White Lotus is a series of ten original prints by the American artist Alex Katz. The series of works is based on White Lotus, a social satire conceived as a television series by Mike White. The first season was broadcast very successfully in the USA in July and August 2021.

Alex Katz is a big fan of this TV series and was inspired by it to create the new series of original graphics. The people depicted are his neighbors in Maine.

Set in the sun-drenched paradise of a Hawaiian resort, “White Lotus” unfolds as a captivating exploration of human nature against a backdrop of privilege and luxury. Created by Mike White, the HBO series delves into the lives of the guests and staff of an exclusive tropical resort, weaving a tapestry of drama, humor and social commentary.

White Lotus is a series of ten original prints by the American artist Alex Katz. The series of works is based on White Lotus, a social satire conceived as a television series by Mike White. The first season was broadcast very successfully in the USA in July and August 2021.

Alex Katz is a big fan of this TV series and was inspired by it to create the new series of original graphics. The people depicted are his neighbors in Maine.

Set in the sun-drenched paradise of a Hawaiian resort, “White Lotus” unfolds as a captivating exploration of human nature against a backdrop of privilege and luxury. Created by Mike White, the HBO series delves into the lives of the guests and staff of an exclusive tropical resort, weaving a tapestry of drama, humor and social commentary.

White Lotus is a series of ten original prints by the American artist Alex Katz. The series of works is based on White Lotus, a social satire conceived as a television series by Mike White. The first season was broadcast very successfully in the USA in July and August 2021.

Alex Katz is a big fan of this TV series and was inspired by it to create the new series of original graphics. The people depicted are his neighbors in Maine.

Set in the sun-drenched paradise of a Hawaiian resort, “White Lotus” unfolds as a captivating exploration of human nature against a backdrop of privilege and luxury. Created by Mike White, the HBO series delves into the lives of the guests and staff of an exclusive tropical resort, weaving a tapestry of drama, humor and social commentary.

White Lotus is a series of ten original prints by the American artist Alex Katz. The series of works is based on White Lotus, a social satire conceived as a television series by Mike White. The first season was broadcast very successfully in the USA in July and August 2021.

Alex Katz is a big fan of this TV series and was inspired by it to create the new series of original graphics. The people depicted are his neighbors in Maine.

Set in the sun-drenched paradise of a Hawaiian resort, “White Lotus” unfolds as a captivating exploration of human nature against a backdrop of privilege and luxury. Created by Mike White, the HBO series delves into the lives of the guests and staff of an exclusive tropical resort, weaving a tapestry of drama, humor and social commentary.

In this new series " Flags", Alex Katz returns to his painting of delicate flora in a sparse but emotive way. The flowers are like alive objects waving in the breeze, almost humanlike in the way they stand and present. Katz spent a lot of time in Japan with master printmakers and engaged in the delicate art of Japanese florals. This series is in that tradition.

In this new series " Flags", Alex Katz returns to his painting of delicate flora in a sparse but emotive way. The flowers are like alive objects waving in the breeze, almost humanlike in the way they stand and present. Katz spent a lot of time in Japan with master printmakers and engaged in the delicate art of Japanese florals. This series is in that tradition.

In an expansion of Julian Opie's subject matter, from his observations city dwellers, figures walking in the rain, runners and tourists to busy crowds of workers, the four new editions entitled "Dance", depict dancing figures captured in fast movement, using lenticular technology. For these new works Opie explores social media platforms. Each performer moves to a high energy dance popular on Tik Tok and You Tube

In an expansion of Julian Opie's subject matter, from his observations city dwellers, figures walking in the rain, runners and tourists to busy crowds of workers, the four new editions entitled "Dance", depict dancing figures captured in fast movement, using lenticular technology. For these new works Opie explores social media platforms. Each performer moves to a high energy dance popular on Tik Tok and You Tube

I have spent a lot of time looking at portraiture in the widest sense of the word; the depiction of humans by humans. People have been drawing and sculpting each other since Neolithic times, it was mostly animals that were depicted before that.

I look at these images and then those of early civilizations, through to more recent Old Master portraits and on to the signs and symbols and art works of today. Inevitably a human image acts to some degree as a mirror and also a personal introduction. The interest and fear, attraction and repulsion we feel for others, known and strangers, is carried and evoked by images. I note in particular the difference between looking at a human who knows they are being looked at, at someone who looks back at you, and the very different experience of simply “people watching” as you notice and check out passers by, people seen from your car or in the park.

The earliest, personalized face-on portraits that I’m aware of are the amazing Roman period Egyptian “Fayum” portraits in wax, but images of marching or walking, dancing, working and hunting people date much further back. Think of the striding Assyrian soldiers on palace walls or the walking Egyptian courtiers bringing gifts to the gods, the hunting stick figures with round heads and flying limbs and spears engraved on the rocks in the Sahara desert. They all denote energy and movement of people and passing time. I sometimes see children mimic the walk in my artworks and hope this suggests that the image resonates not just in your eyes but also in your body. In this show I have kept strictly to the theme of passing, walking people, images of whom I have gathered from pavements around the world with a hidden camera and a long lens.

I have allowed myself only one work from each different series, always using an entirely different medium and technique, in the hope that this might shift the focus away from just the imagery. The way of making an image is as telling and evocative as the subject matter depicted, a combination similar to that of music and words in a song. Just as I don’t invent the people I draw, I don’t invent the systems with which I draw, or take them for granted as artist’s tools. They are gathered from the world, present and past. A digital film on a TV screen as seen in a shopping mall, the small square stones of a Roman mosaic, the shiny beads decorating a baby carrier of the Dayak people of the highlands of Borneo. I try to find the right balance and perfect combination for each visual technique of bringing an image out of the mind and into the shared physical world.
—Julian Opie, 2024.

I have spent a lot of time looking at portraiture in the widest sense of the word; the depiction of humans by humans. People have been drawing and sculpting each other since Neolithic times, it was mostly animals that were depicted before that.

I look at these images and then those of early civilizations, through to more recent Old Master portraits and on to the signs and symbols and art works of today. Inevitably a human image acts to some degree as a mirror and also a personal introduction. The interest and fear, attraction and repulsion we feel for others, known and strangers, is carried and evoked by images. I note in particular the difference between looking at a human who knows they are being looked at, at someone who looks back at you, and the very different experience of simply “people watching” as you notice and check out passers by, people seen from your car or in the park.

The earliest, personalized face-on portraits that I’m aware of are the amazing Roman period Egyptian “Fayum” portraits in wax, but images of marching or walking, dancing, working and hunting people date much further back. Think of the striding Assyrian soldiers on palace walls or the walking Egyptian courtiers bringing gifts to the gods, the hunting stick figures with round heads and flying limbs and spears engraved on the rocks in the Sahara desert. They all denote energy and movement of people and passing time. I sometimes see children mimic the walk in my artworks and hope this suggests that the image resonates not just in your eyes but also in your body. In this show I have kept strictly to the theme of passing, walking people, images of whom I have gathered from pavements around the world with a hidden camera and a long lens.

I have allowed myself only one work from each different series, always using an entirely different medium and technique, in the hope that this might shift the focus away from just the imagery. The way of making an image is as telling and evocative as the subject matter depicted, a combination similar to that of music and words in a song. Just as I don’t invent the people I draw, I don’t invent the systems with which I draw, or take them for granted as artist’s tools. They are gathered from the world, present and past. A digital film on a TV screen as seen in a shopping mall, the small square stones of a Roman mosaic, the shiny beads decorating a baby carrier of the Dayak people of the highlands of Borneo. I try to find the right balance and perfect combination for each visual technique of bringing an image out of the mind and into the shared physical world.
—Julian Opie, 2024.

I have spent a lot of time looking at portraiture in the widest sense of the word; the depiction of humans by humans. People have been drawing and sculpting each other since Neolithic times, it was mostly animals that were depicted before that.

I look at these images and then those of early civilizations, through to more recent Old Master portraits and on to the signs and symbols and art works of today. Inevitably a human image acts to some degree as a mirror and also a personal introduction. The interest and fear, attraction and repulsion we feel for others, known and strangers, is carried and evoked by images. I note in particular the difference between looking at a human who knows they are being looked at, at someone who looks back at you, and the very different experience of simply “people watching” as you notice and check out passers by, people seen from your car or in the park.

The earliest, personalized face-on portraits that I’m aware of are the amazing Roman period Egyptian “Fayum” portraits in wax, but images of marching or walking, dancing, working and hunting people date much further back. Think of the striding Assyrian soldiers on palace walls or the walking Egyptian courtiers bringing gifts to the gods, the hunting stick figures with round heads and flying limbs and spears engraved on the rocks in the Sahara desert. They all denote energy and movement of people and passing time. I sometimes see children mimic the walk in my artworks and hope this suggests that the image resonates not just in your eyes but also in your body. In this show I have kept strictly to the theme of passing, walking people, images of whom I have gathered from pavements around the world with a hidden camera and a long lens.

I have allowed myself only one work from each different series, always using an entirely different medium and technique, in the hope that this might shift the focus away from just the imagery. The way of making an image is as telling and evocative as the subject matter depicted, a combination similar to that of music and words in a song. Just as I don’t invent the people I draw, I don’t invent the systems with which I draw, or take them for granted as artist’s tools. They are gathered from the world, present and past. A digital film on a TV screen as seen in a shopping mall, the small square stones of a Roman mosaic, the shiny beads decorating a baby carrier of the Dayak people of the highlands of Borneo. I try to find the right balance and perfect combination for each visual technique of bringing an image out of the mind and into the shared physical world.
—Julian Opie, 2024.

I have spent a lot of time looking at portraiture in the widest sense of the word; the depiction of humans by humans. People have been drawing and sculpting each other since Neolithic times, it was mostly animals that were depicted before that.

I look at these images and then those of early civilizations, through to more recent Old Master portraits and on to the signs and symbols and art works of today. Inevitably a human image acts to some degree as a mirror and also a personal introduction. The interest and fear, attraction and repulsion we feel for others, known and strangers, is carried and evoked by images. I note in particular the difference between looking at a human who knows they are being looked at, at someone who looks back at you, and the very different experience of simply “people watching” as you notice and check out passers by, people seen from your car or in the park.

The earliest, personalized face-on portraits that I’m aware of are the amazing Roman period Egyptian “Fayum” portraits in wax, but images of marching or walking, dancing, working and hunting people date much further back. Think of the striding Assyrian soldiers on palace walls or the walking Egyptian courtiers bringing gifts to the gods, the hunting stick figures with round heads and flying limbs and spears engraved on the rocks in the Sahara desert. They all denote energy and movement of people and passing time. I sometimes see children mimic the walk in my artworks and hope this suggests that the image resonates not just in your eyes but also in your body. In this show I have kept strictly to the theme of passing, walking people, images of whom I have gathered from pavements around the world with a hidden camera and a long lens.

I have allowed myself only one work from each different series, always using an entirely different medium and technique, in the hope that this might shift the focus away from just the imagery. The way of making an image is as telling and evocative as the subject matter depicted, a combination similar to that of music and words in a song. Just as I don’t invent the people I draw, I don’t invent the systems with which I draw, or take them for granted as artist’s tools. They are gathered from the world, present and past. A digital film on a TV screen as seen in a shopping mall, the small square stones of a Roman mosaic, the shiny beads decorating a baby carrier of the Dayak people of the highlands of Borneo. I try to find the right balance and perfect combination for each visual technique of bringing an image out of the mind and into the shared physical world.
—Julian Opie, 2024.

I have spent a lot of time looking at portraiture in the widest sense of the word; the depiction of humans by humans. People have been drawing and sculpting each other since Neolithic times, it was mostly animals that were depicted before that.

I look at these images and then those of early civilizations, through to more recent Old Master portraits and on to the signs and symbols and art works of today. Inevitably a human image acts to some degree as a mirror and also a personal introduction. The interest and fear, attraction and repulsion we feel for others, known and strangers, is carried and evoked by images. I note in particular the difference between looking at a human who knows they are being looked at, at someone who looks back at you, and the very different experience of simply “people watching” as you notice and check out passers by, people seen from your car or in the park.

The earliest, personalized face-on portraits that I’m aware of are the amazing Roman period Egyptian “Fayum” portraits in wax, but images of marching or walking, dancing, working and hunting people date much further back. Think of the striding Assyrian soldiers on palace walls or the walking Egyptian courtiers bringing gifts to the gods, the hunting stick figures with round heads and flying limbs and spears engraved on the rocks in the Sahara desert. They all denote energy and movement of people and passing time. I sometimes see children mimic the walk in my artworks and hope this suggests that the image resonates not just in your eyes but also in your body. In this show I have kept strictly to the theme of passing, walking people, images of whom I have gathered from pavements around the world with a hidden camera and a long lens.

I have allowed myself only one work from each different series, always using an entirely different medium and technique, in the hope that this might shift the focus away from just the imagery. The way of making an image is as telling and evocative as the subject matter depicted, a combination similar to that of music and words in a song. Just as I don’t invent the people I draw, I don’t invent the systems with which I draw, or take them for granted as artist’s tools. They are gathered from the world, present and past. A digital film on a TV screen as seen in a shopping mall, the small square stones of a Roman mosaic, the shiny beads decorating a baby carrier of the Dayak people of the highlands of Borneo. I try to find the right balance and perfect combination for each visual technique of bringing an image out of the mind and into the shared physical world.
—Julian Opie, 2024.

I have spent a lot of time looking at portraiture in the widest sense of the word; the depiction of humans by humans. People have been drawing and sculpting each other since Neolithic times, it was mostly animals that were depicted before that.

I look at these images and then those of early civilizations, through to more recent Old Master portraits and on to the signs and symbols and art works of today. Inevitably a human image acts to some degree as a mirror and also a personal introduction. The interest and fear, attraction and repulsion we feel for others, known and strangers, is carried and evoked by images. I note in particular the difference between looking at a human who knows they are being looked at, at someone who looks back at you, and the very different experience of simply “people watching” as you notice and check out passers by, people seen from your car or in the park.

The earliest, personalized face-on portraits that I’m aware of are the amazing Roman period Egyptian “Fayum” portraits in wax, but images of marching or walking, dancing, working and hunting people date much further back. Think of the striding Assyrian soldiers on palace walls or the walking Egyptian courtiers bringing gifts to the gods, the hunting stick figures with round heads and flying limbs and spears engraved on the rocks in the Sahara desert. They all denote energy and movement of people and passing time. I sometimes see children mimic the walk in my artworks and hope this suggests that the image resonates not just in your eyes but also in your body. In this show I have kept strictly to the theme of passing, walking people, images of whom I have gathered from pavements around the world with a hidden camera and a long lens.

I have allowed myself only one work from each different series, always using an entirely different medium and technique, in the hope that this might shift the focus away from just the imagery. The way of making an image is as telling and evocative as the subject matter depicted, a combination similar to that of music and words in a song. Just as I don’t invent the people I draw, I don’t invent the systems with which I draw, or take them for granted as artist’s tools. They are gathered from the world, present and past. A digital film on a TV screen as seen in a shopping mall, the small square stones of a Roman mosaic, the shiny beads decorating a baby carrier of the Dayak people of the highlands of Borneo. I try to find the right balance and perfect combination for each visual technique of bringing an image out of the mind and into the shared physical world.
—Julian Opie, 2024.

These snippets of the people who surround Julian Opie everywhere were constructed in his painting style of vinyl on acrylic. Made like his large original paintings, Everyone is Opie's gesture to have collectors acquire works that are affordable and easy to own.

These snippets of the people who surround Julian Opie everywhere were constructed in his painting style of vinyl on acrylic. Made like his large original paintings, Everyone is Opie's gesture to have collectors acquire works that are affordable and easy to own.

These snippets of the people who surround Julian Opie everywhere were constructed in his painting style of vinyl on acrylic. Made like his large original paintings, Everyone is Opie's gesture to have collectors acquire works that are affordable and easy to own.

These snippets of the people who surround Julian Opie everywhere were constructed in his painting style of vinyl on acrylic. Made like his large original paintings, Everyone is Opie's gesture to have collectors acquire works that are affordable and easy to own.

These works from his Parlay series
investigate the physical and cultural construction of the human form and its role in shaping identity. Derrick Adams's work in general presents Black empowerment in various ways, but this series focuses on how identity is discovered, built, and celebrated through displays of styling, camouflaging, and costuming.

This new series of poppies was conceived in 2021 but only can to publish now. It is revisiting the them that has been so popular in Sultan's oeuvre, and is done in a new technique of enamels and flocking. This gives the prints a very rich look that looks like an original painting.

This new series of poppies was conceived in 2021 but only can to publish now. It is revisiting the them that has been so popular in Sultan's oeuvre, and is done in a new technique of enamels and flocking. This gives the prints a very rich look that looks like an original painting.

'Coast Paintings' is a series of abstract action paintings named after British seaside locations that Hirst developed while painting his acclaimed Cherry Blossoms series.

H13-2 is an edition of the original painting CP7. Kingsdown Beach which is part of the ’Coast Paintings’ series. Created in 2019, ’Coast Paintings’ are colourful action paintings which convey the energy, excitement and change experienced by the seaside in winter, reflected in the works being named after British coastal locations. The ’Coast Paintings’ began their life as grey canvases which were laid on the floor of Hirst’s studio while he painted his acclaimed Cherry Blossoms series.

This edition is part of the 'Where the Land Meets the Sea' series, which also consists of artworks taken from Hirst's latest series ’Sea Paintings’ and ’Seascapes’.

'Coast Paintings' is a series of abstract action paintings named after British seaside locations that Hirst developed while painting his acclaimed Cherry Blossoms series.

H13-2 is an edition of the original painting CP7. Kingsdown Beach which is part of the ’Coast Paintings’ series. Created in 2019, ’Coast Paintings’ are colourful action paintings which convey the energy, excitement and change experienced by the seaside in winter, reflected in the works being named after British coastal locations. The ’Coast Paintings’ began their life as grey canvases which were laid on the floor of Hirst’s studio while he painted his acclaimed Cherry Blossoms series.

This edition is part of the 'Where the Land Meets the Sea' series, which also consists of artworks taken from Hirst's latest series ’Sea Paintings’ and ’Seascapes’.

'Coast Paintings' is a series of abstract action paintings named after British seaside locations that Hirst developed while painting his acclaimed Cherry Blossoms series.

H13-2 is an edition of the original painting CP7. Kingsdown Beach which is part of the ’Coast Paintings’ series. Created in 2019, ’Coast Paintings’ are colourful action paintings which convey the energy, excitement and change experienced by the seaside in winter, reflected in the works being named after British coastal locations. The ’Coast Paintings’ began their life as grey canvases which were laid on the floor of Hirst’s studio while he painted his acclaimed Cherry Blossoms series.

This edition is part of the 'Where the Land Meets the Sea' series, which also consists of artworks taken from Hirst's latest series ’Sea Paintings’ and ’Seascapes’.

This funky green flower in a vase is textured with flocking that gives it a very tactile feel. It is the perfect compliment to the artist's wall works

This funky purple flower in a vase is textured with flocking that gives it a very tactile feel. It is the perfect compliment to the artist's wall works

These Colorado paintings are a fresh and new look at Western landscapes. Using color and form to reshape the landscape, the artist took liberties in painting her version of the Colorado vistas, giving us new and engaging Colorado views.

These Colorado paintings are a fresh and new look at Western landscapes. Using color and form to reshape the landscape, the artist took liberties in painting her version of the Colorado vistas, giving us new and engaging Colorado views.

These Colorado paintings are a fresh and new look at Western landscapes. Using color and form to reshape the landscape, the artist took liberties in painting her version of the Colorado vistas, giving us new and engaging Colorado views.

These Colorado paintings are a fresh and new look at Western landscapes. Using color and form to reshape the landscape, the artist took liberties in painting her version of the Colorado vistas, giving us new and engaging Colorado views.

These Colorado paintings are a fresh and new look at Western landscapes. Using color and form to reshape the landscape, the artist took liberties in painting her version of the Colorado vistas, giving us new and engaging Colorado views.

These Colorado paintings are a fresh and new look at Western landscapes. Using color and form to reshape the landscape, the artist took liberties in painting her version of the Colorado vistas, giving us new and engaging Colorado views.

These Colorado paintings are a fresh and new look at Western landscapes. Using color and form to reshape the landscape, the artist took liberties in painting her version of the Colorado vistas, giving us new and engaging Colorado experience.

These Colorado paintings are a fresh and new look at Western landscapes. Using color and form to reshape the landscape, the artist took liberties in painting her version of the Colorado vistas, giving us new and engaging Colorado experience.

These Colorado paintings are a fresh and new look at Western landscapes. Using color and form to reshape the landscape, the artist took liberties in painting her version of the Colorado vistas, giving us new and engaging Colorado experience.

This avant guard geometric sculpture is painted in flaming red and is a collection of angles and movement. The white base measures 30 x 30 inches and the sculpture stands 104 inches high with the base. Additional images will be added soon.

This interactive multi element installation can be tailored to any environment and wall. The series is inspired by dance and the movement of dance. Each element casts fabulous shadows on the wall, further enhancing the visual energy of the work. The artist includes a free design for any wall, and a template to show the placement of the elements once decided in collaboration with the collector or designer.

This interactive multi element installation can be tailored to any environment and wall. The series is inspired by dance and the movement of dance. Each element casts fabulous shadows on the wall, further enhancing the visual energy of the work. The artist includes a free design for any wall, and a template to show the placement of the elements once decided in collaboration with the collector or designer.