a parallel Victorian planet. Born 1964 in Queens, New York, he grew up on Atomic-Age sci-fi, German Expressionist films and Saturday comic-shop runs, influences that still drip from his brushes today. After a Pratt Institute BFA in Communication Design he freelanced as an illustrator, but by 2003 the tiny sketches and marginalia in his journals had snowballed into a fully fledged mythology: a world of gentle werewolves, goat-cursed accountants, vibrating engine-drivers and other “human oddities” who queue up to have their formal portraits taken as proof they existed.

Working on smooth board, Louie lays down tight graphite drawings, then builds velvety grey tones with thin acrylic washes until the figures feel like antique tintypes unearthed in a dusty attic. The faux-historical finish is deliberate; it lets him smuggle modern themes; racism, xenophobia, immigrant otherness into faces that appear reassuringly vintage. Each sitter arrives with a micro-biography penned by the artist, turning exhibitions into storybook parlours where viewers read how a hedge-sleeping fur-being or top-hatted spider-lover earned their place in society.

The conceit has travelled far: from “Art From the New World” at Bristol City Museum to “Pop Surrealism” in Spoleto, Italy, and the pages of Hi-Fructose and Juxtapoz. Institutions such as the Virginia MOCA and numerous private collectors now count Louie’s portraits among their treasures, ensuring his quiet cast of misfits continues to petition for empathy, curiosity and wonder one sepia stare at a time.

Mychael Barratt 'Stik's Dog' Print Available

Artist: Mychael Barratt
Title: Stik's Dog
Medium: 2 Color Screen Print
Size: 22 x 22 cm
Edition: 100
Prices: £280

 

Mychael Barratt is a Canadian-born, London-based printmaker and painter whose intricate, story-rich works have made him one of the UK’s most collectable narrative artists. Born in Toronto, he arrived in London for a supposed fortnight three decades ago and never left; the capital’s skyline, history and mythology now saturate every etching he produces.

Working from a studio overlooking the Thames, Barratt hand-pulls limited-edition etchings that weave Shakespeare, Dickens, personal diary fragments and cartography into densely layered compositions. Maps are a recurring obsession: he re-draws centuries-old city plans, then overlays fictional sea-monsters, overheard conversations and snippets of poetry so that each plate becomes a time-travelling palimpsest.

A graduate of the Ontario College of Art, Barratt’s technical mastery soft-ground, aquatint, dry-point has earned him Fellowships at the Royal Society of Painter-Printmakers and selection for the RA Summer Exhibition every year since 2011. His 2022 solo show “A London Year” sold out within days, confirming a loyal following that ranges from first-time buyers to the British Museum, which holds his work in the permanent collection.

Mary West 'Wanderings' Print Available

Artist: Mary West
Title: Wanderings
Medium: Giclee Print
Size: 65 x 65 cm
Edition: 50
Prices: £350

 

Mary West is a British artist whose work explores the quiet poetry of the everyday, transforming familiar domestic and natural scenes into richly textured, emotionally resonant paintings. Mary studied at The Slade School of Fine Art. Working in West London close to the river. West combines loose, expressive brushwork with areas of intricate detail, creating a dynamic tension between abstraction and figuration primarily using oil and mixed media. Her compositions often feature interiors, still lifes, and garden views, rendered with a muted yet luminous palette that evokes a sense of memory, stillness, and introspection.

West’s background in textiles and design informs her tactile approach to surface and layering. She builds her paintings gradually, allowing previous marks to show through, creating depth and history within each piece. This process mirrors the themes she explores time, presence, and the beauty of imperfection. Her work invites viewers to slow down and notice the subtleties of light, form, and atmosphere that often go overlooked.

 West has exhibited widely across the UK and her work is held in private collections internationally. She has also collaborated with Partnership Editions, a platform that supports emerging and mid-career artists, making her work accessible to a broader audience. Whether depicting a sun-drenched windowsill or a vase of wilting flowers, Mary West captures the emotional resonance of the ordinary, offering a gentle reminder of the quiet beauty embedded in daily life. Her paintings are meditative, intimate, and deeply human.

Christian Hook 'Drawings From Somewhere Else II' Print Available

Artist: Christian Hook
Title: Drawings From Somewhere Else II
Medium: Framed Giclee Print
Size: 10 x 14 Inches
Edition: 49
Prices: $1,375

 

Christian Hook is a multi-award-winning artist whose dynamic, expressive style has redefined contemporary portraiture. Born in Gibraltar and now based in the UK, Hook originally trained in traditional painting techniques, but his restless curiosity led him to explore movement, energy, and the unseen layers of his subjects. His breakthrough came with a series of portraits that captured not just physical likeness, but the essence of motion and time often layering multiple images to suggest the passage of moments.

Hook gained widespread recognition after winning the Sky Arts Portrait Artist of the Year in 2014, where he painted actress Alan Cumming live on television. This exposure catapulted his work into the public eye and led to commissions from high-profile figures, including the British Royal Family. His portrait of Prince Philip now hangs in the Royal Collection at Windsor Castle.

His paintings are held in important private collections including that of HRH The Duke of Edinburgh, as well as in such prestigious public spaces as the Scottish National Gallery, the Museum of Liverpool, the V&A and the Bolton Museum. His celebrated sitters include Dame Kristin Scott Thomas, Sir Richard Branson, Sir Ian McKellen and most recently, Dame Judi Dench.

Working across painting, film, and digital media, Hook blends figurative realism with abstract expressionism. His subjects whether human, animal, or urban landscape are rendered with bold brushstrokes, vivid color, and a sense of fluidity that suggests life in motion. He often incorporates fragmented forms and gestural marks, creating a visual rhythm that echoes the energy of his creative process. Continuously pushing the boundaries of traditional portraiture, Christian Hook remains a compelling force in contemporary art, capturing not just what things look like but what they feel like.

Dave The Chimp 'They're Earning, We're Burning' Available

Artist: Dave The Chimp
Title: They're Earning, We're Burning
Medium: Original Mixed Media
Size: 22 x 22 cm
Edition: UNIQUE
Prices: €163

 

Born in London in 1973, Dave The Chimp migrated to Berlin with a skateboard under one arm and a stack of hand-drawn fanzines under the other. Since 1998 he has bombed walls not with ego-tags but with “Human Beans”: cartoon legumes that smile, protest, skate and sprout speech-bubbles of simple wisdom, turning city surfaces into miniature comics about kindness and revolt.

Trained only by 1980s half-pipes and photocopied punk comics, Dave approaches art like a DIY editor: he paints on scrap wood, directs music videos, publishes books, curates shows and even designs playable concrete sculptures full skateparks shaped like troll bridges or giant dads so audiences can grind over the artwork rather than guard it behind velvet rope.

His communal ethos led to high-profile team-ups. He co-founded early East-London paint jams where Banksy, Swoon and Shepard Fairey first swapped ideas, and later co-curated the 2020 URBAN NATION façade in Berlin, inviting four local artists to embed their own stories inside his sprawling “Human Bean” stone-circle, a 50-metre call for solidarity during the pandemic.

Whether silk-screening T-shirts, screen-printing Vans shoes (he was the first Brit to get a signature model) or pasting tiny orange beans down back alleys, Dave The Chimp keeps the message playful but pointed: look up, speak out, share your spot and, above all, “stay human.” 

EINE 'Circus Letters' Bunting Available

Artist: EINE
Title: Circus Bunting
Medium: 26 Letter Bunting Flags
Size: 1,000 x 32 cm
Edition: UNSURE
Prices: £70

London-born Ben Flynn (EINE) swapped a dull insurance job for the thrill of tagging Tube lines in the 1990s, gradually shifting from illicit scrawls to supersized, candy-coloured letters that now light up shutters from Shoreditch to Tokyo. His breakthrough idea painting the entire alphabet across Middlesex Street turned a nondescript East-End road into the world-famous “Alphabet Street” and proved typography could be street art’s main event, not just its caption.

In 2003 he co-founded the print studio Pictures on Walls (POW) with Banksy, becoming the in-house screen-print maestro who hand-pulled editions for Jamie Hewlett, Mode2 and Banksy himself; the DIY outfit gave early street artists a legitimate income stream long before commercial galleries would return their calls. The alliance paid diplomatic dividends in 2010 when David Cameron gifted EINE’s canvas Twenty First Century City to Barack Obama, catapulting the once-underground painter into headlines and the V&A, MoCA and Urban Nation permanent collections.

Today EINE’s murals, clothing line and record-breaking 17,500 sq ft “CREATE” wall (visible from space) continue his mission to make words punch as hard as images, reminding passers-by that letters are “characters” in both the typographic and human sense.

Arlo Sinclair 'Pacman: Pills & Ghosts' Print Available

Artist: Arlo Sinclair
Title: Pacman: Pills & Ghosts
Medium: Framed Hand Painted Real Floppy Disk
Size: 29 x 29 x 5 cm
Edition: 20
Prices: $425

  

Arlo Sinclair (b. 1980, South Africa) is a London-based painter who swapped code for canvas, transforming a childhood shaped by economic hardship and 1980s arcade addiction into wry, pixel-perfect oil paintings that mourn and celebrate obsolete tech. Self-taught after a career in computer programming, he treats magneto-digital storage floppy disks, VHS sleeves, early game cartridges as modern relics, rendering their scuffs, labels and corporate typography with Old-Master precision and a satirist’s grin. Star Wars, Jurassic Park, Top Gun, JAWS, Space Invaders, Pokemon and more have all been covered by his floppy disk design style.

Each composition blends nostalgia with critique: stripes of corrupted data become abstract color fields, while brand logos float like devotional icons, inviting viewers to confess their geek nostalgia and question planned obsolescence. Sculptural detours see Sinclair cast vintage Hot Wheels in bronze or embed circuit boards in resin, turning playroom trophies into luxury artifacts that taunt the art market’s own appetite for retro chic.

Since debuting in 2016 he has sold out editions at Woolff Gallery, Guy Hepner, Toxic Arts, and Artsy, while critics hail him as “the IT department’s Van Dyck” for the way he marries impasto paint with binary exactitude. Whether depicting a cracked AOL CD or a CRT screen mid-explosion, Sinclair’s work insists that the digital ghosts we archive in attics deserve the same reverence society reserves for marble busts proof that memory, like hardware, is always one click away from crashing.

Bahar Artan Oskay 'The Presence Of Absence' Print Available

Artist: Bahar Artan Oskay
Title: The Presence Of Absence
Medium: Wall Sculpture
Size: 24.2 x 20.5 cm
Edition: 150
Prices: $900

 

Istanbul-born Bahar Artan Oskay (1984) turns destruction into design. Armed with degrees from Yeditepe and Yıldız Technical Universities culminating in a Ph.D. she began by re-styling modern masters, inserting Mondrian grids and Matisse cut-outs into pop-culture contexts to test how fame warps seeing. Frustrated by her own polished surfaces, she literalized Picasso’s maxim that “every act of creation is first an act of destruction.” Oskay now saws dry figurative canvases into loose squares, then re-assembles the shards into swirling, pixel-like abstractions where brush-strokes meet saw-blade scars. The process is half chess, half chance: she never knows which color relationships will survive the shuffle, so each final panel records a tense truce between control and chaos.

The resulting wall works shown in solo and group exhibitions across Turkey and Japan read as slow-motion explosions of her earlier style, simultaneously erasing and preserving personal art history. By grafting fragments above the picture plane, she also toys with sculptural depth, letting shadows complete the composition as daylight shifts. When she isn’t cutting canvases, Oskay teaches and co-directs the Fine Arts program at Yeditepe, mentoring the next generation to question, cut and rebuild whatever tradition they inherit.

Andrej Barov 'Urban Fire 3' Print Available

Artist: Andrej Barov
Title: Urban Fire 3
Medium: Giclee Print
Size: 39.4 x 26.4 Inches
Edition: 150
Prices: $650

 

Andrej Barov, born in Leningrad in 1958, grew up inside a family orchestra of composers and actors, so stage-light and rehearsal-room shadows became his first visual vocabulary. After earning a 1981 theater-studies degree from Leningrad’s Academy of Theatre, Music and Film, he emigrated to Munich in 1988 and turned the proscenium into the pixel, swapping scripts for scanners to probe how media manufactures collective memory. Working photographically, painterly and digitally often on the same canvas Barov “paints” directly into a computer with stylus and brush, then prints, stretches and varnishes the data until the screen’s cold glow warms into tactile pigment.

Series such as Durchlöscher dissect iconic drink labels into vertical color bars, translating brand recognition into abstract scent-triggers, while Correlation re-codes Mediterranean landscapes through an “axial-image requirement principle,” reducing natural vistas to rhythmic signal impulses that test the limits of perceptual psychology. The goal is not documentation but revelation: to make viewers feel how digital fragmentation re-writes history in real time.

Barov’s output has appeared in over 120 European museum and gallery exhibitions since 1988, earning honors that range from the European Photography Award (1993) to Russia’s Ministry of Culture prize (1998) and Germany’s Bronze ADC (2003). Whether he is visualizing the color of perfume or compressing geopolitical timelines into geometric mosaics, Barov keeps asking one question: if our eyes no longer trust reality, what does the mind obey?