Irish artist Padraig Timoney’s exceptionally diverse practice encompasses photography, painting, collage, sculpture, assemblage, and performance, frequently utilizing disparate styles and techniques in his approach. In his vivid Battle Royale (2016), abstraction and figuration never seem too far apart, often appearing on the verge of collapsing into one another. This work sings in our clients’ Hampton home.

Oakland-based painter Muzae Sesay’s vivid landscapes of colliding shapes and colors arise from his fascination with the fragmentation of memory, especially that of places we call home. Through the vibrant Peacemaker Performative Circus (2021), Sesay explores through an unusual architectural arrangement the way in which many of us truly experience memory: as a blending of vignettes and emotions, rather than as a single, acutely detailed image.

German photographer Wolfgang Tillmans is celebrated for his innovative and investigative photography and its engagement with contemporary social critique. Paper Drop (Friend) (2007) belongs to a series of images of sheets of thin photographic paper which, when folded and viewed from the side, form three-dimensional teardrop-like shapes. Through this transdimensional exploration, Tillmans questions the very nature of photography by bending light and shadow to create illusions of materiality.

Critically-acclaimed American artist Marilyn Minter is perhaps best known for her provocative and hyperrealistic paintings that simultaneously capture candid instances of the human body and the human condition. The intoxicating Sauna (2017) is a remarkably photorealistic painting that captures the artist’s propensity towards sensuousness and the subversion of the traditional objectification of female subjects in art. A woman is partially concealed behind translucent, hazy glass clouded with the tangible density of a sauna, withholding from the viewer while also remaining an object of desire.

Tschabalala Self’s work examines the intersectionality of race, gender, and sexuality, focusing particularly on the iconographic significance of the black female body in contemporary culture. She creates exuberant, multilayered characters that celebrate the complexities of black life that are often obscured in the American imagination by stereotypes. Most of these avatars are constructed from machine-sewn fabric scraps that Tschabalala collects over time as seen in the work above, “Out of Body”.

For Yayoi Kusama, works like NETS I (1997) are a vital form of personal therapy. The repetition of these persistent curved brushstrokes offer Kusama both a self-soothing mechanism and a means of organizing her emotions in a brilliantly expressive way. One of Kusama’s most vivid hallucinations from childhood involved a “universe covered with red flowers” – she has rendered NETS I in the same exhilarating red as her original vision and, in doing so, pays powerful homage to the genesis of her enduring Infinity Nets series.

A leading innovator in postwar American painting, Sam Gilliam rose to prominence in the late 1960s creating his idiomatic stained canvases and continued to pursue endless avenues of artistic expression. Untitled (2014) exemplifies his long history with the Washington Color School, whose members were celebrated for their experimentation with novel painting techniques and emphasis on color, process, and materiality.

Samuel Levi Jones’ practice centers around the disassemblage and deconstruction of encyclopedias, reference books, and other informative texts that have excluded minorities and women from the historical narrative. Stand Up (2019), made up of the covers of art historical texts and portfolios, is an exemplar of Jones’ process, which involves stitching the exposed book bindings together into grids that expose their flaws and physically dismantle their authority. As he refashions them into works of art, they become a critique on the need for an inclusive, global art history.