Sable Elyse Smith creates artworks based on the found colouring book of activities meant to introduce children to the criminal court system. It included images of a metal detector, a jury box, and a smiling “Judge Friendly” character designed to soften the underlying trauma of standing trial.
Smith filled the enlarged pages with brightly coloured oil stick, obscuring and highlighting the original imagery. Smith shows how these structures might be undermined by scribbling outside the lines, creating an insurgent possibility for imagining freedom.

Chloe Wise's “Nocturnal Dress Rehearsal” is part of her broader exploration of themes related to identity, consumer culture, and social interactions. Her recent works reflect her distinct style of combining humour and critical observation.
Wise often uses oil painting to depict figures in intimate, staged settings that question the performative aspects of modern social life. Her art plays with concepts of authenticity, showcasing how personal identities are curated within contemporary culture. This work has been featured in exhibitions that continue to highlight Wise's satirical yet thoughtful commentary on society.

“Espace Jaune” was produced by Huguette Caland while she was living in Paris from 1970-87. This period is marked by exuberant and erotically-charged paintings that challenged conventions around beauty and desire, showing Caland’s continued fascination with her own body and the bodies of others.
Her magnified views of bodies range from more recognisable forms to ones that are almost entirely abstract, yet still suggestive. Body parts are transformed into bold fields of colour and curving forms which often resemble rolling landscapes or crevices.

Leiko Ikemura has been recognised for her deeply evocative and introspective works that traverse themes of existence, identity, and the human condition. Her series on mothers stands out as a meditation on the role of women and its complexities, maternity, as well as the intergenerational connections that define human life.
In her work, the mother figure is not merely a representation of biological motherhood but rather a symbol of creation, nurture and the primal forces of life. In the "Birds Mom", the central figure embodies a universal and archetypal presence, transcending specific cultural or personal identities. The use of light and shadow further enhances the undertones of the work, suggesting the duality of presence and absence, of life and loss.

Throughout her practice, Ghada Amer tugs at the threads of cultural dualities—feminine and masculine, craft and art, figuration and abstraction, East and West—with sensitivity and specificity, with remarkable fluency.
Amer contrasts the sensuality of her subject matter with the delicacy of her threadwork, creating kaleidoscopic compositions that embrace tenderness and empowerment. Her work often incorporates embroidery, a traditionally feminine craft, to challenge stereotypes and reframe narratives around gender.

Annette Messager's L'Utérus doigt d'honneur (The Uterus Finger of Honour) is a provocative and intricate artwork that explores themes of gender, bodily autonomy, and societal norms. Known for blending humour with unsettling imagery, Messager frequently uses the female body in her work as a lens to challenge traditional narratives and critique societal structures. This particular piece combines a sense of rebellion with a deep feminist undertone, symbolised through the bold representation of the uterus—transformed here into a form that suggests defiance or empowerment.

Manuel Mathieu is known for his figurative paintings, which meld figuration with abstraction in a way that invokes the likes of 20th-century painters such as Francis Bacon and Arshile Gorky, as well as contemporaries like Jenny Saville. The large paintings relish in the indistinct grounds between representation and abstraction, and figures often flow in and out of intricate patterns and brushwork.
His experiences as a Black Caribbean man led him to reflect on Haitian history, informed Mathieu’s sense of the malleability of identity and drove him to explore greater existential questions in his practice. His work investigates themes of historical violence, erasure and cultural approaches to physicality, nature and spiritual legacy.

Kentaro Kawabata's “Spoon” explores the intersection of functionality and artistic abstraction. While a spoon is typically associated with practicality and simplicity, Kawabata reimagines it as a sculptural and conceptual object, emphasizing texture, materiality, and form.
This piece reflects Kawabata’s broader interest in questioning everyday objects by imbuing them with deeper artistic significance. This dialogue between functionality and art underscores Kawabata’s approach to contemporary ceramics and mixed-media sculpture.

Danh Vo’s Untitled work continues the artist’s exploration of power structures and their influence on both personal and collective identity. It is a part of the series of Vo’s found objects through which Vo considers how artistic labour finds ways to resist, adapt and survive no matter the political and social climate.
Throughout his conceptual multimedia practice, his work explores themes of appropriation, fragmentation, archival histories, and the malleability of identity. He probes into the inheritance and construction of cultural conflicts, traumas, and values. 

Nicole Eisenman explores the human condition in prints, paintings, drawings, and mixed-media works full of tenderness and dark humour. Eisenman populates their works with emotionally resonant, cartoonish figures—of themself, their friends, and imagined characters. Energetic, painterly flourishes and intense colours give heft to Eisenman’s scenes, which often focus on community and queer love. 
Texturally rich and colourful, the edited, curvy architectural portraits on view are similar to “how a child builds a tower out of blocks, putting these things together, and taking away shapes.” “It’s a building process,” as the artist stated.

Anicka Yi’s lenticular prints offer a glimpse into a haunting space where the digital and the biological merge. The prints are held in unique artist frames. The imagery is generated from a machine learning model that was fed selective works and reference images from Yi’s archive.
By hybridising her machine learning model with organic images, abstract forms emerge that blur the boundaries between the artificial and the natural, creating a viewing experience that is both familiar and alien. Influenced by the Buddhist concept of śūnyatā, which suggests that all things lack inherent substance, the software acts as a “digital twin” of her workspace, autonomously generating new artworks.
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