Simon Shepherd

Divide and Conker

Geoffrey Rose - Frozen Moments - Cracked Egg, Year: circa 1978, Medium: Resin and Ceramic Sculpture, signed and numbered in marker on bottom, Edition: 1209/2000, Image Size: 5.5,...

Javier Calleja is showcasing a fresh crop of paintings and sculptures in NANZUKA’s 2G gallery and the dealer’s emerging outpost, 3110NZ by LDH Kitchen, ...

Collection: Perseverancia Edition: 03/20 Description: Jordan 1 “Taxi Yellow” sneaker with black laces attached to pink bubblegum, full casted, sanded a...

The crocodile was the first piece Richard Orlinski made. The artist is fascinated by its ability to survive having withstood natural disasters and glaciations. Man and crocodile shar...

Richard Orlinski’s "Horse" captures the essence of wild energy and untamed spirit through its dynamic rearing pose. The sculpture presents the horse standing on its hind legs and tai...

The kindly yet scary-looking dragon by Richard Orlinski is rooted in Chinese folklore. It has a crest on the top of its head so it can fly and master the wind and rain. It symbolises...

Cheeky references to pop culture and the societal context. Grounded in a postmodern vernacular, Alben’s paintings and sculptures are a pastiche of art historical moments including ...

Cheeky references to pop culture and the societal context. Grounded in a postmodern vernacular, Alben’s paintings and sculptures are a pastiche of art historical moments including ...

Cheeky references to pop culture and the societal context. Grounded in a postmodern vernacular, Alben’s paintings and sculptures are a pastiche of art historical moments including P...

Cheeky references to pop culture and the societal context. Grounded in a postmodern vernacular, Alben’s paintings and sculptures are a pastiche of art historical moments including Pop and Classical art. Interested in street art, the self-taught artist references an array of cultural touchstones in his densely layered, often stencil-sprayed paintings; his allusions include corporate mascots, historical figures, actors, comic book characters, and artists. His sculpture similarly embraces popular culture, though it is also directly influenced by the work of the French artist Arman, who exhibited commercial objects as sculpture in the 1960s. Similarly insisting that popular culture and aesthetic production are linked, Alben inverts Arman’s structure by reimagining touchstones of art history such as the Venus de Milo as a configuration of crushed Coke cans