Kiki Smith's "Her" (2003) is a significant work that reflects her deep engagement with themes of the female body, nature, and mythology. Known primarily for her sculptures and prints, Smith often explores the interconnectedness of humans and the natural world.

In "Her," Smith incorporates her fascination with the body and its vulnerabilities, possibly drawing on her earlier work that focused on anatomical and symbolic representations. This piece was part of her broader exploration of themes like mortality, regeneration, and the feminine form, often depicted through figures, animals, and natural elements such as birds or flowers.

Francesco Clemente's “Wings” (2024) is part of his ongoing exploration of the human condition, spirituality, and transformation. Here Clemente continues to experiment with fluid, dreamlike compositions and symbolic imagery, evoking notions of freedom and transcendence. His signature style of integrating vibrant colors with meditative elements is evident here, inviting viewers to engage with the universal themes of change and elevation.
It is populated with figurative iconography, including that of angels, and resonant themes of spirituality and sexuality. The artist is known for combining contemporary impressions and ancient mythologies, personal experiences and collective imaginings – employing imagery that melds the natural and the surreal.

Hayv Kahraman's “Untitled (to be titled)” (2024) exemplifies her signature exploration of themes like displacement, the female body, and cultural memory. Kahraman, an Iraqi-born artist based in Los Angeles, often integrates her experiences as a refugee into her art, which employs a delicate yet confrontational visual language.
Currently, Kahraman continues to investigate the intersections of colonialism, identity, and the decolonization of the body. The artwork is part of a larger body of Kahraman's practice that engages with questions of belonging and the dynamics of "otherness," inviting to rethink perceptions of identity and difference.

“Fired up ” (2024) belongs to Jenny Holzer’s longstanding interest in the realities of living and survival with the political prospects and technological anxieties of the moment. The process of creating such artwork begins with tracing their source documents onto vellum. Holzer has recently begun to transform these tracings into artworks in their own right – through the addition of gestural marks in graphite and charcoal.
Some of these markings form abstract patterns, while others reinforce the redactions in the original pages, as if to underscore the gaps in our knowledge. Still others evidence the hands that made them: fingerprints are all over these documents, forming new meanings out of old materials.

By juxtaposing soft, flesh-colored materials with the rigidness of metal, Hannah Levy’s untitled creations subtly reference the aesthetics of medical and commercial design. These combinations metaphorically reflect the human body, exploring how machinery and objects mediate our physical existence.
Levy deconstructs and reimagines everyday, often-overlooked objects to create subtly anthropomorphic works that evoke the discarded remnants of industrial life. She refers to these banal items as belonging to a "design purgatory," repurposing materials such as medical instruments, pool handrails, and napkin dispensers. Typically crafted from polished steel and vinyl, her sculptures navigate a space between abstract art and associative assemblage.

Henrique Oliveira works with found materials, usually the discarded plywood used for tapumes (temporary fencing) in his native São Paulo, to create enormous sculptures that draw on themes of the intertwining of the urban and natural environments, the power of the organic world, and human reliance on nature, which we are often so quick to forget.
“The first thing that attracted me was the pictorial qualities I found in the wood. I started by taking sheets of plywood from dumpsters and painting them but, at some point, I looked at the natural surface and realised it felt like a painting already. They reminded me of brushstrokes because of how the wood fibres break down and the colours and textures that were in them. It had a sense of geometric abstraction,” says the artist.

Tracey Emin’s art is characterized by its candid exploration of personal experiences and emotions, transcending traditional artistic boundaries to confront viewers with the raw essence of human existence.
There is a complexity in the sculptural form of the bronze, simultaneously robust yet tender, that points to a consummate understanding of material, composition and subject matter. “My subject matter was, and is, me; the sculptures are self-portraits of my feelings. A work doesn’t have to look like me – just feel like me. […] This work belongs to those that are about rites of passage, of time and age, and the simple realisation that we are always alone,” states Emin.
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