Category: Editors Choice

It was an opportunity to experiment with final output being a novel interpretation of the city’s characteristics, Shubhra Majumdar

Ask any proud Benarasi about the city, and he is sure to adlib the statement: ‘Divya, Bhavya, Navya Kashi,’ in praise of his beloved city. And thus it seems that nothing more can be added to this definition, or detracted from it and yet the city reeks with surprises all around. The most recent of such happenings is the unfolding of an art initiative by the Lalit Kala Akademi, New Delhi. This national art body, in collaboration with the Benaras Locomotive Works of the Indian Railways, at Varanasi, initiated an art project for the city. It comprised creating a series of scrap metal sculptures for beautifying various nooks and crannies, using railway scrap collected from the railway yard of the BLW, Varanasi. This initiative became a huge catalyst for change overnight, in that it duplicated the drive of ‘Vocal, through Local’, when the locally available raw material was welded, spliced and at times fubbed, to a gleaming elegance, or left untouched in their virgin corroded state, but always crafted into clued forms, using technical-cum- artistic skills. Being created for outdoor display, these works share the common characteristic of being monumental in size. It also posed mammoth administrative challenges of accommodating the artists in a single locale, material transportation, the directing of expert technicians for whom the task of artistically orienting discards into things of beauty appeared farcical, to say the least. Thus the end result of this enterprise has not only accented the city’s art potential but has also initiated conversations among groups outside the high end art coterie.

Since no genuine artist ever shies away from an opportunity to experiment, their final output is a novel interpretation of the city’s characteristics. In the sculpture of artist Abhishek Bhasker, there is a telling interpretation of the city’s character, using an equine symbol protected with a special amulet of self-protection, so that it becomes a message of the Divine giving protection to every devotee in this haloed city.

A more recognizable choice was the fluid formation of a Nandi Bull by sculptor Ajinkya Chaulkar. This dedicated artist exudes a spirit of confidence through the Nandi bull format. According to him: “… a seated Nandi, facing towards the garbha griha symbolizes honest belief and focus towards Parameshwar. It symbolizes stability and righteousness. The bold form and volume attracts me naturally. The delicate ornamentation adds to the contrast of the bold smooth form of Nandi.”

Elsewhere, artist Arbind K Singh expressed the idea of how our thoughts are in a constant state of flux that can be stabilized by focussing on the idea of ‘Shunya’ to discover the energy within us.

A few artists, like Arun Singh, took on the challenge of combining locally available chunar stone with scrap, thereby conjoining light and transparency with the density of stone to portray Dravidian temple architecture. Its eye-catching base symbolizes the seven sacred rivers, (Ganga, Yamuna, Saraswati, Godavari, Narmada, Kaveri, Shipra). As the eye travels to the zenith, the scrap metal ‘knowledge flame’ surrounding the ‘shunya’ or zero symbol, puts the final seal to this composition of engineering precision and kinetic moulding. Another masterpiece in stone by Arundhati Chowdhary detailed the gossamer weaves of the Benarasi sari, by merging the tactile feel of silk into her stone art. Similarly, artist Indra Pal chose the medium to depict the importance of education in the lives of women worldwide, adding books alongside, as a viable cross-reference.

Enamoured by the rich continuity of Kathak dancing in the city, practitioner HK Monee handpicked the iconic ‘Chakkar daar’ stance of rhythmic swirls for his art resource and with sandstone positing balance and movement , the solidity of stone was wired to a breezy swirl. Then, Vikrant Manjrekar, using the same medium, offered his viewers a glimpse of his expertise through the form of a lion, as a representative animal in our Indian makeover. Long associated with being a protective symbol in art and iconography, his choice encompassed all the aspects of Varanasi and the locomotive works. Then again, the stone work by artist Renu Bala, deserves kudos, not just for her handling of the raw material, namely granite from Coimbatore, but also for its amalgamation of mythical linkages surrounding the Shiva legend, which according to its maker, was ‘a month long challenge that brought out the best in the use of stone and scrap in one artwork.”

Brazil’s art market, once dominated by white artists, collectors, and curators, is gradually becoming more inclusive and racially diverse. While this change is slow, the efforts to amplify the voices of Black, Indigenous, and other historically marginalized artists are beginning to reshape the landscape of contemporary Brazilian art. This transformation reflects a broader societal movement toward racial equality, but challenges remain.

The Legacy of Exclusion in Brazil’s Art World

For decades, Brazil’s art market mirrored the country’s entrenched racial inequalities. The legacies of colonialism and systemic racism meant that Indigenous and Afro-Brazilian artists were largely excluded from galleries, museums, and auctions. White artists and their works were often celebrated and promoted, while Black and Indigenous artists remained on the margins.

This exclusion extended to the top echelons of the art world—curators, gallery owners, and collectors. As a result, the representation of Afro-Brazilian and Indigenous art in prestigious exhibitions and private collections was scarce, limiting the cultural and financial recognition of their contributions.

The Rise of Black and Indigenous Voices

Recent years have seen a growing recognition of the need for diversity in Brazil’s art scene. Black and Indigenous artists are increasingly gaining visibility, as younger generations of collectors, curators, and galleries push for more inclusive representation. These emerging artists are exploring themes tied to racial identity, social justice, and historical narratives of oppression, often drawing upon their own lived experiences.

Afro-Brazilian artists like Maxwell Alexandre, known for his large-scale paintings addressing race and power dynamics in Brazil, have gained international attention. Indigenous artists, too, such as Jaider Esbell, are bringing forward unique perspectives that challenge the dominant narratives of Brazilian history and culture.

New Collectors, New Narratives

The growing diversification of the art market is also fuelled by new types of collectors. There is an increasing number of Black and Indigenous art collectors who are investing in works that reflect their heritage and identity. This shift is creating demand for art that resonates with more diverse audiences and fosters a deeper connection to Brazil’s complex racial and cultural history.

In parallel, institutions are beginning to embrace this movement. Museums and galleries are increasingly featuring exhibitions cantered on Afro-Brazilian and Indigenous artists, though there is still much work to be done to achieve true equity.

Overcoming Structural Barriers

Despite these advances, significant obstacles remain. Structural barriers, such as lack of access to formal art education and institutional funding for Black and Indigenous artists, continue to hinder their full participation in Brazil’s art market. Many artists still struggle to find representation in leading galleries, and the value of their work is often underestimated compared to their white counterparts.

To achieve lasting change, ongoing efforts are needed to dismantle these barriers. Public and private institutions must commit to supporting diverse artists, not only through exhibitions but also through long-term funding, commissions, and acquisition programs.

The Path Forward

As Brazil’s art market continues to evolve, it is crucial that the momentum toward diversity and inclusion is sustained. The increasing visibility of Black and Indigenous artists is a positive sign, but true equity requires continued action from all sectors of the art world. By embracing diversity, Brazil’s art market can better reflect the rich, multifaceted reality of the country’s cultural landscape. The future of Brazilian art is one where all voices can be heard, appreciated, and valued, ultimately enriching the global art conversation.

Chelsea College of Arts, part of the University of the Arts London, is renowned for its unique and innovative approach to education in the field of art and design. Located in the vibrant and culturally rich city of London, Chelsea has been a pioneer in nurturing creative talent for over a century. Its reputation is built on its dynamic community of artists, designers, and thinkers who constantly push the boundaries of artistic expression.

A Rich History of Artistic Excellence

Founded in 1895 as the South-Western Polytechnic, Chelsea College of Arts has a long and illustrious history. Over the years, it has transformed into one of the leading art institutions in the world, offering undergraduate, postgraduate, and research degrees in various disciplines including fine art, graphic design, and curatorial studies.

The college is situated in an iconic 20th-century building, formerly the Royal Army Medical College, adjacent to the Tate Britain museum, placing students in the heart of London’s thriving art scene. This proximity to some of the world’s best galleries and cultural institutions gives Chelsea students a unique advantage, allowing them to draw inspiration from London’s rich artistic heritage.

Fostering Creativity through Innovation

Chelsea College of Arts emphasizes an interdisciplinary approach to education. The college believes that creativity flourishes when artists and designers collaborate across boundaries. This approach is evident in its curriculum, where students are encouraged to experiment with different media, techniques, and ideas. Whether it’s painting, sculpture, performance art, or digital design, Chelsea’s programs provide the tools and environment for students to explore their creative potential.

The college offers specialized courses in Fine Art, Graphic Design Communication, Interior and Spatial Design, and Curating and Collections. Each course is designed to foster critical thinking and encourage students to challenge conventional ideas about art and design. With access to world-class facilities, including studios, workshops, and digital labs, students are equipped to turn their ideas into reality.

A Global Community of Artists

One of Chelsea’s most distinctive features is its diverse and global community. The college attracts students from all over the world, fostering a vibrant, multicultural environment. This international mix not only enriches the student experience but also reflects the global nature of contemporary art.

The faculty at Chelsea is made up of practicing artists, designers, and curators, many of whom are leaders in their fields. This allows students to learn directly from professionals who are actively contributing to the contemporary art world. The mentorship and guidance provided by these experts help students to develop their own artistic voice and prepare for careers in a competitive global market.

A Legacy of Notable Alumni

Chelsea College of Arts has produced some of the most influential figures in the world of art and design. Notable alumni include artists such as Anish Kapoor, Steve McQueen, and Edward Burra, as well as leading designers and curators. The college’s alumni network is a testament to the transformative power of a Chelsea education, and many graduates go on to have successful careers in galleries, museums, and creative industries worldwide.

A Beacon for Future Artists

Chelsea College of Arts continues to be a beacon of creativity, fostering the next generation of artists, designers, and cultural innovators. With its rich history, innovative approach to education, and a dynamic global community, Chelsea remains a leading institution where creativity is nurtured, and boundaries are pushed.

For aspiring artists looking to make their mark on the world, Chelsea College of Arts offers not just an education, but an experience that will shape their future in the arts.

Joe Lycett, widely known for his sharp wit, comedic genius, and playful persona, has surprised many with his foray into the art world. While Lycett has made a name for himself as a comedian and television presenter, his journey into visual arts has sparked intrigue and admiration, proving that his talents extend far beyond stand-up comedy.

A Comedic Eye for Art

Lycett’s art is unmistakably influenced by his comedic background. His work is often infused with a sense of humour and a rebellious streak that reflects his stage persona. He once described his art as “silly and mischievous,” aligning perfectly with the tone of his comedy. Whether it’s painting or installation pieces, Lycett’s art offers a blend of humour and thought-provoking messages.

One of his most notable pieces, “My New Hobby,” involved Lycett creating counterfeit parking tickets and placing them on cars in Birmingham, where he resides. The project cleverly commented on the frustrations of modern bureaucracy while also serving as an interactive art piece that delighted some while perplexing others. This sense of fun, combined with a subtle critique of societal norms, is a hallmark of Lycett’s artistic approach.

Breaking Boundaries with Creativity

Lycett’s approach to art is unconventional and boundary-breaking, much like his comedy. He often uses art as a platform to challenge and subvert social expectations. His work showcases a unique ability to provoke thought through both absurdity and humour, revealing deeper societal critiques hidden beneath the surface.

In addition to humorous projects, Lycett also explores more serious themes. His piece “The UK’s Most Annoying Art Gallery” is a satirical critique of the art establishment, poking fun at pretentious art galleries while also providing commentary on the exclusivity and inaccessibility of high art. Lycett challenges the notion that art should only be appreciated by the elite, emphasizing the importance of making art accessible and enjoyable for everyone.

From the Stage to the Studio

Lycett’s venture into the visual arts has provided him with a new outlet for creativity. His art exhibits have been met with curiosity and praise, as audiences familiar with his comedy find new ways to connect with his offbeat style. In 2020, Lycett held his first solo art exhibition in Birmingham, titled “Joe Lycett’s Got Your Back (Catalogue).” The exhibition featured paintings, prints, and sculptures that captured his irreverent sense of humour while also showcasing his technical skill as an artist.

The exhibition was a success, demonstrating that Lycett’s talents are not confined to the stage or television. His pieces sold out quickly, with collectors and art lovers eager to own a work by the multi-talented performer. This response solidified Lycett’s position as an emerging figure in the contemporary art scene, proving that he has a unique voice in the visual arts.

A Future in Art?

While comedy remains Lycett’s primary focus, his venture into the art world has opened up new possibilities for creative expression. His ability to merge humour, social critique, and artistic talent has made him a standout in the art scene, drawing attention from both the public and critics alike.

In the coming years, it will be interesting to see how Lycett’s artistic practice evolves. Whether through humorous installations or satirical paintings, Joe Lycett is proving that his creativity knows no bounds, and the art world is just beginning to discover his full potential

Throughout the history of art, dark paintings have held a unique fascination for viewers. These artworks, often imbued with mysterious, sombre, or unsettling themes, explore the darker aspects of human existence. Famous artists have used this aesthetic to delve into emotions like fear, despair, and existential uncertainty. Whether exploring the unknown or reflecting on personal turmoil, dark paintings have left an indelible mark on art history. Below are some of the most renowned dark paintings created by legendary artists.

1. Francisco Goya: “Saturn Devouring His Son”

Spanish artist Francisco Goya is renowned for his series of “Black Paintings,” where his increasingly dark and pessimistic worldview takes centre stage. Perhaps the most chilling of these is Saturn Devouring His Son (1820-1823), which depicts the mythological titan Saturn consuming one of his children. The grotesque and visceral image is a reflection of Goya’s disillusionment with humanity. The figure’s wild, desperate expression is a haunting portrayal of madness and mortality. This painting represents the bleakness of the human condition, filled with fear, violence, and the inevitability of death.

2. Edvard Munch: “The Scream”

Edvard Munch’s The Scream (1893) is perhaps one of the most famous and universally recognized expressions of existential dread. The figure in the painting appears to be engulfed by the overwhelming forces of nature and its own internal despair, symbolizing anxiety, fear, and emotional turbulence. Munch’s dark colour palette—featuring deep reds, oranges, and blues—enhances the unsettling atmosphere. While the painting conveys personal anguish, it also reflects broader human emotions, making it a timeless representation of psychological turmoil.

3. Hieronymus Bosch: “The Garden of Earthly Delights” (Hell Panel)

Dutch painter Hieronymus Bosch’s The Garden of Earthly Delights (circa 1490-1510) is a triptych depicting humanity’s journey from creation to damnation. The “Hell” panel, a standout dark painting, is a chaotic and nightmarish scene filled with grotesque creatures and tortured souls. The painting is a haunting vision of eternal punishment and human folly. Bosch’s intricate detailing of the horrors of hell still captivates viewers, showcasing a fascination with the macabre and surreal in a religious context.

4. Caravaggio: “Judith Beheading Holofernes”

Italian Baroque painter Caravaggio was famous for his dramatic use of chiaroscuro—an intense contrast between light and dark. In Judith Beheading Holofernes (1599), Caravaggio portrays the biblical scene of Judith decapitating the Assyrian general Holofernes. The violence of the act, coupled with the sharp interplay of light and shadow, creates an atmosphere of tension and dread. This work, like much of Caravaggio’s oeuvre, highlights the darkness of human action and emotion, emphasizing the complexity of moral choices and consequences.

5. Salvador Dalí: “The Face of War”

Surrealist Salvador Dalí’s The Face of War (1940) is a chilling depiction of death and destruction during wartime. The painting shows a disembodied face filled with smaller skulls in its eyes and mouth, symbolizing the endless cycle of war and suffering. The desolate background and muted color palette contribute to its bleak tone. Dalí’s painting speaks to the horrors of human conflict and the emotional trauma it leaves behind, serving as a stark reminder of the dark realities of violence and death.

Dark paintings by famous artists delve into some of the most profound and unsettling aspects of the human experience. Whether through myth, religion, personal anguish, or societal issues, these works serve as powerful visual commentaries on life’s darker elements. They invite viewers to confront their own fears, mortality, and emotions, making them enduring masterpieces of artistic expression. The allure of darkness in art continues to captivate and provoke thought, challenging viewers to explore the shadowy corners of existence.

Art Basel in Miami Beach stands as one of the most celebrated and dynamic art fairs in the world, attracting thousands of visitors, collectors, and artists each year. Launched in 2002, this annual event transforms Miami Beach into a vibrant cultural hub, where modern and contemporary art from around the globe is displayed. With its eclectic mix of galleries, installations, and performances, Art Basel offers a unique platform for both established and emerging artists, making it a must-visit for art enthusiasts and collectors alike.

The Heart of Art Basel

Art Basel Miami Beach is the sister fair to the original Art Basel in Switzerland, and it has evolved to become a premier destination for contemporary art in the Americas. Each December, the event brings together over 250 leading galleries from more than 35 countries, presenting works from thousands of artists. These galleries showcase everything from paintings and sculptures to photography, installations, and multimedia projects. The diversity and quality of the exhibits reflect the fair’s commitment to showcasing a broad spectrum of artistic expressions.

A Cultural Fusion

Miami Beach, with its rich blend of cultures and vibrant atmosphere, provides the perfect backdrop for Art Basel. The event draws visitors from across the world, fostering a melting pot of ideas, creativity, and perspectives. Beyond the art fair itself, Miami Beach becomes a playground for satellite events, pop-up exhibitions, and exclusive parties, which add to the electric energy surrounding the main event. Art enthusiasts can experience a week full of cultural immersion, engaging with art at multiple venues throughout the city.

Not Just for Collectors

While Art Basel is a critical meeting point for collectors and galleries, it is equally accessible to the general public. The fair features a variety of programs, including panel discussions, art talks, and educational workshops, allowing visitors to engage with artists and experts in the field. Public art installations, often set up in outdoor spaces throughout the city, add an interactive element to the fair, inviting everyone to experience the power of art firsthand.

Art Basel’s Influence

Over the years, Art Basel Miami Beach has played a significant role in shaping the contemporary art scene. It has helped to cement Miami’s status as an international arts destination and has driven the growth of its local art community. The fair also highlights important trends in the art world, from the rise of digital and multimedia art to the increasing influence of global artistic perspectives. As a result, Art Basel has become a trendsetter, influencing the direction of galleries and collectors around the world.

The Global Stage for Emerging Artists

One of Art Basel’s most significant contributions is its support of emerging artists. Each year, a section of the fair is dedicated to promoting new talent, offering these artists an invaluable opportunity to display their work alongside some of the most well-known names in contemporary art. This exposure can be career-defining, as the fair is frequented by some of the world’s most influential art dealers, curators, and collectors.

In conclusion, Art Basel in Miami Beach is more than just an art fair—it’s a celebration of creativity, culture, and innovation. Whether you are a seasoned collector, an artist, or someone with a passion for art, this event provides an unparalleled opportunity to experience the cutting edge of contemporary art in a vibrant and inspiring settin

Mural art, a form of visual expression that transforms public spaces, has been an integral part of human history for centuries. It is more than just painting on walls; it is an artistic journey that captures cultural, social, and political narratives while adding aesthetic value to the surroundings. This unique form of art can be seen across ancient civilizations, such as the frescoes of ancient Rome, the cave paintings of Lascaux, and the murals of the Mayan temples. Today, mural art continues to thrive globally, enriching both rural and urban landscapes with vibrant depictions of life, heritage, and societal issues.

Historical Roots of Mural Art

Mural art dates back to prehistoric times when early humans painted on cave walls to depict hunting scenes, religious rituals, and daily life. These murals served as historical records and storytelling tools, giving us insight into ancient cultures. In ancient civilizations such as Egypt, Greece, and Rome, murals became more intricate, reflecting the political and religious ideologies of the time.

The Renaissance period saw a resurgence in mural art, with artists like Michelangelo and Raphael transforming church ceilings and walls into magnificent masterpieces. The Sistine Chapel ceiling, painted by Michelangelo, is one of the most famous murals in history, blending art with divine inspiration and humanism.

Modern-Day Mural Art

In contemporary times, mural art has taken on new dimensions. Public spaces, previously considered mundane, have become canvases for artists to express creativity and social commentary. Cities around the world have embraced mural art as a way to revitalize neighbourhoods, promote tourism, and engage communities.

The rise of street art movements has further elevated the role of murals in modern culture. Artists like Diego Rivera, a prominent Mexican muralist, used murals to portray the struggles and aspirations of the working class. Rivera’s murals, deeply rooted in Mexican history and culture, influenced generations of artists to use public art as a medium for activism and storytelling.

In the 21st century, murals have also become a platform for political expression. From protest murals in Hong Kong to the colourful depictions of cultural heritage in India, these works of art capture the zeitgeist of the times. Social media has amplified the impact of mural art, allowing it to reach a global audience.

The Role of Mural Art in Public Spaces

Murals not only beautify public spaces but also create a sense of identity and belonging for communities. They serve as landmarks, often becoming iconic representations of a place. In cities like Berlin, New York, and Mumbai, murals have transformed drab urban walls into dynamic art pieces that invite conversation and reflection.

Furthermore, mural art fosters collaboration between artists and communities. Many mural projects involve local residents, creating a sense of ownership and pride. These collaborative efforts often reflect the community’s history, struggles, and aspirations, making mural art deeply personal and connected to the people it represents. Mural art is more than just a form of artistic expression; it is a mirror reflecting the soul of a community, a city, or an era. From ancient cave paintings to modern urban landscapes, murals continue to tell stories, provoke thought, and inspire creativity. As this art form evolves, it remains a powerful tool for cultural expression, social activism, and beautification of shared spaces, ensuring that walls around the world continue to speak to us in vibrant, meaningful ways.

• Textiles have been an integral part to Indian identity influencing everything from craftsmanship and community to global trade.
• “Textiles provided me a platform to feel, connect and be present,” says the artist Natasha Das.
• Gender perspectives are also reshaping the textile art landscape.

At Delhi Contemporary Art Week, textile art is gaining unprecedented attention, however, the field’s journey towards commercial viability remains a significant challenge for its artists and supporters. Textiles have been an integral part to Indian identity influencing everything from craftsmanship and community to global trade. Despite the rich history, textile art has struggled to capture widespread interest within the art world. However, the recent exhibitions are changing this narrative.

“Threads That Bare,” a prominent feature of DCAW, illustrates how contemporary artists are drawing from India’s rich textile traditions to craft intricate, multilayered stories. The exhibition comes at a pivotal time when curators and galleries are exhibiting a growing number of textile-based shows in the subcontinent. From Vayan- The Art of Indian Brocades, curated by Mayank Mansigh Kaul, at Delhi’s National Crafts Museum (2023), to Sutr Santati at NGMA in Mumbai (2024), and Entwined- Edition 2 by Apparao Galleries.

Artist Natasha Das, who previously worked with oils, transitioned to textiles after finding that traditional painting methods are limiting. Her current work revolves around threads and fabrics, drawing inspiration from Assam’s weaving communities. Das’s piece, “Lahe Land 2,” is a reflection of Assamese culture and landscape, with each thread representing personal and cultural memories. “Textiles provided me a platform to feel, connect and be present.” she notes.

The exhibition also features Geeta Khandelwal and Khadim Ali. Khandelwal has spent decades mastering quilt-making and her works include miniature royal garments from the 18th and 19th centuries, created using traditional techniques. In contrast, Ali’s mixed-media work, “I’m the Third Script 2,” uses embroidery to express his experiences with conflict in Afghanistan and Pakistan.

Sharan Apparao, curator-director at Apparao Galleries strongly believes that while the current market for textile art may seem niche, there is a lot of potential for growth with support from galleries and collectors who value the medium.

Gender perspectives are also reshaping the textile art landscape. Varunika Saraf’s “The Longest Revolution,” from the 2023 CheMoulding show, uses embroidery to explore themes of women’s agency and socio-political change. The focus on women’s contributions challenges the traditional notions of textiles as merely a ‘women’s craft.’

Curator Mayank Mansign Kaul said, “Globally, curators have suggested that this current fixation with textile-based art is also emerging from increased attention to women-based art practices. I personally think there is, overall, a greater interest in materiality and abstraction than before. Or perhaps this is only natural, given the long neglect of the field by the art world.”

• The sculpture, titled Abundance, weighs about 50 kilograms and is roughly the size of a hunting horn.
• Gold holds personal significance for the artist, Lee.
• Troy Emery and Gaypalani Wanambi are amongst the future participants.

Australian contemporary artist Lindy Lee has created a sculpture using A$10 million worth of pure gold. The finished piece, titled Abundance, weighs about 50 kilograms and is roughly the size of a hunting horn.

Abundance is the first project from the new Pallion Arts Program, launched by the Pallion Group, an Australian company that is known for making the Melbourne Cup and Australian Open trophies. Pallion supplied the gold for Lee’s sculpture, which showcases a cylindrical half-circle with thousands of small perforations that interact with ambient light. While Pallion retains the ownership of Abundance, the sculpture will be on permanent loan to the National Gallery of Australia (NGA) in Canberra.

The public will first see Abundance during the exhibition Lindy Lee from October 25, 2024, to June 2025. At the same time, the NGA will also unveil Lee’s new massive sculpture, Ouroboros (2022-24), which will be on permanent display outside the gallery. Ouroboros costs A$14 million to create and has attracted criticism for its exorbitant price.

Ouroboros is inspired by the mythical creature it represents, will feature a highly polished surface that reflects its surroundings and will be internally illuminated at night. The sculpture, standing 4 meters tall and weighing around 13 tonnes, is designed for visitors to walk through and experience from the inside.

The Pallion Arts Programs aims to extend support to the Australian artists by providing opportunities to work with precious metals. Troy Emery and Gaypalani Wanambi are amongst the future participants.

For Lee, working with gold for the first time was a remarkable experience. She worked with artisans at Pallion’s subsidiary, W.J. Sanders, in Marrickville, Sydney. Lee describes the workshop as “a gorgeous little old-fashioned place- it felt Victorian.” Gold holds personal significance for Lee as it symbolizes a special moment in her family’s history. Her father moved to Australia in 1947, while her mother and siblings escaped Communist China with gold that helped them secure their freedom. “My mum had this store of gold and when her mother-in-law was imprisoned, tortured and beaten, she managed to bribe the guards to release my grandmother. Gold to me represents independence and the ultimate luxury that is freedom,” says Lee.

• The works span a range of styles and periods offering a glimpse into the artistic evolution.
• James McNeill Whistler’s early portrait of Lucas Alexander Ionides is estimated between £80,000-£120,000.

James McNeill Whistler, Portrait of Lucas Alexander Lonides (1859)
19th Century and British Impressionist Art, Bonhams, London, 25 September
Estimate: £80,000-£120,000

This early portrait by James McNeill Whistler features Lucas Alexander Ionides, a close friend and art patron. Ionides, from a wealthy Greek family in London supported Whistler by buying his works especially when Whistler needed financial help. Ionides wrote fondly about their relationship, mentioning that their disagreements were mostly about art. This painting shows the influence of French painters like Courbet during this period. The painting remained in the Ionides family for generations before being finally sold in 1968. It was displayed in an Arts Council exhibition in London and New York in 1960 but hasn’t been in public ever since.

Antony Gormley, Quantum Cloud XI (2000)
Gen One: Innovations from Paul G. Allen Collection, Christie’s, New York, 10 September
Estimate: $250,000-$350,000

Antony Gormley’s Quantum Cloud XI is a part of his Quantum Cloud series, which uses fractal geometry to explore human forms through the lens of quantum physics. The sculpture reflects Paul G. Allen’s interest in science and the groundbreaking ideas of the physicist Basil Hiley. Allen’s collection is known for its influential works including this piece amongst other significant artworks. Another sculpture from this series is located near London’s O2 Arena and is nearly 30 meters tall.

Ben Enwonwu, The Emir in Council (1945-59)
Modern and Contemporary African Art, Sotheby’s, London, 27 September
Estimate: £70,000-£90,000

Ben Enwonwu’s The Emir in Council was recently rediscovered by an art historian who purchased it from a Lisbon gallery. Previously known since the 1990s, it was part of a Belgian private collection from being identified. Painted during Enwonwu’s time at The Slade and completed before the Nigerian Independence, it showcases the Emir of Kano with his advisers and colonial guards.

Sayed Haider Raza, Terra Amata (1984)
Modern and Contemporary South Asian Art, Sotheby’s, London, 26 September
Estimate: £2m-£4m

Terra Amata by Sayed Haider Raza comes from the famous collection of Chester and Davida Herwitz. It was last sold in 2000 for $55,375. The painting has been exhibited widely including at Halles de I’IIe in Geneva in 1987. It will appear in an updated catalog of Raza’s work. Sotheby’s achieved a record for Raza in March 2024 with the sale of Kalliste (1959) for $5.6 million, surpassing its estimate of $2-3 million.