Resin
Resin art uses a mix of a fluid chemical known as epoxy resin with a variety of colour pigments and additives. It’s typically used by sculptors.
Resin serves as a robust and resilient medium, providing a lustrous and protective finish that enables the creation of diverse artistic effects. Epoxy resin finds widespread application in the art world, effectively sealing various works such as drawings, watercolours, alcohol ink creations, mixed media pieces, oil paintings, and photographs. The result is a stunning, highly reflective, and ultra-glossy protective varnish.
The tradition of resin art spans centuries. Nature's own resin, commonly known as amber, is naturally produced by trees and undergoes fossilisation to form a solid, transparent slab. Throughout history, amber has been used for centuries as both decorative ornaments and jewellery pieces.
48 results found for "Resin"
Chris Ofili
Chris Ofili rose to fame in the late ‘80s as a figurehead of the Young British Artists. He was the first Black artist to win the Turner Prize, and throughout his career, his art has challenged and changed perceptions in the art world and beyond.
What is silkscreen printing?
A printmaker takes a break from crafting world class editions at Make-Ready to guide us through the fundamentals, foibles and speculative future of screen printing and serigraphy.
Curated by Julian Schnabel
Palazzo-dwelling painter and filmmaker Julian Schnabel is back. This time, with a selection of original works by artists from his own collection.
Jang Koal
Jang Koal (she/her) was born in 1989 in Ulsan, South Korea. She now lives and works in Seoul, South Korea.
Julian Schnabel
Julian Schnabel (he/him) was born 1951 in Brooklyn, New York. He now lives and works between his New York City home Palazzo Chupi and Montauk, Long Island.
Descendent - Lucid Dreamer
For his first time-limited sculpture, James Jean sets a ghostly figure in perpetual freefall. First seen tumbling through flowers and clouds in an epic 2019 painting, the Descendent has become a prominent motif in James Jean’s explorations of time, space and fantasy. Falling forever, yet somehow serene, the figure represents ‘caught in between' feelings of all kinds – up and down, east and west, dream and reality.Descendent - Lucid Dreamer is cast in frosted resin, painstakingly refined to achieve the perfect level of transparency. On a mirrored glass pedestal the sculpture becomes illusory – weightless above its own reflection.Each day of the launch will be accompanied by a puzzle, seven in total. Solve them for the chance to win one of the first seven sculptures from the edition and an original James Jean sketch.
Open the Right Mind
Johnson Tsang invites us to open our minds with a surreal wall-hanging.Two porcelain hands pull a head wide apart, creating a space for collectors' imaginations to fill. Tsang modelled the original sculpture before a major life change. This experience, he reflects, offered the opportunity to learn and grow – opening his mind to understand that life endures both miracles and obstacles."Fortunately, I have an open mind and accept what life has to offer me, so I don’t miss out on any experiences. Fortunately, I have chosen the right attitude that allows me to understand that everything happens for my own good. Fortunately, I finished this piece just before I suffered the stroke, so that it can be displayed before you. Fortunately, I opened the right mind and became aware of being truly alive like never before."
Home Globe (Pink)
Richard Woods constructs a wintery micro climate for his archetypal home.Woods is drawn to the motif of the house, representing security and the human desire to build and make. Stemming from his time working as a builder and carpenter before becoming an artist, Woods reduces architecture down to the very basics. His original series of holiday home installations were stylistically built as if drawn by a child, rendered in block colour.Re-imagined in miniature as a snow globe, the edition is designed to be tilted and shaken, building upon the ‘hands on’ interaction that is integral to Wood’s artworks. In the pink edition, snow cascades around a bubblegum pink facade and inviting blue door.“I think of the snow globe as a device for miniaturising or reducing an architectural scene. To reduce or miniaturise an object that is already reductive creates an interesting narrative .”
Home Globe (Yellow)
Richard Woods constructs a wintery micro climate for his archetypal home.Woods is drawn to the motif of the house, representing security and the human desire to build and make. Stemming from his time working as a builder and carpenter before becoming an artist, Woods reduces architecture down to the very basics. His original series of holiday home installations were stylistically built as if drawn by a child, rendered in block colour.Re-imagined in miniature as a snow globe, the edition is designed to be tilted and shaken, building upon the ‘hands on’ interaction that is integral to Wood’s artworks. In the yellow edition, snow cascades around a yellow facade and inviting pink door.“I think of the snow globe as a device for miniaturising or reducing an architectural scene. To reduce or miniaturise an object that is already reductive creates an interesting narrative .”
Lina Iris Viktor
Lina Iris Viktor was raised in the UK by Liberian parents, and now divides her time between London and Italy.
Angel Otero
Angel Otero (he/him) was born in 1981 in Santurce, Puerto Rico. He now splits his time between the island and his studio in New York City.
Soul to Soul
Johnson Tsang portrays the forces of love with a diptych of kissing sculptures.The surreal emotions associated with love are depicted through the pair of wall hanging sculptures; two characters’ souls connecting to create one work. Their outward looking facial expressions represent the joy and peace associated with love, whilst the two connected souls show the physicality of human attraction. Tsang reflects that no matter how long we live, we will always need love to find happiness and peace, in the same way that we require oxygen to survive.“There is only one place in the world where we can find peace, and that is our soul. And the soul needs nutrients to grow, and that is love.”
LUV'S DOG "PARK"
Meet Park, a new addition to the monochrome world of LUV. In LY’s greyscale paintings, dogs represent unconditional love – and holding onto what’s precious. Flowers, meanwhile, nod to the cut blooms that her daughter likes to display around their home. An edition of hand-painted resin sculptures draws the two together. LUV’s dog waits patiently, flower in mouth, for its owner’s affection.LUV’S DOG “PARK” was created to coincide with a pop-up in London. Read the journal and discover more opportunities to collect.Each artwork is accompanied by an exclusive showcard – signed by LY – placing LUV amidst images by London-based photographer, Freya Najade.
LIVING WITH LUV
LUV has found a four-legged friend.LY chronicles life in Tokyo through the exploits of her enduring muse, LUV. Domestic motifs in recent works signal a shift in LY’s own life after becoming a mother. LUV’s dog, for example, represents unconditional love – and holding onto what’s precious. Each sculpture is made from a combination of cast bronze and resin, then carefully hand-painted in LY’s signature shades of grey. “LUV often stands still and looks ahead – thinking about where to go next, and holding onto the precious things that they found on their journey so far.”LIVING WITH LUV was created to coincide with a pop-up of the same name in London. Read the journal and discover more opportunities to collect.
LUV'S BURGERS
Perched on a rooftop, LUV looks to the future. LY channels memories of her youth in Tokyo into the imagined exploits of her enigmatic subject, LUV. Fast food, skateboards and moments in nature all feature prominently. A new edition of two-part sculptures places a seemingly giant LUV on the roof of a burger shop – a surreal twist on an existential moment. “LUV often stands still and looks ahead – thinking about where to go next, and holding onto the precious things that they found on their journey so far.”LUV’S BURGERS was created to coincide with a pop-up in London. Read the journal and discover more opportunities to collect.
Blockade Line
Blockade Line emerged from a meditative dream, disrupted by the stifling reality of the political turmoil in Tsang's home country. The wall-mounted sculpture portrays a face distorted and constricted by a red rope. The artist reinforces that amongst restrictions, artistic creation remains a free process. He hopes for Blockade Line to hold power outside of this specific scenario, connecting to the visceral human emotion felt universally in our own lives.“Suddenly I was disturbed by a strong sense of oppression. Like throwing a big stone on a silent lake, causing huge waves. At this moment, I saw that I was tied up, and the ropes were tightly wrapped around all parts of my body. I couldn't move, talk, or even breathe.”
Children of this Planet #38
Hikari Shimoda unites fantasy and reality in a starry-eyed dichroic sculpture.With her art, Shimoda searches for a deeper understanding of our chaotic world. Anonymous subjects from her portrait series Children of this Planet cannot be defined by their skin colour or environment. Similarly, an edition of dichroic sculptures with a surface imitating vivid glass elude one specific form or colour.Emotion is held within the subject's sparkling eyes, while a pair of horns represent the fury and despair felt on Earth. Through its transparency, the work becomes a mirror of its viewer – allowing anyone to imagine themselves within it.
Umma
Jang Koal leans on ancient associations of the female and the feline to create Umma.Umma, Korean for Mother, is a sculptural interpretation of the artist’s original painting ‘Mother of Cats’. A glossy female figure reclines nude, complimenting Koal’s elegant graphic language. She is surrounded by hand-painted bronze cats – the black symbolises protection, the white feeds from one of her six teats. This vision of harmony between feline and human implies that we are not as different as we seem.
TOUCHED//
With his first edition of sculptures, Fvckrender finds physical form for an abstract self.Canadian artist Fvckrender combines a surreal, symbol-laden mode of autobiography and a fascination with the behaviour of light to create hyperreal digital artworks. Fittingly, TOUCHED// envelops the composition of SELF_HELP// – an earlier NFT work which documented the artist tackling a personal crisis with methodical perseverance – in a glistening chameleon finish. A trio of outstretched hands impart a soothing influence on the face they reach towards.“Art is a way to clear my mind. It's a way to celebrate the wins and leave behind the losses.”
After launch, collectors of TOUCHED// will be invited to claim a corresponding NFT.
FEEL//
With his first edition of sculptures, Fvckrender finds physical form for an abstract self.Canadian artist Fvckrender combines a surreal, symbol-laden mode of autobiography and a fascination with the behaviour of light to create hyperreal digital artworks. Fittingly, FEEL// envelops the composition of SELF_HELP// – an earlier NFT work which documented the artist tackling a personal crisis with methodical perseverance – in a lustrous opal finish. A trio of outstretched hands impart a soothing influence on the face they reach towards.“Art is a way to clear my mind. It's a way to celebrate the wins and leave behind the losses.”
The Swedish House 10
Across a series of 10 hand-finished prints, Julian Schnabel uses energetic interjections to connect an idyllic vignette with the here and now. The Swedish House takes its name and subject from a trio of recent paintings based, unusually for the artist, on a photograph. Specifically, a photograph of a small house in rural Sweden. Taken by his brother in law, the postcard-picturesque image appealed to Schnabel’s poetic disposition – “a cliché of the perfect place.”In each print a white oil paint mark punctuates the scene below, while a hand-poured layer of resin lends a glass-like finish. The gestural marks, a recurring motif throughout Schnabel’s practice, connect the artworks with the present moment. “It says that something's not finished, that we're transients – and there's something that goes beyond the edge.”
The Swedish House 09
Across a series of 10 hand-finished prints, Julian Schnabel uses energetic interjections to connect an idyllic vignette with the here and now. The Swedish House takes its name and subject from a trio of recent paintings based, unusually for the artist, on a photograph. Specifically, a photograph of a small house in rural Sweden. Taken by his brother in law, the postcard-picturesque image appealed to Schnabel’s poetic disposition – “a cliché of the perfect place.”In each print a white oil paint mark punctuates the scene below, while a hand-poured layer of resin lends a glass-like finish. The gestural marks, a recurring motif throughout Schnabel’s practice, connect the artworks with the present moment. “It says that something's not finished, that we're transients – and there's something that goes beyond the edge.”
The Swedish House 06
Across a series of 10 hand-finished prints, Julian Schnabel uses energetic interjections to connect an idyllic vignette with the here and now. The Swedish House takes its name and subject from a trio of recent paintings based, unusually for the artist, on a photograph. Specifically, a photograph of a small house in rural Sweden. Taken by his brother in law, the postcard-picturesque image appealed to Schnabel’s poetic disposition – “a cliché of the perfect place.”In each print a white oil paint mark punctuates the scene below, while a hand-poured layer of resin lends a glass-like finish. The gestural marks, a recurring motif throughout Schnabel’s practice, connect the artworks with the present moment. “It says that something's not finished, that we're transients – and there's something that goes beyond the edge.”
The Swedish House 05
Across a series of 10 hand-finished prints, Julian Schnabel uses energetic interjections to connect an idyllic vignette with the here and now. The Swedish House takes its name and subject from a trio of recent paintings based, unusually for the artist, on a photograph. Specifically, a photograph of a small house in rural Sweden. Taken by his brother in law, the postcard-picturesque image appealed to Schnabel’s poetic disposition – “a cliché of the perfect place.”In each print a white oil paint mark punctuates the scene below, while a hand-poured layer of resin lends a glass-like finish. The gestural marks, a recurring motif throughout Schnabel’s practice, connect the artworks with the present moment. “It says that something's not finished, that we're transients – and there's something that goes beyond the edge.”
The Swedish House 07
Across a series of 10 hand-finished prints, Julian Schnabel uses energetic interjections to connect an idyllic vignette with the here and now. The Swedish House takes its name and subject from a trio of recent paintings based, unusually for the artist, on a photograph. Specifically, a photograph of a small house in rural Sweden. Taken by his brother in law, the postcard-picturesque image appealed to Schnabel’s poetic disposition – “a cliché of the perfect place.”In each print a white oil paint mark punctuates the scene below, while a hand-poured layer of resin lends a glass-like finish. The gestural marks, a recurring motif throughout Schnabel’s practice, connect the artworks with the present moment. “It says that something's not finished, that we're transients – and there's something that goes beyond the edge.”
The Swedish House 03
Across a series of 10 hand-finished prints, Julian Schnabel uses energetic interjections to connect an idyllic vignette with the here and now. The Swedish House takes its name and subject from a trio of recent paintings based, unusually for the artist, on a photograph. Specifically, a photograph of a small house in rural Sweden. Taken by his brother in law, the postcard-picturesque image appealed to Schnabel’s poetic disposition – “a cliché of the perfect place.”In each print a white oil paint mark punctuates the scene below, while a hand-poured layer of resin lends a glass-like finish. The gestural marks, a recurring motif throughout Schnabel’s practice, connect the artworks with the present moment. “It says that something's not finished, that we're transients – and there's something that goes beyond the edge.”
The Swedish House 02
Across a series of 10 hand-finished prints, Julian Schnabel uses energetic interjections to connect an idyllic vignette with the here and now. The Swedish House takes its name and subject from a trio of recent paintings based, unusually for the artist, on a photograph. Specifically, a photograph of a small house in rural Sweden. Taken by his brother in law, the postcard-picturesque image appealed to Schnabel’s poetic disposition – “a cliché of the perfect place.”In each print a white oil paint mark punctuates the scene below, while a hand-poured layer of resin lends a glass-like finish. The gestural marks, a recurring motif throughout Schnabel’s practice, connect the artworks with the present moment. “It says that something's not finished, that we're transients – and there's something that goes beyond the edge.”
The Swedish House 01
Across a series of 10 hand-finished prints, Julian Schnabel uses energetic interjections to connect an idyllic vignette with the here and now. The Swedish House takes its name and subject from a trio of recent paintings based, unusually for the artist, on a photograph. Specifically, a photograph of a small house in rural Sweden. Taken by his brother in law, the postcard-picturesque image appealed to Schnabel’s poetic disposition – “a cliché of the perfect place.”In each print a white oil paint mark punctuates the scene below, while a hand-poured layer of resin lends a glass-like finish. The gestural marks, a recurring motif throughout Schnabel’s practice, connect the artworks with the present moment. “It says that something's not finished, that we're transients – and there's something that goes beyond the edge.”
The Swedish House 04
Across a series of 10 hand-finished prints, Julian Schnabel uses energetic interjections to connect an idyllic vignette with the here and now. The Swedish House takes its name and subject from a trio of recent paintings based, unusually for the artist, on a photograph. Specifically, a photograph of a small house in rural Sweden. Taken by his brother in law, the postcard-picturesque image appealed to Schnabel’s poetic disposition – “a cliché of the perfect place.”In each print a white oil paint mark punctuates the scene below, while a hand-poured layer of resin lends a glass-like finish. The gestural marks, a recurring motif throughout Schnabel’s practice, connect the artworks with the present moment. “It says that something's not finished, that we're transients – and there's something that goes beyond the edge.”
The Swedish House 08
Across a series of 10 hand-finished prints, Julian Schnabel uses energetic interjections to connect an idyllic vignette with the here and now. The Swedish House takes its name and subject from a trio of recent paintings based, unusually for the artist, on a photograph. Specifically, a photograph of a small house in rural Sweden. Taken by his brother in law, the postcard-picturesque image appealed to Schnabel’s poetic disposition – “a cliché of the perfect place.”In each print a white oil paint mark punctuates the scene below, while a hand-poured layer of resin lends a glass-like finish. The gestural marks, a recurring motif throughout Schnabel’s practice, connect the artworks with the present moment. “It says that something's not finished, that we're transients – and there's something that goes beyond the edge.”
Searching for Spring
Traditional Chinese techniques meet modern-day anxieties in Johnson Tsang’s uncanny wall hanging Searching for Spring.Tsang reminds us that we should simply do our best instead of tearing ourselves up in the pursuit of the good things in life. Spring symbolises the chance for a break after the hardship of winter.“If we have faith and positivity through the bad times, the good times will finally come afterwards.”
The Observer
Wry social critique prevails in the expansive oeuvre of Danish-Norweigan duo Elmgreen & Dragset.Our second collaboration, The Observer, sets an ambiguous shirtless figure on an exposed balcony – loosely paralleling states of undress with arbitrary divisions of public and private space, all while prompting the viewer’s own contemplation.“As you encounter the sculpture and look at it, you will notice that it is looking back at you as well. What is he thinking?”
Dance For Me In The Dusk
Dance For Me in The Dusk follows The Sinner at Dusk as our second collaboration with poodle-peddling artist Susumu Kamijo.Translating the boldly fragmented geometry of his painting into a wall-mounted wooden sculpture, the first of its kind by the artist, the work balances the glamour of Kamijo’s canine muse with his penchant for darkly ambiguous narratives. In this respect, the instruction to dance for, rather than with, is very much deliberate.
Polaris
Frédéric Platéus balances high art and pop culture into succinct yet daring design.
Polaris, a stainless steel sculpture edition of 50, combines painted urethane resin with a mirror finish.
The Advantage 05
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 04
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 03
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 02
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 01
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 24
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 15
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 25
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 14
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 23
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 22
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 21
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier next year in Lyon, France.
The Advantage 19
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
The Advantage 18
Swedish duo Nathalie Djurberg and Hans Berg animate fantastical forays of shame and desire.The Advantage, a series of 25, touches on recurring themes from Djurberg and Berg’s practice: metamorphosis, guilt and deceit. Treacherous yet disarmingly hopeful, the crocodile pursues an upper hand, using a wig as its disguise. In the artists’ words, the series “takes something considered ugly and adds something more, which turns out not beautiful either, and then finds the beauty (and sweetness) in the innocence of that act.”The work is drawn from a series of animations and sculptures titled Only for the wicked, scheduled to premier in Lyon, France, in 2022.
Other words in the glossary
Building your collection? We can help.
Your questions, answered
We collaborate with artists to create both limited editions and works on paper.
A limited edition is a set number of similar or identical artworks. The size of the edition denotes the total number of artworks that will ever be made, underscoring their value.
Framing options vary for each piece and are listed on the individual artwork pages. Our standard glazing offer is a minimum 90% UV acrylic plexiglass, or you can upgrade to an anti reflective Optium museum plexiglass.
Yes, 100%. We work directly with our artists to create editions that accurately represent their body of work. Additionally, every artist personally reviews and approves their final editions.
Every artwork is signed or stamped, and individually numbered. You will also receive a stamped and numbered certificate of authenticity.
No—the copyright is not transferred to the purchaser of the edition.
All the ins and outs can be found on our orders and shipping page.
