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His practice spans painting, poetry, music, and printmaking across five decades (over 5,000 paintings, 40+ poetry volumes, 170+ albums). "keep mojave weird" emerged from a 2025 California road trip, compressing the Mojave Desert, Joshua Tree, and Lake Tahoe into compositions that feel simultaneously contemporary and timeless. The series includes grand landscapes and intimate family portraits—children frozen beneath Yuba River trees, Mono Lake's ancient alkaline ecosystem distilled to geological essence. This follows his exhibition at Yi Space in Hangzhou. Cultural Capital Childish's work is held in the British Museum, Victoria & Albert Museum, and ICA London, with recent Asian expansion through Yi Space in Hangzhou. Lehmann Maupin's galleries in New York, London, Seoul, and Hong Kong provide institutional infrastructure across Western and Asian art centers. The timing of "keep mojave weird" following Hangzhou demonstrates deliberate regional collector cultivation. His prolific output creates depth for museum retrospectives while his interdisciplinary practice generates discourse beyond visual arts. Market Position Childish occupies an unusual position: mature artist with primary pricing not yet fully reflected in secondary markets. Works range €45,000-€100,000 depending on scale. Limited auction presence means lower speculative activity. Lehmann Maupin's Asian expansion positions him for next-phase market development as regional institutions develop appetite. Recent Asian museum acquisitions suggest institutional buying ahead of broader demand. Prolific output means collectors can build meaningful depth at accessible investment levels. Collection Coherence The California landscapes dialogue with historical American landscape traditions and contemporary environmental concerns—ancient formations rendered as timeless permanence. For collections exploring East-West translation, Childish's compression of vast landscapes mirrors cultural distillation. His work pairs with German Expressionism, contemporary Chinese landscape painters, or Asian artists working in Western traditions. Anti-establishment authenticity protects against appearing fashionable—this artist remains relevant regardless of market cycles. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1767996143357-NSZZG83QVYYZEP9XZTE0/Image+10-1-2026+at+8.58%E2%80%AFAM.jpeg Works to Watch: 1: Jan 2026 - Laura Footes, Mountain, 2025 Oil on canvas, 100 x 70cm LF052 USD15,950 + GST https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1767855273407-6394TL7M5NBJD85TTOKO/Image%2B8-1-2026%2Bat%2B4.28%25E2%2580%25AFPM-2.png Works to Watch: 1: Jan 2026 - Laura Footes Other Bodies, 2025, oil on canvas, 66.93 x 118.11 inches SOLD Laura Footes creates "auto-fiction" paintings that transform personal trauma into transcendent experience. Working entirely from memory, she paints in "a seance in a laboratory," channeling film noir, Irish Catholic iconography, and hospital neon into compositions where translucent bodies float bedbound above cityscapes. Living with Crohn's disease since childhood, she learned to see from an aerial perspective during medicated dreams—"looking down at myself from the ceiling." "Anamnesis" refers to retelling patient trauma and memory of previous existence. Works like Sertraline Dream emerge from a New York trip when canceled health coverage confined her indoors. Discovered by Tracey Emin on social media in 2022, she became the first Tracey Emin Fellow at TKE Studios. Cultural Capital Footes's trajectory accelerated through Tracey Emin's mentorship—from housemaid to exhibiting at SHRINE NYC (two solo shows) and Carl Freedman Gallery. Her work was acquired by Murray Edwards College, Cambridge. She received a royal commission from King Charles III for Christie's charity auction. Inclusion in Independent Art Fair's "Independent Debuts" (May 2025) positions her within showcases that launch broader recognition. She'll appear in "Crossing into Darkness" (January–April 2026) curated by Emin alongside Louise Bourgeois, Edvard Munch, and Anselm Kiefer. Market Position Footes occupies prime emerging territory with accessible pricing. A 2025 Christie's result of $13,810 USD establishes secondary market interest without overheating. Primary works likely range €8,000-€35,000 depending on scale. SHRINE NYC (New York/LA) and Carl Freedman Gallery provide UK-US infrastructure. Her Independent 2025 appearance signals careful positioning before major commercial push. Limited auction history creates opportunity for early collectors. Recent Artnet, Galerie Magazine, and Juxtapoz coverage indicates expanding awareness. Collection Coherence Footes's work functions within collections exploring psychological interiority or contemporary figuration. Her paintings dialogue with British figurative tradition—particularly Emin's confessional practice and Paula Rego's intensity. Film noir influence connects to art-cinema intersections. Works range from intimate to large scale, allowing collectors to build coherent bodies across price points. Anti-decorative approach—emotionally complex despite visual beauty—protects against superficial acquisition. For collections prioritizing authentic voice, Footes offers substance and staying power. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1767855790737-U5SV9UXBQJEWVUC9H1WX/Image%2B8-1-2026%2Bat%2B4.28%25E2%2580%25AFPM.png Works to Watch: 1: Jan 2026 - Yi Liu The Hunt, 2025 oil, acrylic, and ink on linen, 31.5 x 41.34 inches USD7,150 + GST Yi Liu creates surrealistic paintings where Chinese mythology, folklore, and personal fantasy merge into narratives that pulse with passion and romantic heat. Working from London, the Beijing-born artist channels dreams and ancient stories—particularly "the hunt"—into compositions populated by mist-formed goddesses with butterfly wings, lovers clinging to charging bulls, and wild beasts mingling with alien-like creatures. Her process is guided by "openness and sincerity of spirit": once, a sunlight beam fell across her canvas, and she traced its luminous shape to preserve the miraculous moment. "The Hunt" series depicts epic quests about play and lust as much as sustenance—celestial yet grounded universes where people, animals, and spirits dissolve into ethereal night. Educated at Central Academy of Fine Arts Beijing (BFA, MFA) and Royal College of Art London (MA Painting, 2024), Liu represents a new generation translating traditional mythology through contemporary surrealist language. Cultural Capital Liu occupies early emerging territory with strategic positioning. Her debut solo "Searching the Mountains" at Cob Gallery London (2024) established initial presence, followed by recent New York exhibition—notable for an artist one year post-graduation. Represented by Cob Gallery (London) and appearing at Guts Gallery, she's building presence within London's emerging scene. Education credentials are strong: Central Academy of Fine Arts Beijing provides mainland Chinese grounding, while Royal College of Art MA (2024) offers UK validation. She participated in Palazzo Monti residency (Brescia, Italy). At 28-29 years old with minimal history, Liu is very early-stage emerging talent. Her trajectory depends on whether current gallery support translates to broader recognition. Market Position Liu represents ground-floor emerging opportunity with corresponding risk. Primary works likely range £3,000-£12,000 depending on scale. No auction history exists—she graduated only in 2024—meaning no secondary market validation. Dual London-New York gallery presence provides infrastructure but hasn't yet translated to institutional acquisitions. Collectors are betting on potential rather than established trajectory. Her Royal College of Art degree carries weight in UK contemporary circles, and Central Academy of Fine Arts Beijing provides mainland credibility. For collectors in Asia and Australia seeking very early-stage Chinese contemporary painters working in London, Liu offers accessible entry with mythological content that could resonate regionally. Collection Coherence Liu's work functions within collections focused on contemporary Chinese diaspora artists, surrealist figuration, or mythological narratives. Her paintings dialogue with historical Chinese scroll painting traditions (ethereal, mist-filled landscapes) and contemporary surrealism. Emphasis on goddesses and cosmological imagery connects to feminist reinterpretations of classical mythology. Works pair with young Chinese artists exploring traditional subject matter through contemporary techniques. The romantic quality differentiates from more conceptual Chinese contemporary art. For collections prioritising emerging voice over established validation, Liu offers distinctive visual language at accessible price points with potential for growth. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1767996928116-0IM7SGJ2EIF62VWJ6WIU/IMG_7465.jpeg Works to Watch: 1: Jan 2026 https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1767997229999-QGLYI4LT81UICGAXVFQV/IMG_7464.jpeg Works to Watch: 1: Jan 2026 - Thea Anamara Perkins, Sunset sequence II, 2025 acrylic on board 12.5 x 160.5cm, AUD24,750 INC. GST https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1767855645906-PB1P9CCRFRL9K46GXPIU/Image%252B8-1-2026%252Bat%252B4.41%2525E2%252580%2525AFPM.png Works to Watch: 1: Jan 2026 - THEA ANAMARA PERKINS Lhere II, 2025 acrylic on board, 90 x 120cm SOLD Thea Anamara Perkins is an Arrernte and Kalkadoon artist who transforms family archive photographs into paintings questioning representations of First Nations peoples and Country. She's drawn to the "hyper-saturated, cinematic glow" of old photos and what she calls "glimmer"—moments of comfort and belonging. Part of an extraordinary dynasty including activist grandfather Charles Perkins, curator mother Hetti Perkins, and filmmaker aunt Rachel Perkins, she continues the family's "strong and ready communication." Her work explores shimmer and light as metaphors for Dreaming—pwarrtyeme meaning "to shine" in Arrernte. Recent work includes the large-scale mural Stockwoman at Sydney's Carriageworks, depicting her great-grandmother Hetty Perkins working with horses in Arltunga. Currently, production is limited as works are committed to major prizes, with upcoming European residency and biennial participation. Cultural Capital Perkins has accumulated exceptional validation for an artist in her early thirties: Alice Prize (2020), Australia Council's Dreaming Award (2020), Brett Whiteley Travelling Art Scholarship (2021), and AGNSW's La Prairie Art Award (2023). Three consecutive Archibald Prize finalist selections signal sustained recognition. Her work is held in National Portrait Gallery Canberra, Art Gallery of South Australia, and Araluen Art Collection. She's been included in Telstra NATSIAA, Tarnanthi, and the Fifth National Indigenous Art Triennial at NGA. Recent residencies include Cité Internationale des Arts Paris (2023). Press coverage spans Qantas Magazine, Sydney Morning Herald, and Harper's Bazaar. Market Position Perkins occupies a strategic position as established emerging artist with strong institutional backing. Primary works through N.Smith Gallery range AUD $8,000-$49,500. Limited current availability reflects deliberate scarcity—works directed toward major prizes and institutional acquisitions. Upcoming European residency and biennial participation will introduce her internationally, expanding collector base beyond Australia. Multiple state collection acquisitions establish baseline value while signaling museum confidence. For collectors in Asia and Australia seeking Indigenous Australian contemporary art with authentic lineage and institutional trajectory, current scarcity creates demand. Collection Coherence Perkins's work functions within collections exploring Indigenous contemporary practice, family archive methodologies, or Australian identity. Her paintings dialogue with historical Australian landscape traditions (particularly her revision of Drysdale and Nolan mythologies) and contemporary memory approaches. For collections examining postcolonial narratives, her work offers deeply personal yet politically potent perspectives. Works pair well with Emily Kame Kngwarreye or Gordon Bennett, while archive-based methodology connects to international artists working with family photographs. For collections prioritizing authentic Indigenous voice and matrilineal knowledge transmission, Perkins offers substance with staying power. https://www.stevenalderton.com/events daily 0.75 2026-03-02 https://www.stevenalderton.com/rsvp daily 0.75 2026-01-08 https://www.stevenalderton.com/works-to-watch-2-jan-2026 daily 0.75 2026-01-19 https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1768785553888-6M7K9AO0B55938UNULGG/Image+19-1-2026+at+12.18%E2%80%AFPM.jpeg 2: Jan-2026 - EMILY KAM KNGWARRAY, Untitled - Winter Awelye, 1995,
synthetic polymer paint on linen, 122 x 91cm, AUD570,000 The Work This Untitled - Winter Awelye work was painted at Delmore Downs, a remote cattle station near the Utopia homelands, 250km’s northeast of Alice Springs, the landscape of her Country that shaped Kngwarray's visual language and ceremonial practices. Created during her celebrated final years, the painting embodies detailed knowledge of her Country: seasonal transformations, the Yam Dreaming, and desert ecosystems. This isn't only representation, it's cultural continuation spanning 65,000 years of practice. Previously exhibited at Kunsthaus Zug, Switzerland (2019–2020) in My Mother Country – Malerei der Aborigines. From the esteemed private collection of Pierre and Joëlle Clément. Artist Position ESTABLISHED. Emily Kam Kngwarray began painting at 78 and produced over 3,000 works in eight years. Her practice emerged from her role as Anmatyerre elder and custodian of women's Dreaming sites in Alhalkere. During Awelye ceremonies, women paint designs on their bodies using ground ochre and ash, applying country directly to skin. Major Tate Modern retrospective (July 2025-January 2026) attracted over 100,000 visitors. Held in British Museum, V&A, NGA, Vatican Museums and many more. Represented Australia posthumously at the 1997 Venice Biennale. Robert Hughes called the Indigenous Australian art movement she helped create "the last great art movement of the 20th century." Market Intelligence Earth's Creation I sold for AUD2.1 million in 2017, a record for an Australian female artist. Tate purchased three works in 2019. Late-period works from 1995-1996 are increasingly rare at market as institutions acquire them. This work carries exceptional provenance: Clément Collection, international exhibition history, institutional-quality documentation. Western audiences see connections to Rothko and minimalism. Japanese collectors recognise her calligraphic power; Emily’s 2008 Tokyo exhibition broke Warhol's attendance records. Collection Rationale This is THE painting to anchor your collection and a must-have institutional work, grounding serious holdings in 20th century art. Late period work when the artist had distilled her practice to essential power. Tate exhibition positions her as one of the century's most significant painters globally, not just within Indigenous Australian art. Museum-quality provenance, exhibition history, and absolute institutional validation. Opportunity to acquire before post-Tate market adjustment. A must-have. PROVENANCE The Artist, painted at Delmore, Northern Territory Delmore Gallery, Northern Territory, cat. no. 95F062 Private Collection, Melbourne, Victoria, acquired from the above EXHIBITED My Mother Country – Malerei der Aborigines, Sammlung Pierre and Joëlle Clément, Kunsthaus Zug, Switzerland, 29 September 2019–2 February 2020 https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1768875771208-50ULDZWSGWV8JZ6VA0R0/KAHSC0166.jpeg 2: Jan-2026 - Scott Kahn, The Stoop, 2024/2025, Oil on wood panel, 71.1 x 55.9cm, KAHSC0166 The Work Scott Kahn paints enigmatic landscapes, portraits, and dreamscapes that blend real and surreal elements. Over five decades, he's maintained a commitment to figurative expression, rendering the simultaneous splendour and mundanity of everyday life through precise geometries, chromatic relationships, and masterful use of light and perspective. His surfaces are meticulously constructed; recurring people, places, and symbols create an individual point of view while opening onto universal themes. The work collapses time and space, conjuring feelings of indeterminacy and seasonal transition. Artist Position ESTABLISHED. Exhibiting steadily since the 1970s, Kahn gained widespread attention in 2018 when Matthew Wong posted Kahn's Cul de Sac (2017) on social media, praising him as a major influence. Recent solo presentations: Almine Rech Paris and New York (2021, 2022); David Zwirner Hong Kong Once in a Blue Moon (2024)—his first Asia presentation. Represented by David Zwirner since 2024. Works held in He Art Museum Foshan, ICA Miami, Long Museum Shanghai, Rachofsky Collection Dallas. Two Pollock-Krasner Foundation Grants (1986, 1995). Market Intelligence Auction record: USD1,433,138 for Big House, Homage to America at Christie's Hong Kong (2022). Past 12 months average: USD77,884. The artist’s progression from Almine Rech to David Zwirner indicates rising demand and major institutional backing. Recent solo exhibition pricing ranges from USD290,000 to USD1 million. Works are selling rapidly, Kahn's studio inventory emptied by dealers, prompting price increases. Strong Asian collector demand, particularly in Hong Kong. Recent museum acquisitions: ICA Miami, He Art Museum, Long Museum Shanghai. Collection Rationale Asia expansion is just beginning, Hong Kong solo positions acquisition before broader regional recognition. Studied under Theodoros Stamos at the Art Students League alongside the Rothko generation but maintained a distinct voice. Accessible entry point relative to comparable painters with similar institutional holdings and David Zwirner representation. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1768785833798-2P44SHUAC7258D79XING/Image+19-1-2026+at+11.15%E2%80%AFAM.jpeg 2: Jan-2026 - Prae Pupityastaporn, Halbfertig, 2025, Acrylic on canvas, 69 x 79cm, AUD5,850 The Work Prae Pupityastaporn paints landscapes as acts of remembering. Trained in Germany, working in Bangkok, she creates works where subtle differences emerge on sustained looking; shifted colour temperature, altered atmospheric density, repositioned elements. Memory as reconstruction, not recording. Her process is organic; works evolve in relationship to each other in the studio. Artist Position POST-EMERGING. Represented by Nova Contemporary Bangkok, which is strategically building her international profile. Focus Asia presentation at Frieze Seoul 2023 established regional visibility. Upcoming solo exhibition on 31 January 2026, demonstrates the gallery's commitment, and has had two Nova solos (2019, 2022), and group shows in Jakarta. Market Intelligence Primary market pricing is accessible for the accomplishment level. No secondary market presence yet. German training + Thai context + gallery infrastructure = clear development trajectory. Productivity allows collectors to build depth across multiple works rather than single acquisition. Collection Rationale Acquire before broader Asia-Pacific recognition. Knowledge, understanding and training provides technical rigour that appeals to all collectors; the Thai context positions for regional demand. Nova's strategic development (Frieze Seoul, upcoming solo) indicates next-phase growth. Accessible entry point with strong foundation in place. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1768870262150-USX0SEF3S0TH5LOBBEIQ/Image+20-1-2026+at+11.47%E2%80%AFAM.jpeg 2: Jan-2026 - ERICA D'ALI,  UNTITLED I (AFTER BRONZINO), 2025,  Oil on cotton, 30 x 25cm, POA The Work Erica D'Ali explores cultural transmission and matrilineal knowledge through painting, drawing, printmaking, and installation. Her work navigates the space between European heritage and Australian identity, focusing on disappearing rituals of family culture. She uses pasta-making as a metaphor for how traditions are passed down, transformed, and repeated, both personal and playful, capturing layered cultural memory with intimacy. Oil paintings and monotypes, built from intuitive gesture, blur the lines between original and copy, personal and cultural memory, and historical and contemporary. Artist Position EMERGING. Graduated with a Master of Fine Arts from the National Art School in 2024, one of Australia's most respected fine arts training grounds. Group exhibitions at National Art School, 25B Gallery, Drawing Gallery Sydney. International residency at Studio Kura, Japan. Limited exhibition history provides acquisition opportunity before broader institutional recognition. Her practice is still developing, early-stage career trajectory. Market Intelligence Primary market pricing is highly accessible for emerging artists with an MFA from NAS and gallery representation. No secondary market presence. Institutional training provides technical foundation; gallery representation indicates professional infrastructure in place. Works pair with other artists exploring cultural heritage, domestic ritual, or gestural abstraction. Collection Rationale Entry-level acquisition for collectors beginning to build around cultural identity and contemporary Australian practice. Work that addresses identity without didacticism, the pasta-making metaphor provides accessible conversation while maintaining conceptual rigour. Vibrant and muted colour palette creates visual presence at the domestic scale. Opportunity to build a relationship with the artist's trajectory from the early stages. Accessible pricing without significant capital investment. For emerging collectors or those adding depth to existing holdings in Australian contemporary practice. https://www.stevenalderton.com/works-to-watch-1-2026-jan-1 daily 0.75 2026-01-31 https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1769848476419-Y3YYWHJ78ZTHQK514PKH/Image+29-1-2026+at+10.59%E2%80%AFAM.jpeg 3: Feb 2026 - Alair Pambega, Untitled #9, 2025, acrylic, ochre and sand on canvas, 97 × 97cm, AUD7,700 The Work Painted at Aurukun on Cape York Peninsula, where three rivers meet the Gulf of Carpentaria, this work embodies Pambegan's distinctive visual language. Earth pigment from his Country mixed with acrylic and sand creates the grainy, tactile surface that anchors his semi-abstract compositions. The ochres; red, white and black, come directly from Kalben-aw along the Archer River. These aren't decorative choices but cultural continuity, the same pigments used in Wik-Mungkan ceremony for generations. Pambegan's paintings translate body-painting designs into canvas, patterns that carry ancestral narratives of Kalben (Flying Fox Story Place) and Walkaln-aw (Bonefish Story Place), inherited through his father, Arthur Koo'ekka Pambegan Jr. Artist Position ESTABLISHED. Pambegan carries custodianship of two major ancestral narratives inherited from his father Arthur Koo'ekka Pambegan Jr (1936–2010), revered lawman and artist featured in the 1st National Indigenous Art Triennial at NGA: Culture Warriors. His work is held in the Art Gallery of NSW, the Art Gallery of South Australia, QAGOMA, and the National Gallery of Australia. He participated in the 9th Asia Pacific Triennial of Contemporary Art (2018) at QAGOMA. Currently featured in the 5th National Indigenous Art Triennial at NGA, one of only ten artists selected by curator Tony Albert for what he describes as "the most seminal work of their careers”. Market Intelligence Pambegan's canvases through Wik & Kugu Arts Centre have traded in the AUD6,000-10,000 range for works of this scale. 2025 Indigenous Australian art auction sales reached AUD11.7 million in the first six months, a potential 50% increase over 2024's full year. Cairns Art Gallery commissioned and acquired Pambegan's Winchanam ceremonial works in 2021. His practice sits at the intersection of institutional validation and primary market accessibility. Collection Rationale This is an accessible entry for an artist with institutional credibility. Four major institutional art collections already holding his work. Father's legacy in inaugural Triennial establishes historical continuity; Alair's selection for 5th Triennial confirms contemporary relevance. The addition of sand to ochre and acrylic creates surface tactility that photographs cannot capture: Country embedded in material itself. Acquire while primary market pricing is still available before retrospective attention arrives. Exhibits Sullivan & Strumpf, Sydney. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1769848018329-LQD4RMO5FDDDU8IYTPM0/Image+31-1-2026+at+7.26%E2%80%AFPM.jpeg 3: Feb 2026 - Soumya Netrabile, Nightcrawler, 2025, oil on canvas, 71.12 x 55.88cm, USD14,000 The Work Painted in Oak Park, Illinois, where Netrabile walks daily through forests collecting fragments, twigs, larch needles, and river stones as talismanic anchors. Nightcrawler emerges from this ritualistic practice, swirling brushstrokes in amber, peach, and green, creating atmospheric fields where foreground and background collapse. The canvas mimics the perspectival illusion she experiences at sunset when the eye can no longer distinguish depth. Emigrated from Bangalore at age seven, hints of Indian miniature detail slip into Midwestern observation, decorative brushstrokes with hieratic semblance fusing childhood memory with present landscape. Portal rather than picture, channelling somatic presence from body to perceiving soul. Artist Position ESTABLISHED MID-CAREER. Netrabile completed a Bachelor of Science in Electrical Engineering from Rutgers and a BFA from the School of the Art Institute of Chicago. This technical foundation informs her approach to painting as an ecosystem crossed by a circulatory system, colour housing both nutrients and pathogens, explained through engineering principles. Reviewed by Roberta Smith in the New York Times (2020), featured in Brooklyn Rail (2024), and New City Art "50 Chicago Artists' Artists" (2025). Influenced by Clarice Lispector, T.S. Eliot, Wendell Berry, Pablo Neruda. Market Intelligence Strong Phillips auction performance: The Meadow 2021 achieved USD60,960 against a USD12,000-18,000 estimate (May 2025), exceeding by 339%. The Forest Ablaze sold USD25,400 against the USD10,000-15,000 estimate. Sliver Moon achieved USD21,000 against USD8,750-11,250 estimate. Consistent pattern of exceeding estimates indicates collector confidence. Work held in Orange County Museum of Art, Crocker Art Museum, Aïshti Foundation, Lebanon, Museu Inimá de Paula, Brazil. Collection Rationale Sits naturally alongside Joan Mitchell, Helen Frankenthaler, and painters investigating sensory experience and atmospheric abstraction. Indian-American heritage offers cross-cultural depth rare in landscape painting. Smaller format provides accessible entry to museum-collected artist with proven secondary market strength and international institutional backing. Exhibits Union Pacific, London. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1769848322439-EG4PJB61KKMJV4ASU4PK/Image+31-1-2026+at+5.47%E2%80%AFPM.jpeg 3: Feb 2026 - Melanie Daniel, From Prow to Wake, Water Unbroken, 2025, oil on canvas, 95.25 x 114.94cm, MD106, USD11,000 The Work This work employs Daniel's signature technique of contrasting delicate stains and washes with passages of abstract impasto and intricate patterning. A cloaked figure stands at the threshold between water and earth, where the night sky mirrors the lake surface in a doubled cosmic space. Throbbing brushstrokes in vibrantly contrary colours unite what is above and below, micro and macrocosmos, providing equal footing for the mythic protagonist and the natural world. The composition recalls medieval tapestries with its tightly focused patterning around a central axis, yet pulses radioactively with futuristic energy. Stone Age sheath or medieval cloak, oracular truthteller or derelict deity; Daniel refuses clarity, letting the viewer luxuriate in ancient yet contemporary landscapes as folk tales from the future. Artist Position ESTABLISHED MID-CAREER. BFA and MFA from the Bezalel Academy of Arts and Design, Jerusalem. Recipient of Pollock-Krasner Foundation Grant, New York Foundation for the Arts Grant, Creative Capital Grant, 2009 Rappaport Prize for a Young Israeli Painter, NARS Foundation Residency. Press in Harper's Magazine (April 2023), New York Times (May 2024), Artnet, Newsweek, Frieze, Border Crossings Magazine. Padnos Distinguished Artist-in-Residence at Grand Valley State University. Self-described as a "landscape painter of weird narratives." Market Intelligence Work held in Tel Aviv Museum of Art, Harvard Business School, and the Brandes Family Art Collection. Climate-focused narrative painting is gaining traction among collectors as environmental consciousness reshapes acquisition priorities. Major institutions, including Tate, declared a climate emergency, and leading collectors like Patrizia Sandretto Re Rebaudengo advocate supporting climate-conscious artists as a proactive cultural investment. Recent solo exhibitions at Grand Rapids Art Museum and Tel Aviv Museum of Art, alongside international fair representation (Art Taipei 2024, Untitled Miami, Art Brussels, Paris Art Fair). Multi-continent gallery representation across North America, Europe, and Asia. Harper's Magazine April 2023 feature and NYT May 2024 coverage signal accelerating critical attention. Collection Rationale For collectors building positions in contemporary landscape painting, addressing environmental themes through mythological rather than didactic frameworks. Sits naturally alongside Jules de Balincourt, Hernan Bas, Dana Schutz, Lisa Sanditz, Peter Doig, or Neo Rauch; painters Daniel herself cites as influences. The dual Canadian-Israeli perspective creates distinctive cross-cultural iconography. Access point to an artist with established museum validation and foundation backing, prior to broader secondary-market development. Exhibits Asya Geisberg Gallery, New York. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1769847761125-3B2HNSL08SRUVSF9DN6Y/Image+31-1-2026+at+7.22%E2%80%AFPM.jpeg 3: Feb 2026 - FARLEY AGUILAR, Inspire, 2025 Oil on linen, 228.6 × 188cm, USD35,000 The Work A blindfolded woman plays piano, her shadow cast against a wall where a light fixture glows. This painting demonstrates Aguilar's thesis: creativity and interiority persist beyond the visual realm of appearance. Painted in fluorescent oils with characteristic chromatic clashes, the work investigates spaces where self-construction unfolds. Working from found photographs reimagined with anachronistic elements, Aguilar collapses past and present to expose tension between the objective, commodified self and the subjective, interior one. The blindfold becomes an instrument rather than an impediment; freed from mirrors and screens, the figure accesses something deeper than surface. Artist Position MID-CAREER INSTITUTIONAL. Self-taught painter with BA in Philosophy from Florida International University. International exhibition history across the United States, Europe, and Asia since 2010. Recent institutional solo exhibitions include HOW Art Museum Shanghai (2024) and Museum of Contemporary Art North Miami (2023). Featured in "Shifting Gaze: A Reconstruction of the Black & Hispanic Body in Contemporary Art" at The Mennello Museum, Orlando (2018). Philosophy background informs sustained investigation of social constructs, violence, and American identity through painted intervention in photographic archives. Market Intelligence HOW Art Museum Shanghai solo exhibition "Immunity and Discord" (2024) marks Asia-Pacific institutional recognition. Work held in Long Museum Shanghai, Yuz Museum Shanghai, Aurora Museum Shanghai, Bass Museum Miami, ICA Miami, Pérez Art Museum Miami, Brown University, and Akron Art Museum. Recipient of the 2022 South Florida Cultural Consortium Award with resulting institutional presentation at the Museum of Contemporary Art North Miami (2023). Akron Art Museum’s "Recent Acquisitions" exhibition (2022) signals active institutional collecting. Featured in "Toward the Celestial: ICA Miami's Collection at 10 Years" (2024), demonstrating sustained institutional confidence. Included in Fondation Frances Paris group exhibition "Life is a Wound That I Cannot Get Rid Of" (2024), establishing European institutional visibility. Collection Rationale Anchors contemporary figurative holdings exploring archival photography, American social history, and identity construction. Large-scale format commands presence in established collections. The fluorescent oil technique creates a distinctive visual signature that sets the work apart from conventional figurative painting. Sits naturally alongside painters interrogating institutional violence, historical narrative, and psychological interiority. Complements collectors building Latin American contemporary, Miami School, or cross-cultural US-Asian institutional dialogue. Accessible pricing at USD35,000 relative to comparable museum-collected figurative painters with eight-institution validation. Exhibits Night Gallery, Los Angeles. https://www.stevenalderton.com/works-to-watch-1-2026-jan-1-1 daily 0.75 2026-02-08 https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1770526227766-A10LSD9C5IGW5PRT5CAQ/Image+8-2-2026+at+11.02%E2%80%AFAM.jpeg 4: Feb 2026 - Sosa Joseph, The Farm Thieves, 2025, oil on canvas, 35.88 x 46cm, USD25,000 The Work Moonlit figures move through flooded landscape during the Indian monsoon season, their bodies half-submerged in water reflecting an eerie night sky. Joseph begins each canvas by painting a single vivid hue across the entire surface, then introduces figuration improvisationally, displacement transforms into communal resilience as lovers cavort and children dance in tent-lined streets. Working from memory, she builds up and wipes down layers of pigment in cycles that give paintings what critics call a "still-alive quality," where quotidian moments take on the heft of the extraordinary. Artist Position ESTABLISHED INSTITUTIONAL. Diploma from Raja Ravi Varma College of Fine Arts, Post-Graduate Diploma from Maharaja Sayajirao University of Baroda. Featured in Centre Pompidou Paris "Mémoires des Futurs / Modernités Indiennes" (2017), 21st Biennale of Sydney (2018), Stedelijk Museum Bureau Amsterdam residency (2015), inaugural Kochi-Muziris Biennale (2012), Setouchi Triennale Japan (2016). Daughter of ferryman-turned-factory-worker from working-class Parumala, Kerala, India. Market Intelligence Represented by David Zwirner following London solo "Pennungal: Lives of women and girls" (2024) and New York debut "Rain over the river" (November 2025–present). Co-represented by Stevenson with "The Hushed History of Oblivion" Cape Town (2023). Work held in Metropolitan Museum New York. Auction record: USD4,325 (Saffronart, Mumbai, 2017), with minimal secondary activity; primary market dominates at mid-four to low-five-figure USD post-Zwirner, versus the pre-2024 sub-USD5,000 range. Collection Rationale Anchors South Asian contemporary holdings continuing the Baroda School figurative tradition alongside Bhupen Khakhar and Sudhir Patwardhan. Liquid flux technique creates distinctive visual signature. Complements collectors building female Indian painters, post-colonial memory work, or flooding narratives. Smaller scale (14×18 inches) provides accessible entry before David Zwirner pricing reaches institutional levels. Timing favours acquisition before the North American market absorbs the New York debut momentum and the secondary premium develops. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1770526259331-6XX0LJAMOJNDSLEOOU2J/Image+8-2-2026+at+3.44%E2%80%AFPM.jpeg 4: Feb 2026 - Pinaree Sanpitak, Balancing Act 24, 2024, 24 Indian metal containers, mulberry paper, needle, on 24 bases, diameter 36cm Variable, GL16289, USD125,000 The Work Twenty-four Indian metal containers sit atop individual bases, each vessel crowned with hand-torn mulberry paper held by stitched thread. The kinetic element introduces gentle rotation, transforming the static arrangement into a meditation on equilibrium; containers that once held sustenance now cradling delicate paper forms that evoke both Buddhist offering bowls and breast shapes. Hand-stitching needle and thread anchors mulberry fibre to metal, creating tension between the industrial vessel and the organic material. The work draws together Sanpitak's signature vocabulary: the vessel as body, the breast as sacred architecture, the offering bowl as site of exchange and generosity. Artist Position ESTABLISHED. BFA University of Tsukuba Japan (1986). Work held in Museum of Modern Art New York, M+ Hong Kong, Los Angeles County Museum of Art, Hirshhorn Museum and Sculpture Garden Washington DC, Singapore Art Museum, Queensland Art Gallery/QGOMA, Brisbane, Asian Art Museum San Francisco, Seattle Art Museum, Toledo Museum of Art, MAIIAM Contemporary Art Museum Chiang Mai, Museum of Contemporary Art Tokyo. Featured in 59th Venice Biennale main exhibition "The Milk of Dreams" curated by Cecilia Alemani (2022), Bangkok Art Biennale (2023), 18th Sydney Biennale (2012), Setouchi Triennale (2019). Solo institutional exhibitions include National Gallery Singapore (2018), Sherman Contemporary Art Foundation Sydney (2014), Toledo Museum of Art (2015), Hancock Shaker Village Museum (2022). 2007 Silpathorn Award from Thai Ministry of Culture. Market Intelligence Featured at inaugural Art Basel Qatar, February 2026, with a solo presentation "Vessels”, signals institutional confidence in Asia-Pacific market expansion. Current exhibition "Breast Stupa Topiary" at Dib Museum Bangkok (December 2025–August 2026). Auction record USD23,963 for "Breast Vessel" at Christie's Hong Kong (2019). MACAN Museum Jakarta acquired group including "Breast Stupa Topiary" (2013) and "Offering Vessel" shown at Venice Biennale (2024). Work accessible at six-figure entry point positions, Sanpitak competitively within the established Southeast Asian contemporary market, while major museum acquisitions demonstrate sustained institutional validation. Limited auction presence indicates primary market strength through stable representation. Collection Rationale Essential for serious collections focused on Southeast Asian feminist practice, contemporary Buddhist-inflected art, or material investigation of sacred/domestic intersections. Kinetic element and use of traditional Thai mulberry paper technique connects contemporary practice to craft lineage while multicultural sourcing (Indian vessels) demonstrates transnational Asian dialogue. Complements collections building positions in women artists exploring body politics, materiality, and spirituality; natural adjacency to Louise Bourgeois, Eva Hesse, Lee Bul. Venice Biennale platform and Art Basel Qatar solo presentation indicate accelerating institutional momentum for mid-career Asian women artists. Acquisition secures work from an artist whose three-decade practice demonstrates consistent conceptual rigour before broader Western market recognition drives pricing upward. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1770526320827-J98BX2M9N51504FISPS0/Image+5-2-2026+at+2.39%E2%80%AFPM.jpeg 4: Feb 2026 - Mason Kimber, Perimeters of Light, 2025, acrylic, pencil, composite render, extruded polystyrene and wood, 90.5 x 125 x 3.5cm, USD8,000 The Work Architectural fragments cast from built surfaces are bound together with extruded polystyrene and expanding foam, then coated in render to create a unified wall-like surface. Kimber paints a single vivid hue across the blank canvas before introducing pencil outlines that transfer shapes from preparatory drawings, creating a scaffolding for geometric planes that overlap and interpenetrate. Set-construction techniques make ordinary materials perform like something solid; the resultant form appears carved from a larger whole, with painted elements layered into the physical surface so that material and image continually exchange qualities. Artist Position POST-EMERGING/ PRE-MID-CAREER. MFA Painting from National Art School Sydney. Works held in the Museum of Contemporary Art Australia collection and Artbank. British School at Rome residency (2014) researching fresco spatial illusion, Artspace Sydney residency (2017), Parramatta Artists Studios. Finalist, Sulman Prize, Churchie National Emerging Art Prize, NSW Visual Arts Fellowship (Emerging). Lecturer in Painting at the National Art School and tutor in Art Processes & Architecture at the University of Sydney. PhD candidate UNSW Art & Design on painting as a critical spatial practice. Market Intelligence Solo exhibition "A Caressing Gaze" at UNSW Galleries closed November 2025. Featured in NEW16 at the Australian Centre for Contemporary Art, Melbourne (2016), MCA Collection: Perspectives on Place (2021). Exhibited Centre Pompidou Paris (2017). Permanent wall relief commission, Bronte, NSW, demonstrates collector confidence in site-specific architectural practice. Mid-range pricing USD8,000 for 90×125cm scale positions works as accessibility relative to the institutional validation trajectory. Collection Rationale Anchors Australian contemporary holdings exploring architecture, memory, and materiality through hybrid painting-sculpture. A technique that combines fresco, relief, and set construction creates a distinctive visual language distinct from conventional abstraction. Complements collectors building positions in spatial practice, architectural fragment work, or memory-based conceptual painting. Accessible entry, coupled with institutional momentum from recent UNSW solo and MCA collection inclusions, elevates market positioning. Works on this scale command presence while remaining acquisition-friendly for emerging collectors building museum-quality Australian contemporary holdings. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1770526292605-K1UISRG9GUIYRUMMIL41/Image+5-2-2026+at+4.44%E2%80%AFPM.jpeg 4: Feb 2026 - Eleanor Louise Butt, Surface Pull, 2024, oil on cotton, 152 x 168cm, (ELB-2025-03), USD7,500 The Work Gestural forms surge across coarse cotton, oscillating between assembly and dissolution. Bold compositional lines charge the surface while chromatic intensity activates negative space, what appears as background functions equally as compositional force. Butt's process involves applying and removing paint across multiple works simultaneously, so a gesture from one painting seeds the next, creating cross-pollination across the studio. Brushstrokes reveal physicality: dragged, poured, rubbed, layered. The work refuses stable categorisation, hovering between image and object, abstraction and figuration, with forms that recall landscape without depicting it. Artist Position MID-CAREER EMERGING. Honours Victorian College of the Arts University of Melbourne (2013), current MFA candidate Monash University. Work held in Museum of Contemporary Art Australia, Artbank Australia, Muswellbrook Shire Art Collection, Gippsland Art Gallery. Featured in "The Intelligence of Painting" Museum of Contemporary Art Australia curated by Suzanne Cotter and Manya Sellers (March–July 2025); hallmark survey of 14 Australian women painters spotlighting contemporary painting's vitality. First female Australian artist awarded tenancy at Porthmeor Studios, St Ives, Cornwall, UK in the studios' 140-year history (2019). Winner Muswellbrook Art Prize for Painting acquisitive (2024), George Hicks Award (2012). Finalist Len Fox Painting Award, Geelong Contemporary Art Prize, Omnia Art Prize, Ravenswood Australian Women's Art Prize, Bayside Acquisitive Art Prize. Market Intelligence No secondary market presence, exclusively primary market. MCA acquisition "Within the Garden (Autumn Painting 2)" (2022) signals institutional confidence in early-stage career. Exhibited at Sydney Contemporary 2025, demonstrating fair-level visibility. Pricing at USD7,500 for 152×168cm scale positions competitively within Australian emerging abstract painters, while the MCA platform provides validation typically reserved for more established practitioners. 10 metre commissioned work installed permanently at Her Bar Melbourne (2021) demonstrates capacity for large-scale architectural projects. Published critical attention includes Artist Profile Magazine, Art Collector Magazine, Art Almanac, ABC Radio National, Reflektor Magazine, establishing press footprint unusual for career stage. Collection Rationale Strategic acquisition for collectors building positions in Australian women abstractionists before major international visibility. MCA inclusion in "Intelligence of Painting" alongside established figures (Jenny Watson, Angela Brennan) positions Butt within lineage of Australian gestural abstraction while Porthmeor Studios residency connects practice to St Ives modernist tradition. Pricing offers accessible entry before institutional momentum drives the market upward, comparable trajectories saw similar Australian abstractionists appreciate significantly after major museum validation. Natural adjacencies to collectors holding Helen Frankenthaler, Joan Mitchell, Lee Krasner. The work demonstrates sophisticated material intelligence and art-historical literacy, rare in post-emerging practice, suggesting sustained conceptual development ahead. https://www.stevenalderton.com/works-to-watch-1-2026-jan-1-1-1 daily 0.75 2026-02-15 https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1771131669764-PICASOHMHVUOA6EW5LEG/Image+15-2-2026+at+2.26%E2%80%AFPM.jpeg 5: Feb 2026 - Mira Dancy, Singed Palm, 2025, oil on canvas The Work Charred palm trunk stands against luminous sky, painted from photographs taken during daily walks around Altadena following the Eaton Fire. Dancy applies vivid hues across the entire surface before introducing landscape elements, allowing grief and beauty to exist as intimately as adjacent brushstrokes. Trees appear in states of charred decay and abundant renewal, scorched hillsides renegotiating chaparral palettes against fire and season. Dynamic line work and impassioned colour that previously animated goddess-like figures now charge the landscape with urgency, demonstrating destruction and renewal as transitional states. Artist Position ESTABLISHED MID-CAREER. MFA Columbia University (2009), BA Bard College (2001). Work held in Whitney Museum of American Art, Los Angeles County Museum of Art, Columbus Museum of Art, Yuz Foundation Shanghai. Featured in MoMA PS1's "Greater New York" (2015), Rubell Family Collection's "No Man's Land." Known for fluorescent-hued paintings depicting powerful female nudes and figures that New York Times' Roberta Smith described as those "who don't have time for the male gaze." Market Intelligence Auction record USD21,277 for "Double Undressed" Phillips London (2017), results range USD504–USD21,277. "Mourning's Orbit" represents a dramatic departure from signature fluorescent acrylic nudes to oil landscape, the first landscape body following 15 years of figurative work. Shift demonstrates evolution while maintaining dynamic line and colour. Mid-career positioning with institutional validation but accessible auction performance. Collection Rationale Oil medium and photographic source represent new technical territory while maintaining formal commitments to gesture, colour, and feminist conviction. Complements collections focused on contemporary landscape, California artists, climate-responsive practices, or feminist painters expanding visual language. Natural adjacency to Cecily Brown, Dana Schutz, Amy Sillman (Dancy's teacher). Timing favours acquisition before the market absorbs significance, making it a pivotal mid-career moment. Whitney and LACMA holdings provide an institutional anchor, while auction accessibility offers entry before the landscape work develops a premium. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1771131746447-9MKXWO1MZ6ZWZFLJE7BB/Image+15-2-2026+at+1.40%E2%80%AFPM.jpeg 5: Feb 2026 - Qiu Xiaofei, The Theater of Wither and Thrive, 2025, oil on linen, 193.5 x 300.5cm The Work Dense red forest painted with distorted ground and scale evokes theatrical backdrop flatness familiar from childhood; grandparents directed the Yongfeng Society Beijing theatre troupe, where his father worked as a painter and set designer. Natural and architectural elements of Harbin intertwine with visages of relatives and otherworldly humanoid monsters, forming hallucinatory scenes. Flowers and fallen petals recur as reminders that ecological renewal is a natural consequence of death, and loss gives rise to growth. Work inspired by the discovery of previously unknown family photographs uncovered after the father’s death, oxidised silver-halide film setting in motion consideration of life cycles. Drawing on Chinese cultural traditions and poets Robert Lowell and Emily Dickinson; nostalgia, loss, and wonder distil into compositions suggesting the vastness of the theatre of life. Artist Position ESTABLISHED. Born in Harbin in 1977, graduated from the Central Academy of Fine Arts in Beijing in 2002. Represented by Hauser & Wirth (joined 2025) and Xavier Hufkens Brussels. Works held in the Metropolitan Museum of Art, New York, Centre Pompidou, Paris, M+ Hong Kong, Singapore Art Museum, and Long Museum Shanghai. Featured Metropolitan Museum (2025), Centre Pompidou (2024), M+ (2023), UCCA Edge Shanghai (2022), Crystal Bridges Museum, Bentonville (2018), Tate Liverpool (2007). Member N12 group of Central Academy graduates exhibiting together since 2003. Came to prominence in the early 2000s as part of a new generation shaping China’s contemporary art scene. Market Intelligence Secondary market presence through Sotheby’s and Phillips, with works dating from the early 2000s. Hauser & Wirth's representation (announced in October 2025) represents significant market development alongside continued representation by Xavier Hufkens. “Theatre of Wither and Thrive” is Hauser & Wirth's debut (February–April 2026, New York). The seminal series “Belovezhskaya Forest” (2019–2021) established increased narrative and conceptual complexity. Pricing reflects established mid-career status with blue-chip representation and major museum holdings. Collection Rationale Practice balances Eastern and Western cultural references, toggling recognisable imagery with unexpected visual perspectives. Complements collections focused on contemporary Chinese painting, psychologically complex figurative work, or artists mining personal memory and collective history. Natural adjacency to collectors holding Neo Rauch, Luc Tuymans, Liu Ye. Metropolitan Museum and Centre Pompidou holdings provide an institutional anchor. Work explores universal themes—cycles of growth/death, memory formation, family history—through a specifically Chinese cultural lens, offering broad appeal while maintaining cultural specificity. Timing favours acquisition during Hauser & Wirth's debut before expanded international visibility drives the market upward. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1771131776291-HU84BQ09TXTEBJH8D5XO/Image+15-2-2026+at+3.20%E2%80%AFPM.jpeg 5: Feb 2026 - George Cooley, Untitled, 2025, acrylic on board, 122 x 92cm The Work Surreal pink and grey skies hover over ochre plains and mesas painted from memory of the Kaṉku-Breakaways 25km north of Coober Pedy. Cooley builds rich layers with a palette knife, capturing the opalescent spectrum from granite rocks to mulga scrub as colours shift from reddish ground with whites, yellows, purples, to near-black. An aerial viewpoint increases the vastness of Country, while bold palette strokes depict days, seasons, and a lifetime of observation. The mnemonic work reflects a deep love of Antakirinja Matu-Yankunytjatjara Country, drawing on decades as an opal prospector, experiencing the landscape from above and below. Artist Position EMERGING SENIOR. Born Yanyuwa Country, Borroloola, Northern Territory 1953. Chair Umoona Community Arts Centre, Coober Pedy, opened in 2024 after 25 years of advocacy. Began visual art career 2021 through Umoona, works between Umoona and APY Art Centre Collective's Adelaide studio. Finalist Telstra NATSIAA (2023, 2024), Wynne Prize (2024, 2025), featured 18th Adelaide Biennial of Australian Art (2024). Community leader across Umoona and Coober Pedy. Opal miner since first visiting with father in 1958. Market Intelligence No secondary market, exclusively primary market through Umoona Community Arts Centre and APY Art Centre Collective. Recent institutional momentum through consecutive NATSIAA nominations and Wynne Prize finalist selections demonstrates rapid critical recognition for practice. Adelaide Biennial inclusion positions within major Australian contemporary survey. Large-scale works command institutional presence. Pricing reflects emerging status despite senior cultural authority spanning seven decades. Collection Rationale Cooley's late-career emergence follows established pattern of senior Indigenous artists bringing deep cultural knowledge to contemporary practice. Paintings document the landscape intimately known through childhood traversing and decades of prospecting; he has a geological understanding informing subject and technique. Complements collections focused on contemporary Indigenous landscape, South Australian desert country, or senior practitioners. Natural adjacency to APY Lands artists or contemporary Indigenous abstraction. Timing favours acquisition during the emerging phase before sustained institutional validation elevates positioning. Umoona's 2024 opening represents significant infrastructure development, positioning Cooley as a foundational figure. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1771131795740-XM8NHMNDX7G8L7SRZR0F/Image+15-2-2026+at+2.55%E2%80%AFPM.jpeg 5: Feb 2026 - Justin Williams, That which is the same, 2025, oil, acrylic, pigment and rabbit skin glue on canvas, 160 x 220cm  The Work Opaque oil paints and thin washes create figures and landscapes that hover above the canvas, glowing from within. Williams builds abstract brushstrokes before “beating the narrative into the work,” then oversaturating with materials and stripping back to ghost-like, patchy effect. Folkloric scenes depict gatherings, real and imagined, where friends, relatives, strangers, lovers and animals intermingle across displaced timelines rippling between past, present, and imagined. Practice explores grandparents’ migration from Alexandria, Egypt, to Australia and the artist’s own outsider perspective toward place, time, and community. Artist Position EARLY MID-CAREER. Born in Melbourne in 1984, BA Communication and Design, Swinburne University 2004, lives in Santa Fe, New Mexico. Solo exhibitions: Roberts Projects, Los Angeles, “Synonym” (2024), Galerie Crèvecoeur, Paris, Vigo, London, and COMA, Sydney. Works held in the Beth Rudin DeWoody Collection, Bourse de Commerce Pinault Collection, Arndt Collection, and Xiao Museum of Contemporary Art. Featured publications include Forbes, Artist Profile, It’s Nice That, Autre Magazine. Market Intelligence Limited Australian auction history 2014-2016 through Leonard Joel, Lawson Menzies, primarily early works on paper. Current market positioning through established international programs Roberts Projects LA, Galerie Crèvecoeur Paris, COMA Sydney. Pinault Collection acquisition signals major institutional validation. Pricing reflects established mid-career status with blue-chip representation. Work operates primary market through gallery network across Los Angeles, Paris, Sydney, London. Collection Rationale Anchors collections focused on contemporary figurative painting, diaspora narratives, or Australian expatriate artists. Distinctive visual language combining folkloric storytelling with painterly abstraction creates an immediately recognisable signature. Complements collectors holding painters working across memory and autobiography; Peter Doig, Njideka Akunyili Crosby, Hurvin Anderson. Natural adjacency to contemporary figurative painters exploring cultural displacement and family history. Pinault Collection inclusion demonstrates institutional confidence in sustained practice. Accessible entry point before major museum solo elevates market positioning. https://www.stevenalderton.com/works-to-watch-1-2026-jan-1-1-1-1 daily 0.75 2026-02-23 https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1771880907973-G0Y9K7AGGABZS05173LF/Image+20-2-2026+at+3.11%E2%80%AFPM.jpeg 6: Feb 2026 - Alex Seton, A Tender Rind, 2026, Rosa Portugal Marble, Unique Ed. 3/3, 45 × 55 × 55cm, 100kg The Work Crumpled forms initially appear mundane as ordinary discarded cloth bundles. Carved in Portuguese pink marble, the work gradually reveals itself as abandoned flesh, puckered folds disquietingly evoking skin and viscera. Though abstract and serene, the sculpture echoes the tradition of the body under duress, recalling Michelangelo's disembodied self-portrait in The Last Judgement (1541) and Marco d'Agrate's St. Bartholomew Flayed (1562) as kindred distress responses to horror and uncertainty. The series considers disembodied abandonment, not only shedding clothing and skin, but relinquishing morals, ethics, and humanity. Beautiful in fleshy materiality, the work meditates on corporeal vulnerability. Each Tenderness Series work is an edition of 3 in unique stones, original carving hand-finished in the Pietrasanta studio. Artist Position ESTABLISHED. Exploits cultural assumptions about European classical sculpture to examine contemporary anxieties. Works held in the National Gallery of Australia, Museum of Contemporary Art Australia, Art Gallery of South Australia, Australian War Memorial, Artbank, and the Danish Royal Art Collection, Copenhagen. Recent MCA acquisition 2025. 2024 dedicated major public commission "For Every Drop Shed in Anguish" Australian War Memorial, 18 marble droplets representing blood, sweat, tears. First Australian artist to win the Sovereign Asian Art Award (2020), Mordant Fellowship, American Academy in Rome (2019), and the Contemporary Talents Prize, Fondation François Schneider, France (2017). Market Intelligence Limited secondary market, auction record USD100,227 Deutscher & Hackett Sydney 2016. Major institutional momentum through the War Memorial commission and the MCA acquisition signals an elevated profile. Tenderness Series was introduced at ART SG 2025, marking a shift from politically charged asylum seeker/military memorial work toward an introspective examination of human vulnerability. Collection Rationale Strategic acquisition from Australia's foremost contemporary marble sculptor at the moment of thematic evolution. Demonstrates virtuosic mastery, rendering marble as flesh, somatic paradox invoking Renaissance flayed-body tradition through contemporary abstraction. Complements collections focused on contemporary sculpture, engaging classical traditions, or works exploring body/material transformation. Natural adjacency to collectors holding Ron Mueck, Patricia Piccinini, Sam Jinks. Carved in Pietrasanta, each work is unique within an edition of three executed in different marble varieties. Portuguese pink marble's fleshy colouration enhances visceral impact. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1771880983929-UL2UKTEPKQE4XNX33BE9/IMG_9985.jpeg 6: Feb 2026 - Natasha Walsh, Cornucopia, 2026, oil & pigment on copper, 124 x 110cm The Work Lush garden unfolds where foliage, vessels, and architectural fragments press gently against a saturated blue field. Botanical forms gather and spill outward, suspended between cultivated abundance and quiet introspection. Layered colour and finely held detail, leaves, branches, tendrils articulated with clarity yet softened by atmosphere. Copper ground lends warmth and luminosity, allowing light to move subtly across the composition. Abundance manifests not as spectacle but stillness. Plants frame and partially veil the threshold space where interior and exterior meet, and the act of looking becomes immersive. Each element feels carefully placed yet alive, forming a dense, contemplative ecology rewarding slow attention. Artist Position EMERGING ESTABLISHED. Born Sydney 1994, MFA Painting National Art School 2017. Work held Art Gallery of New South Wales. Known for the transformation of pigments on copper surfaces, where paintings visibly age through oxidation as copper reacts to applied ground pigments. Recent solo "Hysteria" Brett Whiteley Studio 2023; first solo artist to exhibit there aside from Whiteley. Featured in The National 4: Australian Art Now (touring major institutions). Seven-time Archibald Prize finalist (2016, 2017, 2019, 2021, 2022, 2024, 2025), finalist BP Portrait Award, London National Portrait Gallery, Royal Scottish Academy Annual Exhibition, Edinburgh, Royal Academy of Arts Summer Exhibition, London. Winner Brett Whiteley Travelling Art Scholarship (2018), Kilgour Prize (2018), Mosman Art Prize (2018). Market Intelligence Exclusively primary market through N.Smith Gallery Sydney. AGNSW acquired "The Marriage of Nicol and Ford" (2024 Archibald finalist), 2024, marking the first institutional purchase. Recent work shifts from introspective self-portraiture to collaborative reimaginings of canonical art-historical paintings depicting women, working with leading Australian creatives. Cornucopia represents further evolution into botanical still-life territory while maintaining signature copper substrate and alchemical approach to materials. Collection Rationale Strategic acquisition of a rapidly ascending painter at a critical career transition. Walsh demonstrates rare technical mastery, transforming copper through oxidation into luminous support, positioning herself within the lineage of alchemical painting traditions. Complements collections focused on contemporary Australian painting, on women artists interrogating art-historical traditions, or on works exploring material transformation. Natural adjacency to collectors holding Cressida Campbell and Euan Macleod. Timing favours acquisition before broader international exposure elevates pricing beyond the post-emerging artist range. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1771880954741-XOMDVXYH3PUUTFOAWXEX/Image+20-2-2026+at+2.39%E2%80%AFPM.jpeg 6: Feb 2026 - Jongsuk Yoon, Azalea, 2025, oil on canvas, 210 x 360cm The Work Panoramic canvas bursts with dreamlike pink, red, and yellow hues, capturing azaleas in bloom across the mountainous region of youth, conjured rather than physically experienced. Yoon dispenses with orienting horizons, prioritising simultaneity through large, open fields of colour where intuition leads in unplanned, spontaneous ways. Thick layers applied vigorously with palette knife, then corrected, wiped away, left to settle before reworking, the physical process is traceable as sedimentary layers. Work references Azalea Mountain in South Korea, radiating bright pink during spring bloom, transporting viewers to the essence of springtime in Yoon's spirit and heart, while Kumgangsan Mountain commemorates the arbitrary 1945 Korea division as a symbol of unresolved geopolitical trauma. Artist Position ESTABLISHED MID-CAREER. Born in Onyang, South Korea, 1965, studied at the Kunstakademie Düsseldorf under Fritz Schwegler (1997-2001), lives in Düsseldorf. Work held in Museum Kunstpalast Düsseldorf, Sprengel Museum Hannover, Museum Ostwall Dortmund, Kestnergesellschaft Hannover, Zabludowicz Collection London. Current solo Kumgangsan at Mumok Vienna (ongoing), recent solos Kestner Gesellschaft Hannover (2021), Nordiska Akvarellmuseet Sweden (2020), Art Sonje Center Seoul (2018), Museum Kurhaus Kleve (2017). 2025 Transfuge Art Prize Best International Artist. First US solo Marian Goodman Los Angeles (2024). Market Intelligence Exclusively primary market through Marian Goodman (joined 2024) and Galerie nächst St. Stephan Vienna. Marian Goodman's representation represents significant market development, positioning within a blue-chip program. Mumok solo and Transfuge Prize signal elevated institutional momentum. Pricing reflects established European institutional validation with emerging US market positioning through first Marian Goodman presentations. Collection Rationale Strategic acquisition from a Korean-German painter fusing East Asian landscape traditions with Western modernist abstraction at the moment of US market entry. "Landscapes of the soul" demonstrates distinctive synthesis—Korean sansuhwa (mountain-water paintings) meets colour field painting. Complements collections focused on contemporary landscape abstraction, Korean diaspora artists, or painters who bridge Eastern and Western traditions. Natural adjacency to collectors holding Joan Mitchell, Helen Frankenthaler, and Park Seo-Bo. Mumok institutional platform and Transfuge Prize validate sustained practice and broader international visibility. Timing favours acquisition during New York debut before US institutional momentum develops. Works hover between figuration and abstraction, with political dimensions that reference divided Korea, offering both aesthetic sophistication and geopolitical resonance. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1771880827200-1I4U79F01F0XXPDV72EZ/Image+23-2-2026+at+8.14%E2%80%AFAM.jpeg 6: Feb 2026 - Jen Hitchings, Deserted Desire, 2025, oil on panel, 40.6 x 50.8cm The Work Symbolic imagery and psychedelic colour depict the mythological relationship between humankind and nature. An oddly reflective desert unfolds through mirrored elements evoking uncanny symmetry, doubled mountain ranges, cloned river paths, and celestial bodies arranged in Western Zodiac constellation patterns. A fantastical scene exudes a specific season, time of day, and temperature. Strategic proportions and sacred geometries structure composition referencing sketches based loosely on places visited between the American northeast and southwest. Stars arranged as letters or words that reflect interest in linguistics, the evolution of communication, and the significance of signs and symbols in humankind's endless desire to make meaning. Delicate wavering between serenity and sorrow, isolation and unity emerges, two opposing forces meeting within a cycle. Artist Position POST-EMERGING. Born in New Jersey in 1988, BFA Painting & Drawing, SUNY Purchase, 2011. Solo exhibitions Gaa Gallery NYC (2024), Anat Ebgi Los Angeles "Seven Suns" (2023), Taymour Grahne London "Cycles" (2023). Recent groups: "Enchanted Lands", Johansson Projects, Oakland (2024), Richard Heller, Los Angeles (2024), Lamb Gallery, London (2024), Louisa Art Centre, Taipei (2023). Featured Dallas Art Fair, Felix Art Fair with Anat Ebgi (2023). Recipient Queens Council on the Arts New Works Grant (2018). In 2023, commissioned Mailchimp for a 9×21' permanent mural at the Atlanta headquarters alongside 39 contemporary painters. Co-directed Transmitter and Associated Gallery Brooklyn 2013-2020. Founded artist consulting agency Studio Associate (2019), served as Director of Career Services at CalArts from 2022-2024. Lives Los Angeles. Market Intelligence Exclusively primary through Taymour Grahne (UK representation) and selective group presentations Los Angeles/New York. Growing institutional interest is evidenced by Mailchimp commission and increasing group exhibition placements. Artsy featured "5 Artists on Our Radar" April 2023, predicting collector wishlist momentum. Recent Los Angeles gallery circuit visibility through Anat Ebgi, Richard Heller, Good Mother positions work within surrealist landscape painting resurgence alongside Amy Lincoln, Anna Ortiz. Collection Rationale Strategic acquisition from a painter operating at the intersection of Hudson River School romanticism, Japanese folk art, and spiritualist iconography reimagined through a psychedelic lens. Work addresses the tenuous relationship between humankind and nature through cycles, lunar, solar, seasonal, menstrual, reproductive, and atmospheric. Complements collections focused on contemporary landscape painting, women artists investigating psyche and desire, or West Coast painters merging mysticism with natural forms. Natural adjacency to collectors holding Jonas Wood, Hilary Pecis, Christina Quarles. Positioning benefits from Los Angeles gallery momentum and from expanding UK representation. Timing favours acquisition during mid-career emergence before broader institutional validation elevates pricing. https://www.stevenalderton.com/works-to-watch-1-2026-jan-1-1-1-1-1 daily 0.75 2026-03-02 https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1772417723788-62LHUURDJXMBDGFQD7ND/Image+2-3-2026+at+12.12%E2%80%AFPM.jpeg 7: March 2026 - Loie Hollowell, Overview Effect in blue with small blue mandorla, 2025 The Work Two sculptural orbs arranged vertically, convex protruding inch from canvas or concave sinking inch into it, with concentric ripples intersecting to create a horizontal mandorla between them. Pulsating colours describe throbbing bodily motion: reds, yellows, blues against muted tonalities of mauvy, greyish, fleshy purples register moments of sharp human pain and euphoria within an infinite weightless cosmic ocean. Named after astronauts' term for seeing Earth from space and the transcendental feelings it produces. Captures sensations of second childbirth at home in birthing tub, moments between contractions where Hollowell observed herself from outside body, as if from above. Orbs recall a pregnant and empty belly, planetary systems in synchronised orbit, functioning as nesting dolls, affirming the inherent unity of mother and child. Artist Position ESTABLISHED MID-CAREER. Born in California in 1983. Decade-long exploration of bodily landscape through geometric compositions, mandorla, ogee, lingam, alongside colour gradations. Autobiographical practice distils physical and psychic changes through pregnancy, birth, and breastfeeding. Work held in the Long Museum Shanghai, Crystal Bridges Museum of American Art, Hirshhorn Museum, LACMA, and ICA Miami. First retrospective "Loie Hollowell: Space Between" Aldrich Contemporary Art Museum, Connecticut (2024), travelled to ICA, Virginia Commonwealth University (2025). Current solo Pace London (through May 2026). Joined Pace Gallery in 2017, first Hong Kong solo in 2018. Market Intelligence Auction record USD2.1 million "Linked Lingams (yellow, green, blue, purple, pink)" Sotheby's Hong Kong 2021. Strong Asian market momentum, majority of six-figure results from Hong Kong auctions 2021-2023. Recent US auction record USD1.05 million Clars Oakland 2022. Primary market prices reached USD250,000 by 2019. Overview Effect series debuted at Pace Los Angeles 2024 at the largest scale to date. London presentation returns to human-scale at 6×4.5 feet, allowing greater colour complexity. Collection Rationale Strategic acquisition from a painter operating at the intersection of geometric abstraction and autobiographical bodily experience during critical evolution from Split Orb (hospital birth) to Overview Effect (home birth) series. Demonstrates a rare combination of institutional validation (first museum survey 2024) and robust secondary market performance. Complements collections focused on contemporary women artists, geometric abstraction with feminist dimensions, or California painters. Natural adjacency to collectors holding Hilma af Klint, Emma Kunz, and Mary Heilmann. London timing favourable, first UK solo since 2018 signals European market expansion beyond established Asian collector base. Work uniquely positions sensual corporeal experience within cosmic/spiritual frameworks through formal precision. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1772417701055-VRECVZZVXKV5MM5M916D/Image+2-3-2026+at+12.01%E2%80%AFPM.jpeg 7: March 2026 - David Hockney, Two Vases with Flowers on White, 1988, Acrylic on canvas, 60.6 × 91.4cm The Work Still life marked Hockney's return to painting after a period exploring experimental techniques and theatrical designs in the 1980s. Two vases arranged on white ground reveal the influence of Picasso's Cubist still lifes, Van Gogh's vibrant palette, and Cézanne's Platonic compositional forms. Fascination with still life takes many forms throughout a career, often reflecting simultaneous immersion in other genres and methods. Characteristic bold colour and flattened perspective compress spatial depth while maintaining decorative exuberance. Artist Position BLUE-CHIP ESTABLISHED. Born in Bradford, UK, 1937. Royal College of Art, London, alongside R.B. Kitaj. Studied under Francis Bacon and Peter Blake. Most influential British artist 20th/21st centuries. Work held MoMA NY, Tate Britain, Royal Academy of Arts London, Van Gogh Museum Amsterdam, Art Institute Chicago, and LACMA. Known for California swimming pools, Yorkshire landscapes, double portraits exploring queer desire, photographic collages, iPad drawings, and opera stagings. Major retrospectives Tate Britain (2017), Fondation Louis Vuitton (2025), Centre Pompidou Paris, Metropolitan Museum, NY. Market Intelligence Auction record USD90.3 million "Portrait of an Artist (Pool with Two Figures)" Christie's NY 2018, highest price for a living artist at the time. Recent major sales: USD44.3 million "Christopher Isherwood and Don Bachardy" Christie's 2025, USD28.6 million "The Splash" Sotheby's 2020. Still-life paintings are less sought after than iconic pool/landscape works but represent important transitional moments between major bodies of work. Strong institutional bidding, consistent blue-chip secondary market across all periods. Collection Rationale Strategic acquisition of transitional still life from the most commercially successful British artist of our time during the pivotal 1988 return to painting. The work demonstrates Hockney's engagement with the art historical canon, Picasso, Cézanne, Van Gogh, through a contemporary lens. Complements collections focused on Pop Art, British painting, or works bridging modernist traditions with contemporary practice. Natural adjacency to collectors holding Andy Warhol, Roy Lichtenstein, and Gerhard Richter. Timing is favourable as Hockney approaches 90th year, with institutional retrospectives continuing globally, and sustained critical attention ensures market stability. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1772417750510-2DJFXWMFCUSYHULJQL3Y/Image+2-3-2026+at+12.46%E2%80%AFPM.jpeg 7: March 2026 - Leelee Kimmel, Hyrule, 2021, Acrylic, oil, oil pastel, and oil stick on canvas, 188 x 218.4cm The Work Electrocuted biomorphism descended from Surrealism; incandescent amoebas, skittering deep-sea/outer-space/inner-voyage paramecia, flagella, Ernst Haeckel's world pumped up with unreal colours. Even pastels are harsh, bright. Nervous line recrudescences recall Philip Guston's forlorn shoes; abstractions have textures of anxiety. Not specifically referential, though references present: Miró and Masson to Twombly, Basquiat, and Jonathan Lasker. Life's been polluted by morph. Strange connection to Guston's nervous energy channelled through the contemporary lens of electrified colour and visceral mark-making. Artist Position MID-CAREER. Born in NYC in 1983, lives in Red Hook, Brooklyn. Educated at Trevor Day School, Brown University. Known for abstract work exploring creation and destruction. Recent exhibitions: James Fuentes, NY, and Almine Rech. Work featured major group presentations alongside established contemporary painters. Market Intelligence Auction record USD277,200 "No. 8" Christie's NY 2022. Range USD2,937-277,200. Active secondary market with growing institutional recognition. Strong Christie's and Sotheby's presence 2020-2025, indicating blue-chip auction house confidence. Recent results consistently exceeding estimates, suggesting collector demand outpacing supply. Works from the 2018-2021 period, achieving the strongest prices. Collection Rationale Strategic acquisition from a painter operating at the intersection of Surrealist biomorphism and contemporary gestural abstraction. Hyrule represents the prime period of formal development, combining electrified colour with visceral mark-making. Complements collections focused on contemporary abstract painting, works referencing Surrealist traditions, or New York-based painters. Natural adjacency to collectors holding works by Amy Sillman, Charline von Heyl, and Julie Mehretu. Large scale (188×218cm) commands presence while remaining accessible for residential collections. Timing is favourable as secondary market momentum builds with consistent auction presence across major houses. Work uniquely channels mid-century abstract expressionist energy through contemporary sensibility of polluted beauty and nervous vitality. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1772417766616-XR6U72PCCCRBJHSHEBCT/Image+2-3-2026+at+12.26%E2%80%AFPM.jpeg 7: March 2026 - Sanné Mestrom, The Weight of Connection #10, 2025, bronze, 42 × 35.5 × 5.5cm, edition of 3 + 2 artist's proofs The Work Geometric curves, angled planes, profiles assembled from minimal cues, eyes rendered as discrete yet confrontational elements. Pared-back forms evoke feminized body without depicting it, highlighting how we create meaning from limited visual cues. Bodies are shaped as much by what we notice as what we overlook. Continues investigation into how bodies are constructed, perceived, and experienced, encouraging sustained looking and movement around sculptural forms. Meaning emerges through collaboration among object, space, and viewer, not passive objects awaiting a single interpretation, but structures embodying new ways of seeing that honour multiplicity and transform understanding of what it means to truly see. Artist Position ESTABLISHED. Born in the Netherlands in 1979, emigrated to New Zealand in 1983, and to Australia in 1998. PhD Fine Art, RMIT 2008, Graduate Certificate in Public Art, RMIT 2011. Senior Lecturer, Sculpture, Sydney College of the Arts, University of Sydney. Work held National Gallery of Australia, MCA Australia. Winner Woollahra Small Sculpture Prize (2019), John Fries Memorial Prize (2011). Recent commission "The Whole is Greater than the Sum of Her Parts" NGA Canberra (2025)—interactive installation responding to Picasso's Cubist fragmentation for "Cézanne to Giacometti" exhibition. Major public commissions include Lake Macquarie, Geelong City Council, Westbourne Grammar, and Monash University. Market Intelligence Minimal secondary market. Exclusively primary through Sullivan+Strumpf Sydney/Melbourne. Recent institutional momentum through the NGA commission critiquing the male gaze's fragmentation of the female body via participatory feminist practice. Growing recognition for reworking modernist visual languages, appropriated Frank Stella and Ad Reinhardt's Black Paintings as handwoven tapestries with the mother and guild of craftswomen (2015, 2018). Collection Rationale Strategic acquisition from a conceptual sculptor interrogating modernism's treatment of the female body through appropriation and disruption. Complements collections focused on feminist contemporary practice, Australian conceptual art, or works that engage with the modernist legacy. Natural adjacency to collectors holding Louise Bourgeois, Rosemarie Trockel, and Carol Bove. Bronze edition structure (edition 3 plus 2 AP) balances accessibility with exclusivity. Timing is favourable as institutional validation through the NGA commission elevates the profile beyond the Australian market. https://www.stevenalderton.com/events-1 daily 0.75 2026-03-06 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1755700364234-YQV6VU98Q0L3SRXFGH8S/imgg-demo-bMDK80dv.png https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/21c002b9-a504-4a0f-ae31-6615f23abaf4/imgg-demo-6kBfcLDd.png https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1755635348793-V4T1CLWY6X1RJF0143HX/imgg-demo-SFDKEjCd.png https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/e489f79d-0393-46c9-9dea-5f6a189541b6/imgg-demo-qoG3pXwb.png https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1755121082947-F4UJ5FWIFB64Q236NO46/imgg-demo-Aq8H491F.png https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/f04bd7d7-b8a4-4834-9639-c13e47b74b1b/imgg-demo-IT30LkeJ.png https://www.stevenalderton.com/works-to-watch-1-2026-jan-1-1-1-1-1-1 daily 0.75 2026-03-08 https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1772955405665-8VKCLQNPMQUF6GYKNR51/Image+8-3-2026+at+4.18%E2%80%AFPM.jpeg 8: March 2026 - Jonas Wood, Porsche Tennis Grand Prix, 2025, oil and acrylic on canvas, 167.6 x 152.4cm The Work Tennis court depicted as geometric puzzle where standardised dimensions become platform for serial abstraction. Wood began photographing the TV screen during televised matches with the lights off, loving how it looked, space experienced as image-mediated through television rather than physical presence. Forms not rendered spatially; under-painted with big flat shapes of colour, generated from an abundance of flat planes built up on top of each other. White lines demarcating the court's organised composition and viewpoint, held together by the graphic appeal of rectilinear geometry. Courtsides distinguished by iconic colours and identifying corporate signage transmuted into the artist's own visual shorthand, complex scenes pared down to saturated blocks and simplified shapes. Neither players nor spectators are shown, or drastically simplified; the vacant court functions as an uncanny contemporary landscape emptied of human presence. Interest lies in composition, abstraction, and repetition, floating tennis balls and graphic elements creating visual back-and-forth energy, as in the heat of the match. Artist Position ESTABLISHED. Born in Boston in 1977, MFA in Painting from the University of Washington in 2002, lives in Los Angeles. Work held at MoMA NY, Whitney Museum, Hammer Museum, Museum of Contemporary Art Chicago, and Saatchi Gallery London. Known for intricate still lifes and domestic interior scenes that combine basketballs, ceramics, and lush plants with collaged compositions that reference personal life and art historical precedents. Dallas Museum of Art solo (2019). Draws from art history, memory, people, objects, and interiors to compose the fabric of his life. References David Hockney, Henri Matisse, Alex Katz through bright palettes, detailed patterns, flattened forms. Market Intelligence Auction record USD6.51 million "Two Tables with Floral Pattern" Christie's 2021, exceeded the estimate three times. Seven-figure auction results consistently achieved. Active secondary market with strong institutional bidding. The tennis court series is particularly sought after as it reflects Wood's interest in abstraction, the geometric puzzle of court composition, and text through advertising. Represented David Kordansky Gallery, Los Angeles, and Anton Kern Gallery, New York. Primary market paintings command six-figure prices. Collection Rationale Strategic acquisition from LA-based painter bridging Analytic Cubism and Contemporary Pop Art. The tennis court series demonstrates a signature approach, compressing three-dimensional space onto a flat surface with chromatic emphasis while balancing abstraction with recognisable subject matter. Complements collections focused on contemporary painting, engaging sports imagery, California artists, or works referencing Pop Art traditions. Natural adjacency to collectors holding Ed Ruscha, Alex Katz, Wayne Thiebaud. Scale (167.6×152.4cm) is substantial enough for institutional-quality presence while remaining accessible for serious private collections. Timing is favourable as the tenth David Kordansky exhibition (first LA-based), prior to the Academy Awards ceremony, elevates cultural visibility. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1772955407905-XDWGZCX7ASIOCPFSNEYI/Image+8-3-2026+at+4.08%E2%80%AFPM.jpeg 8: March 2026 - Anne Wallace, Passing Moment, 2023, oil on linen, 152.5 x 183cm The Work Meticulously rendered scene combining familiar with unfamiliar, capturing tension between real and imagined to create a slightly awkward moment. Circumstantial details of decor and architectural forms, outfits and poses portraying mid-century glamour, brush out the veneer of normalcy, yet underlying neuroses and dramatic conflicts still haunt the scene. Strange and suspenseful dream-like quality derived from the unusual use of perspectives, the superimposition of images, and the borrowing of disparate sources. Sexual and social confusion, vulnerability and violence, alienation and loneliness, feelings of abject, fantasies of power and revenge tap into the shared psyche, drawing upon the language of pop culture. Paintings, at times, are difficult to look at yet exude an uncanny ability to deny narrative satisfaction while satisfying visual habits. Artist Position ESTABLISHED. Born in Brisbane in 1970, BA Visual Arts Queensland University of Technology 1990, Master's Degree Slade School of Fine Art, London 1995. Work held at the National Gallery of Australia, Queensland Art Gallery/Gallery of Modern Art, and the Art Gallery of Ballarat. Won Samstag Scholarship (1993), Melville Nettleship Award Slade (1995), Sulman Prize Art Gallery of NSW (1999). Regularly exhibited since 1993 with Darren Knight Gallery, Sydney, now lives in Melbourne and exhibits at Kalli Rolfe Gallery, Melbourne. Imagery described as "deeply engaging, often slightly disturbing and always difficult to read," earning comparisons to Balthus, Magritte, Max Beckmann, Vermeer, and Giorgio de Chirico. Market Intelligence Auction record USD16,897 (AUD24,545) "Sour the Boiling Honey" Menzies 2022. Range USD789-16,897 across 17 auction appearances since 2008, sell-through rate 80%. Modest but stable secondary market, primarily through Australian houses, Menzies, Bonhams, and Sotheby's Melbourne. Primary market through established Sydney/Melbourne gallery representation. Influenced by Queensland architecture, the time period 1920s-1980s, mid-century American novels and films. Collection Rationale Strategic acquisition from an established Australian painter working in figurative realism with disturbing psychological undercurrents. Wallace's meticulous oil technique, combined with unsettling narrative ambiguity, creates works operating between surface convention and deeper disquiet. Complements collections focused on contemporary Australian painting, figurative work engaging cinematic aesthetics, or artists exploring psychological tension through realist techniques. Natural adjacency to collectors holding Euan Macleod, Nicholas Harding, Michael Zavros. Substantial scale (152.5×183cm) commands wall presence while meticulously rendered details reward close viewing. Timing is favourable, as an established career with major institutional holdings provides market stability, while modest auction results suggest it is undervalued relative to its technical sophistication and critical recognition. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1772955413055-0C3P3WS9GIRZ3R3OO6PV/Image+8-3-2026+at+3.48%E2%80%AFPM.jpeg 8: March 2026 - Robby Bennett, A Reflection of Venus, 2026, oil on cotton, 120 x 150cm The Work Playful composition of mysterious symbols and cultural references reflecting how reality and fiction shape perceptions. Drawing from art history, Frans Snyders "The Boar Hunt" (c.1650), Henri Rousseau's "The War" (1894), Bennett reinterprets dramatic relationships between humans, dogs, movement through vibrant colours, and familiar forms. Colonial introduced objects contrast with elements of chaos and tranquillity, complemented by native flora and fauna as symbols of hope and renewal. Unique brushwork combines a vibrant palette with layered imagery, resulting in compositions oscillating between chaos and harmony. Personal memories intertwine with historical narratives and abstraction, inviting viewers to uncover hidden meanings beneath the surface. Artist Position EMERGING. BFA National Art School 2015, Honours Fine Art with First Class Honours, Sydney College of the Arts, Sydney University 2016. Dean's Choice Award honours year painting SCA (2016), John McCaughey Prize, Graduate Student, National Art School (2015). Finalist Georges River Art Prize, Hurstville Museum, Sydney (2023). Recent exhibitions: "Open House" SODA + AHNESS Adelaide (2023), "No Punchline" Peach Black Gallery Chippendale (2022), "While We're Still Here" Ambush Gallery Canberra/Waterloo (2021). First solo exhibition "Beyond Darkness" CASSANDRA BIRD Sydney (forthcoming 2026), following group presentation (2023). Market Intelligence Primary through CASSANDRA BIRD, Sydney and Edwina Corlette, Brisbane. Emerging artist with strong institutional support through awards and competitive exhibition placements. Growing visibility within Sydney contemporary art circuit. Limited exhibition history suggests an early career stage with upward trajectory potential. Collection Rationale Strategic acquisition from an emerging Australian painter engaging art historical lineage through a contemporary lens. Bennett's approach, intertwining personal memories from a rural upbringing with references to Old Masters, creates rich dialogue that operates across temporal and cultural boundaries. Complements collections focused on emerging Australian talent, figurative painters engaging art history, or works exploring the intersection between colonial narratives and native landscape. Natural adjacency to collectors holding Ben Quilty, Tim Maguire, and Lucy Culliton. Timing is favourable as CASSANDRA BIRD exhibitions position work for broader critical attention before the secondary market establishes pricing benchmarks. https://images.squarespace-cdn.com/content/v1/67834ac7afa23d688ee7f6b4/1772955409335-SRA0H6T91P7WZ7EZ3WSX/Image+8-3-2026+at+3.58%E2%80%AFPM.jpeg 8: March 2026 - Renée Estée, Endless Loop, 2025, oil paint, synthetic polymer paint, charcoal, mica on canvas, 157 x 200cm The Work Large-scale oil painting coalesces figuration and abstraction to conjure spaces where the artist communes with the deceased and contends with future loss. Figures materialise from layered, loose, gestural mark-making that merge in and out of surrounding environments, taking form through thick impasto marks alongside thin washes and surface stains. Animals wander peripheries, simultaneously observing departures and transformations taking place. Linking imagery of the Australian Outback, Hauntology, contemplations of afterlife beliefs, highlighting myth-making and rituals surrounding mourning, celebration, and commemoration. Operating as a visual love letter and an epitaph addressing the mother's second terminal cancer diagnosis. Artist Position EMERGING TO MID. Born in Australia in 1992, BFA Honours (First Class) Victorian College of the Arts, Melbourne 2016, MFA Hunter College, NYC, December 2022, lives in New York. Recent solo "An Echo, A Prayer" COMA Gallery, Marrickville, Sydney (2026), "Choral Ode" COMA (2023). Practice explores painting's ability to hold memory against the passage of time, preserve beyond the limits of language. Works described as operating in the space of intimate grief, binding people together through ritual aspects of prayer. Market Intelligence Exclusively primary through COMA Gallery Sydney. Recent MFA graduate transitioning from emerging to mid-career recognition. Growing critical attention through emotionally resonant exhibitions addressing universal themes of loss and mortality. Australian-based representation with NYC residency positions work for dual-market exposure. Collection Rationale Strategic acquisition from an Australian-born, NYC-based painter addressing universal human experience of grief, loss, mortality through a formally sophisticated approach combining gestural abstraction with apparitional figuration. Estée's practice links Australian landscape traditions with contemporary explorations of Hauntology and afterlife contemplations, creating works that function as eternal statements outliving the subjects they commemorate. Complements collections focused on contemporary Australian painters working internationally, artists addressing themes of memory and loss, or works exploring the intersection between personal narrative and universal experience. Natural adjacency to collectors holding Lena Nyadbi, Jenny Watson, and Yvette Coppersmith. Large scale (157×200cm) commands presence while gestural mark-making and layered surfaces reward sustained viewing. Timing is favourable as the second COMA solo following MFA graduation positions work for broader institutional attention. https://www.stevenalderton.com/contact-1 daily 0.75 2026-03-16