We are delighted to introduce three of Joel Mesler's sought after dreamscape limited editions, created in 2021 to accompany the artist's first solo exhibition in Asia titled “In the Beginning”, at the Lévy Gorvy gallery in Hong Kong. With In the Beginning, Mesler revisits his childhood memories while simultaneously building bridges with the history of art. Mesler's visual language is equipped similarly to the exotic painterly depictions of Henri Rousseau and Paul Gauguin, with a rich palette of vivid green hues and luring starry eyes acknowledging the presence of the viewer.

We are delighted to introduce three of Joel Mesler's sought after dreamscape limited editions, created in 2021 to accompany the artist's first solo exhibition in Asia titled “In the Beginning”, at the Lévy Gorvy gallery in Hong Kong. With In the Beginning, Mesler revisits his childhood memories while simultaneously building bridges with the history of art. Mesler's visual language is equipped similarly to the exotic painterly depictions of Henri Rousseau and Paul Gauguin, with a rich palette of vivid green hues and luring starry eyes acknowledging the presence of the viewer.

Though perhaps best known for his portraits, Katz has consistently painted the natural world throughout his career, particularly over the past decade.

"These days I start painting in the morning and paint throughout the day. It starts with an idea of what I think art should be. Then I find something that correlates with it outside of me; if it’s an action or something like that I’ll make pen and ink sketches; if it’s something like a landscape then I go from the sketch to a cartoon which I paint directly on to the canvass. "

ALEX KATZ

These beautiful aquatints, which reveal Katz’s control of material and clarity of vision, come together with six poetry sheets with poems by John Godfrey in both English and Italian translations in a precious portfolio. Katz explores the themes of nature, perception, the passage of time, poetry, and contemporary notions of the sublime in this poetic suite, whose subjects are based on a selection of the artist collages from the 1950's.

Though perhaps best known for his portraits, Katz has consistently painted the natural world throughout his career, particularly over the past decade.

"These days I start painting in the morning and paint throughout the day. It starts with an idea of what I think art should be. Then I find something that correlates with it outside of me; if it’s an action or something like that I’ll make pen and ink sketches; if it’s something like a landscape then I go from the sketch to a cartoon which I paint directly on to the canvass. "

ALEX KATZ

This beautiful aquatint, part of the portfolio "Small Cuts" reveals Katz’s control of material and clarity of vision. Katz explores the themes of nature, perception, the passage of time, poetry, and contemporary notions of the sublime in this poetic suite, whose subjects are based on a selection of the artist collages from the 1950's.

The portrait “White Visor” shows a young woman who knows she is being watched but is at ease with it.

Alex Katz is renowned for his flower, landscape, and portrait paintings, with the portraits often referred to as Katzian for their unmistakable traits:

Bold Colours: Dominant blues, reds, yellows, and greens, with minimal shading, giving a poster-like quality.

Simplified Forms: While artists like Da Vinci are celebrated for intricate details, Katz focuses on streamlined figures with a strong emphasis on the face.

Recurring Figures: Katz frequently revisits familiar figures, notably Ada, his wife, and Vincent, their son, and friends from the art world.

The portrait “Blue Hat” displays Ada, his wife and model, who has appeared in more than 1000 of his works. Here, in a calm and composed expression.

Alex Katz is renowned for his flower, landscape, and portrait paintings, with the portraits often referred to as Katzian for their unmistakable traits:

Bold Colours: Dominant blues, reds, yellows, and greens, with minimal shading, giving a poster-like quality.

Simplified Forms: While artists like Da Vinci are celebrated for intricate details, Katz focuses on streamlined figures with a strong emphasis on the face.

Recurring Figures: Katz frequently revisits familiar figures, notably Ada, his wife, and Vincent, their son, and friends from the art world.

Deckchair Orange playfully utilizes one of Damien Hirst's familiar motifs: a monochromatic background interrupted by a scattering of butterflies, a theme that the artist first introduced into his work after seeing flies get stuck on primed canvases in his studio. The artist sees the butterflies ‘stuck’ to his monochrome canvases as metaphors for the unforeseen interruptions in life—happy accidents, in this case.

“I have always liked that idea of something going wrong and something being created from it.”

DAMIEN HIRST

For the artist, the appeal of butterflies is created largely by the appearance of life they retain in death. They symbolize regeneration, fortune and freedom in a world characterized by a materialistic consumerism that despite all glorification of money and what it can buy always longs for a deeper meaning behind the surfaces – and which yet can never truly get behind those surfaces; longing for spirituality and transcendence and yet always doomed to accept that there might be nothing behind the polished images.

Deckchair Red playfully utilizes one of Damien Hirst's familiar motifs: a monochromatic background interrupted by a scattering of butterflies, a theme that the artist first introduced into his work after seeing flies get stuck on primed canvases in his studio. The artist sees the butterflies ‘stuck’ to his monochrome canvases as metaphors for the unforeseen interruptions in life—happy accidents, in this case.

“I have always liked that idea of something going wrong and something being created from it.”

DAMIEN HIRST

For the artist, the appeal of butterflies is created largely by the appearance of life they retain in death. They symbolize regeneration, fortune and freedom in a world characterized by a materialistic consumerism that despite all glorification of money and what it can buy always longs for a deeper meaning behind the surfaces – and which yet can never truly get behind those surfaces; longing for spirituality and transcendence and yet always doomed to accept that there might be nothing behind the polished images.

Deckchair Blue playfully utilizes one of Damien Hirst's familiar motifs: a monochromatic background interrupted by a scattering of butterflies, a theme that the artist first introduced into his work after seeing flies get stuck on primed canvases in his studio. The artist sees the butterflies ‘stuck’ to his monochrome canvases as metaphors for the unforeseen interruptions in life—happy accidents, in this case.

“I have always liked that idea of something going wrong and something being created from it.”

DAMIEN HIRST

For the artist, the appeal of butterflies is created largely by the appearance of life they retain in death. They symbolize regeneration, fortune and freedom in a world characterized by a materialistic consumerism that despite all glorification of money and what it can buy always longs for a deeper meaning behind the surfaces – and which yet can never truly get behind those surfaces; longing for spirituality and transcendence and yet always doomed to accept that there might be nothing behind the polished images.

Deckchair Yellow playfully utilizes one of Damien Hirst's familiar motifs: a monochromatic background interrupted by a scattering of butterflies, a theme that the artist first introduced into his work after seeing flies get stuck on primed canvases in his studio. The artist sees the butterflies ‘stuck’ to his monochrome canvases as metaphors for the unforeseen interruptions in life—happy accidents, in this case.

“I have always liked that idea of something going wrong and something being created from it.”

DAMIEN HIRST

For the artist, the appeal of butterflies is created largely by the appearance of life they retain in death. They symbolize regeneration, fortune and freedom in a world characterized by a materialistic consumerism that despite all glorification of money and what it can buy always longs for a deeper meaning behind the surfaces – and which yet can never truly get behind those surfaces; longing for spirituality and transcendence and yet always doomed to accept that there might be nothing behind the polished images.