Duke Ellington once said: "Certain artists are beyond category"&nbsp;and this is particularly true for New York-based artist Mickalene Thomas&nbsp;(b. 1971, New Jersey). An undeniable force within the contemporary art world, and an indispensable inspiration to a younger generation of artists, her innovative and playful practice has yielded instantly recognisable and widely celebrated aesthetic languages. Proclaiming and expanding the visibility of black women within the canon of Western art history is at the heart of Thomas’s practice, which she does by eloquently dissecting the intersecting complexities of Black and female sexuality, identity, power, and beauty. And she does it in the boldest ways possible: With sparkly rhinestones, jewel-tone acrylic paint, and a hodgepodge of retro prints, all on sprawling canvases that command attention. Often drawing on an eclectic roster of references, often blurring the distinction between object and subject, concrete and abstract, real and imaginary.&nbsp;Thomas has enjoyed solo exhibitions at the Brooklyn Museum, the Bass Museum in Miami, the Hara Museum of Contemporary Art in Tokyo, and the Institute of Contemporary Art, Boston, among other institutions. At auction, Thomas’s work can command upwards of seven figures. Along with her fine-art practice, Thomas has shot for such publications as&nbsp;W,&nbsp;Out, and T:&nbsp;The New York Times Style Magazine. She has also constructed elaborate installations to showcase her works. She has also been awarded multiple prizes and grants, including the Pratt Institute Legends Award (2022), Rema Hort Mann Foundation 25th Anniversary Honoree (2022), Artistic Impact Award, Newark Museum (2022) and many more.

Mickalene Thomas

Mickalene Thomas is a contemporary artist celebrated for her powerful explorations of identity, femininity, and cultural heritage. Thomas was born and raised in New Jersey and currently resides and works in New York.

https://data.wengcontemporary.com/media/Mickalene_Thomas_Maya__Interior_Content_Sheet_compressed.pdf

The unapologetic&nbsp;Portrait of Maya #10&nbsp;(2024), originally conceived as a monumental 8-foot-tall artwork as part of the Broad Collection 2017, is a bold celebration of love and sexuality - conveying strength, beauty, power, and vulnerability all at once. Modes of intimate relations inform&nbsp;Portrait of Maya #10,&nbsp;drawing from a series of photographs&nbsp;(Remember Me,&nbsp;2006) taken with a 35mm disposable camera by Thomas. The images capture Maya, her muse and lover from years gone by, in their home and basement studio on Lexington Avenue, Brooklyn.&nbsp;&nbsp;The sensual Maya stands empowered, sparkled, and poised. With her arms raised behind her head like wings spread, she commands her outward gaze and her surroundings, exuding a powerful sense of self-possession through which she emboldens her viewers, forcing them to engage with her.&nbsp;&nbsp;Her work also celebrates the textures of materials just as she honours the textures and contours of Black womanhood. Drawn to the unconventional, she embraced rhinestones - first out of necessity and later in reference to French Impressionism, &nbsp;in particular Pointillism and the works of Georges Seurat. The rhinestones came to symbolise the complexity of femininity in her work, becoming a defining element of her artistic language. The acrylic and rhinestone composition in the original portrait, transformed into silkscreen overprints and hand-applied glitter in this edition, also embodies Thomas’s signature ability to apply several layers of material and symbolic meaning, unmasking our world of appearances into a single surface while challenging conventional boundaries of technique and medium.&nbsp;&nbsp;Collage is a foundational element in her practice, revealing the conception and intimate evolution of her artistic vision - visible also in the double exposure on Maya's chest. As Thomas described it, the projected image is almost like an X-ray, peering into Maya’s soul. By layering multiple photographs and juxtaposing painted with photographic elements, Thomas creates a striking depth of field, generating rhythm and movement.&nbsp;Unifying all these elements in this larger-than-life work, Thomas invites viewers into the bold and dynamic universe she has created in&nbsp;Portrait of Maya #10, from which any viewer would be unable to divert their gaze. &nbsp;

Portrait of Maya #10

ARTXX

UV pigment print on 410gsm Somerset Tub Sized Radiant White paper with 4 metallic silkscreen glitter and shimmer layers, a CMYK silkscreen central panel and matte varnish seal

https://data.wengcontemporary.com/media/Mickalene_Thomas_Maya__Interior_Content_Sheet_compressed_JpTCgg4.pdf

Dimensions of the set: Portrait of Maya #10: 59.3 cm x 52.5 cm | 23.35&nbsp; x 20.67 in&nbsp;Interior: Red Couch and Landscape: 38 cm x 59.3 cm | 14.96 x 23.35 in Edition size:&nbsp;Portrait of Maya #10: Edition of 732 Interior: Red Couch and Landscape: Edition of 379 Medium: Portrait of Maya #10: UV pigment print on 410gsm Somerset Tub Sized Radiant White paper with 4 metallic silkscreen glitter and shimmer layers, a CMYK silkscreen central panel and matte varnish seal Interior: Red Couch and Landscape: UV pigment print on 410gsm Somerset Tub Sized Radiant White paper with 2 silkscreen metallic shimmer and glitter layers, 2 satin and gloss detail layers and a matte varnish silkscreen seal. A fusion of chic aesthetics and surrealism takes shape in this previously-unseen collage by Mickalene Thomas. Echoing the allure of vintage glossy magazines,&nbsp;Interior: Red Couch and Landscape&nbsp;(2024) is enriched with silkscreen layers of metallic shimmer, high-gloss and satin varnish, hand-applied glitter, and a matte seal, creating a dynamic interplay of textures.Collage is at the heart of Thomas’s artistic process, offering a glimpse into the development and intimate nuances of her creative vision. In this piece, the absence of human figures directs attention to the richly layered interior, where each detail invites closer exploration. The space is alive with bold patterns, shimmering embellishments, and a striking interplay of textures. From the nostalgic charm of the living room to the lush greenery beyond, the composition sparks the imagination, encouraging viewers to envision the untold stories embedded within Thomas’s meticulously curated world. The unapologetic&nbsp;Portrait of Maya #10 (2024), originally conceived as a monumental 8-foot-tall artwork as part of the Broad Collection 2017, is a bold celebration of love and sexuality - conveying strength, beauty, power, and vulnerability all at once. Modes of intimate relations inform&nbsp;Portrait of Maya #10,&nbsp;drawing from a series of photographs&nbsp;(Remember Me,&nbsp;2006) taken with a 35mm disposable camera by Thomas. The images capture Maya, her muse and lover from years gone by, in their home and basement studio on Lexington Avenue, Brooklyn.&nbsp;The sensual Maya stands empowered, sparkled, and poised. With her arms raised behind her head like wings spread, she commands her outward gaze and her surroundings, exuding a powerful sense of self-possession through which she emboldens her viewers, forcing them to engage with her.&nbsp;Her work also celebrates the textures of materials just as she honours the textures and contours of Black womanhood. Drawn to the unconventional, she embraced rhinestones - first out of necessity and later in reference to French Impressionism, particularly Georges Seurat and Pointillism. The rhinestones came to symbolise the complexity of femininity in her work, becoming a defining element of her artistic language. The acrylic and rhinestone composition in the original portrait, transformed into silkscreen overprints and hand-applied glitter in this edition, also embodies Thomas’s signature ability to apply several layers of material and symbolic meaning, unmasking our world of appearances into a single surface while challenging conventional boundaries of technique and medium.&nbsp;Collage is a foundational element in her practice, revealing the conception and intimate evolution of her artistic vision - visible also in the double exposure on Maya's chest. As Thomas described it, the projected image is almost like an X-ray, peering into Maya’s soul. By layering multiple photographs and juxtaposing painted with photographic elements, Thomas creates a striking depth of field, generating rhythm and movement.Unifying all these elements in this larger-than-life work, Thomas invites viewers into the bold and dynamic universe she has created in&nbsp;Portrait of Maya #10, from which any viewer would be unable to divert their gaze. &nbsp;

Maya & Interior (Set of Two)

Silkscreen

Alex Katz (b. 1927, Brooklyn, New York) is one of the most influential and distinctive figures in contemporary American art. Renowned for his crisp, flat surfaces, bold use of colour, and striking economy of line, Katz forged a unique visual language that emerged in the 1950s in contrast to the dominance of Abstract Expressionism in the 1940s and 1950s. His style — often seen as a precursor to Pop Art that emerged in the 1950s and flourished in the 1960s in America and Britain — melds elements of abstraction and representation, with influences ranging from Henri Matisse to mid-century American culture, film, and advertising.Over a prolific seven-decade career, Katz has created an expansive body of work encompassing portraiture, landscape, sculpture, and printmaking. His most iconic subjects include his wife and lifelong muse Ada, as well as friends, dancers, and fashionably dressed figures, often depicted in cropped, cinematic compositions that exude cool detachment and modern elegance. In his later years, Katz turned his focus toward nature, exploring light, seasons, and atmosphere in immersive large-scale landscapes.Katz has held over 200 solo exhibitions worldwide and his work is housed in major public collections including MoMA, the Whitney, the Tate, and Centre Pompidou. In 2022, he was honoured with a major retrospective at the Guggenheim Museum, and in 2024, his monumental seasonal landscapes were displayed at MoMA in New York. That same year, he was awarded the National Medal of Arts by the White House, recognising his enduring impact on American visual culture.Katz lives and works in New York City and Lincolnville, Maine, continuing to paint “the immediate present” with timeless clarity and vision.

Alex Katz

With flat planes of rich, lovely color, Alex Katz’s landscapes and portraits evoke the smooth aesthetics of advertising billboards and film.

https://data.wengcontemporary.com/media/Alex_Katz_White_Roses_Content_Sheet.pdf

White Roses (2014) belongs to Alex Katz’s renowned flower paintings. Throughout his career, Katz has repeatedly explored the aesthetics of flowers such as flags, tulips, and roses, using them as a lens to study light, colour, and form.&nbsp;In this composition, he captures the interplay of natural light and delicate volume, allowing the radiant white petals to glow vividly against a boundless blue backdrop. The work seems to breathe nature itself, evoking a serene and immersive presence. Inspired by everyday motifs, Katz’s floral paintings are among his most cherished explorations of the natural world.

White Roses

https://data.wengcontemporary.com/media/Alex_Katz_Yellow_Tulips_Content_Sheet_3VapuuV.pdf

Yellow Tulips (2014) is part of the famous flower paintings by Alex Katz. The aesthetics of flowers such as flags, tulips, and roses have been continuously explored by the artist throughout his career. Katz has been painting flowers since the 1960s, often during his summer residencies in Maine. The cropped, flattened composition displays a debt to Japanese woodblock art printing.&nbsp;The American artist is well-known for his large paintings, whose bold simplicity and unmodulated colours are now seen as precursors of Pop Art. Yellow Tulips is another of Katz's wonderfully bright explorations of nature and the landscape. He represents the volumes and colours created by the natural light, this artwork breathes nature, and the radiant yellow delights the vision against the limitless black background. The painting Tulips 4 (2013) which this edition is based on belongs to the Collection of Museum of Modern Art (MoMA) in New York.

Yellow Tulips

Weng Fine Art

15-color silkscreen on 4-ply museum board

Ai Weiwei (b. 1957, Beijing) is one of the most influential artists and provocateurs of our time. He is celebrated for blending Chinese history and tradition with artistic expression and political activism, all within a wholly contemporary practice. Beyond traditional mediums, his artistic work extends to architecture, documentary filmmaking, and large-scale public installations, each serving as a form of human rights activism, cultural commentary, and critiques of the global imbalance of power.&nbsp;Born into exile due to his father’s political persecution, Ai Weiwei's early life was marked by hardship, shaping his lifelong commitment to questioning authority. This commitment has often made him a political target in the past. He studied at the Beijing Film Academy before moving to New York in the 1980s, where he was influenced by conceptual art and artists such as Marcel Duchamp and Andy Warhol. Returning to China in the 1990s, Ai Weiwei emerged as a key figure in contemporary Chinese art while also co-founding independent art spaces and experimenting with radical forms of artistic expression. After years of surveillance and restrictions, he was eventually allowed to leave China in 2015 and has since lived in Germany, the United Kingdom, and Portugal.&nbsp;Ai Weiwei gained international recognition through powerful works such as Dropping a Han Dynasty Urn (1995), Sunflower Seeds (2010), Neolithic Vase with Coca Cola Logo (Gold) (2015), Illumination (2019), and Straight (2008–2012), a poignant memorial to the victims of the 2008 Sichuan earthquake. Ai Weiwei’s works are held in major museums worldwide and have been exhibited in leading institutions such as Tate Modern, the Royal Academy of Arts, and the Venice Biennale. His relentless pursuit of truth and justice, coupled with his innovative artistic vision, continues to inspire global audiences and redefine the role of art in society. As Ai Weiwei himself asserts, “Everything is art. Everything is politics.”

Ai Weiwei

Dissident artist Ai Weiwei is famous for conceptual artworks that challenge authority and explore the links between the contemporary world and traditional Chinese culture.

https://data.wengcontemporary.com/media/Ai_Weiwei_Papercut_Portfolio_Content_sheet_compressed_2.pdf

The Papercut Portfolio (2019) by Ai Weiwei is a striking fusion of traditional Chinese craftsmanship and contemporary political commentary. This limited-edition collection consists of eight intricately designed papercuts, each reflecting pivotal moments from Ai Weiwei’s artistic and political journey. Inspired by the centuries-old Chinese tradition of papercutting — historically used for storytelling, decoration, and spiritual symbolism — Ai Weiwei transforms the medium into a bold visual narrative. Rendered in large-format, vibrant red fine-art paper, the works encapsulate themes from his early days in New York in the 1980s, his engagement with Chinese heritage upon returning to Beijing in the 1990s, and his later activism confronting censorship and state control.Accompanied by explanatory notes from writer Chin-Chin Yap, the portfolio offers an intimate glimpse into Ai Weiwei’s evolving artistic practice. The works feature iconic motifs from his career, including the Bird’s Nest stadium, his Study of Perspective (1995–2003) middle-finger gesture, and references to politically charged installations such as Sunflower Seeds (2010) and Map of China (2003). Through this medium, Ai Weiwei juxtaposes themes of displacement, resistance, and cultural identity, reinforcing his belief that art is a form of free expression and social responsibility. The Papercut Portfolio serves as both a retrospective of Ai Weiwei’s groundbreaking work and a powerful statement on the intersection of art, politics, and human rights.

The Papercut Portfolio

Papercuts in clothbound clamshell box (Portfolio of 8)

https://data.wengcontemporary.com/media/Ai_Weiwei_Study_of_Perspective_in_Glass_sets.pptx_Bk9kIk4.pdf

At the core of his production, Ai Weiwei investigates and questions institutions and regimes by measuring human existence in relation to economic, political, and social forces.&nbsp;The middle finger has been a recurrent theme in his artistic oeuvre. His photographic series Study of Perspective (shot from 1995 to 2003) shows the artist flipping the middle finger in front of iconic landmarks across the globe. The gesture represents a universal and concise statement of political opposition and the rejection of any form of oppression against human freedom.&nbsp;This iconic gesture has been translated into an equally iconic Murano glass sculpture, and the result is a powerful yet elegant object. The sculpture, made from the artist's own handcast, embodies the deep and engaged message of Study of Perspective while meeting the glass' airy and light qualities, consequently producing a rare effect of beauty and mystic power.

Study of Perspective in Glass (Set of 6)

Murano Glass Casting

https://data.wengcontemporary.com/media/Ai_Weiwei_Study_of_Perspective_in_Glass_sets.pptx_Ld8xb9v.pdf

At the core of his production, Ai Weiwei investigates and questions institutions and regimes by measuring the human existence and human condition in relation to economic, political, and social forces.&nbsp;The middle finger has been a recurrent theme in his artistic oeuvre. His photographic series Study of Perspective (shot from 1995 — 2003) shows the artist flipping the middle finger in front of iconic landmarks across the globe. The gesture represents a universal and concise statement of political opposition and the rejection of any form of oppression against human freedom.&nbsp;This iconic gesture has been translated into an equally iconic Murano glass sculpture, and the result is a powerful yet elegant object. Murano glass, known for its centuries-old craftsmanship and artistic excellence, holds historical significance as a material associated with both fragility and resilience — qualities that parallel Ai Weiwei’s ongoing dialogue on freedom and resistance. The delicate yet bold nature of Murano glass enhances the tension between defiance and vulnerability in Study of Perspective in Glass (2020), reinforcing the artist’s vision through a material that is both ancient and contemporary. The sculpture, made from the artist's own hand-cast, embodies the deep and engaging message of Study of Perspective while meeting the glass' airy and light qualities, consequently producing a rare effect of beauty.

https://data.wengcontemporary.com/media/Ai_Weiwei_Vases_in_five_colours_Content_Sheet_CCvEGIc.pdf

Ai Weiwei’s Vases in Five Colours (2024) continues the artist’s long-standing interrogation of cultural identity, commercialisation, and artistic heritage. This series of five Murano glass vases—rendered in blue, green, mustard, black, and white—pays homage to traditional Chinese ceramics while embedding them within a globalised context. The vibrant hues reference ancient Chinese glazes, yet their sleek, translucent surfaces betray a contemporary sensibility. By employing Murano glass, a material deeply tied to Venetian craftsmanship, Ai Weiwei merges two artistic traditions, challenging notions of authenticity and ownership. The interplay between the artisanal and the mass-produced echoes his broader critique of cultural commodification and the impact of Western capitalism on Chinese heritage.&nbsp;These vases are more than decorative objects; they are vessels of contradiction. The Coca-Cola emblem, a ubiquitous symbol of consumer culture, disrupts the historical reverence associated with ceramic traditions, much like Ai Weiwei’s earlier works starting in 1994, where he painted the logo onto 2,000-year-old Han-dynasty urns. His works such as Dropping a Han Dynasty Urn (1995) and Han Jar Overpainted with Coca-Cola Logo (1995) are iconic examples of how he provocatively addresses China's historical confrontation with Western influences. Here, however, the medium itself shifts the conversation. The fragility of glass contrasts with the permanence of branding, suggesting both the resilience and vulnerability of cultural identity in an increasingly homogenized world.

Vases in Black and White (Set of 2)

Murano Glass

https://data.wengcontemporary.com/media/Ai_Weiwei_Guardian_Content_sheet_gdufWrN.pdf

Ai Weiwei’s Guardian (2024) was created using an innovative technique that mimics the tactile qualities of ceramic tiles or cast concrete through silkscreen printing. The process begins with a gold ink base, densely packed with metallic pigment and glitter, which is then layered with vibrant red ink. This method produces a striking visual effect, where intricate illustrations emerge through negative space.The artwork is a compelling fusion of traditional Chinese symbolism and contemporary socio-political commentary. Ai Weiwei depicts himself as a Door God, a powerful figure in Chinese folklore believed to protect homes from harmful forces. By intertwining his personal narrative with cultural heritage, he reimagines this divine guardian as a defender against the adversaries of art and justice—censorship, propaganda, corruption, and surveillance.The colour palette carries deep significance: red and gold, emblematic of good fortune and prosperity in Chinese culture, also evoke themes of justice and revolution. Through Guardian, Ai Weiwei continues his tradition of using art as a form of resistance, seamlessly blending ancient symbols with modern struggles. Like much of his oeuvre, this piece serves as a powerful reminder of the ongoing fight for truth and justice, making it especially resonant in today’s socio-political landscape.

Guardian

2 colour silkscreen with a metallic glitter base layer, printed on 410gsm Somerset Tub Sized Radiant White paper

https://data.wengcontemporary.com/media/Ai_Weiwei_Wo_ist_die_Revolution_Content_Sheet.pdf

For his major exhibition "Everything is Art. Everything is Politics" took place from May 18 to September 1, 2019, at the Kunstsammlung Nordrhein-Westfalen, Ai Weiwei has created a new photographic self-portrait in which he confronts the viewer head-on. The reference to Joseph Beuys’ famous 1971 poster La Rivoluzione Siamo Noi is a clear homage to a kindred spirit—but it also highlights a fundamental difference in the political consciousness of their times.&nbsp;While Beuys’ slogan (translated as “we are the revolution”) is rooted in the conviction that art can bring about revolutionary change, Ai Weiwei’s question ‘Where’s the revolution?’ is almost ironic, shaped by the political pragmatism of an activist persecuted during the Chinese Cultural Revolution. Yet this does not diminish the optimism of the image: this man is searching, he is on a journey — something Ai Weiwei continues to demonstrate through his multifaceted work. The work is based on Ai Weiwei´s life-size proportions, making his confident stride towards the viewer all the more powerful, as if ready to dynamically step out of the image, in a confrontational way but also encouraging the viewer to join him towards a revolution.

Wo ist die Revolution?

Inkjet print

Jia Aili (b. 1979, Dandong, China) is a Chinese contemporary artist celebrated for his large-scale, psychologically charged paintings that blend realism, fantasy, and dystopian allegory. Trained at the Lu Xun Academy of Fine Arts, Jia’s work reflects the complexities of a rapidly transforming China while grappling with universal themes of technology, mortality, and isolation.His canvases—often vast in scale and populated by fragmented bodies, surreal machinery, and desolate landscapes—evoke both post-apocalyptic anxiety and spiritual introspection. Merging classical painting techniques with a distinctly modern sensibility, Jia’s visual language recalls both Western art history and Chinese Socialist Realism, filtered through a lens of existential unease.Deeply influenced by literature, philosophy, and science, Jia Aili creates emotionally resonant works that suggest both collapse and renewal. Figures drift through his compositions in astronaut suits, gas masks, or states of undress—symbols of both fragility and resistance in a changing world.Jia’s practice challenges the boundaries between personal and collective trauma, and between past and future. His work has been exhibited internationally at institutions such as the Fondation Louis Vuitton, Palais de Tokyo, and the Ullens Center for Contemporary Art (UCCA), and is included in major public and private collections worldwide.

Jia Aili

Jia Aili is a Chinese contemporary artist born in 1979 in Liaoning province, China. His pieces feature the dark side of human progress and warfare, including symbols like&nbsp;gas masks,&nbsp;industrial waste, the&nbsp;hammer and sickle sign, and&nbsp;mushroom clouds.&nbsp;

https://data.wengcontemporary.com/media/Jia_Aili_Engine_Mountain_Hermit_Content_sheet_2024_NEW_BRANDING_hYninNo.pdf

This iconic artwork series fully encapsulates and reflects the main themes and masterful work of this incredible artist.&nbsp;The very elements that have characterised his impressive career create a true&nbsp;immersive experience, where Aili's post-apocalyptic vision comes to life in all its&nbsp;evocative power.&nbsp;In this deep dark submersion, the viewer can almost&nbsp;feel the cold, the&nbsp;humidity of the air, and the&nbsp;isolation.&nbsp;The hefty atmosphere weighs on the audience like an eerie omen.&nbsp;

Engine

HI-RND© print on paper. Floating Alu frame.

https://data.wengcontemporary.com/media/Jia_Aili_Engine_Mountain_Hermit_Content_sheet_2024_NEW_BRANDING.pdf

Hermit

https://data.wengcontemporary.com/media/Jia_Aili_Engine_Mountain_Content_sheet_2024_aBQvdLJ.pdf

This iconic artwork series fully encapsulates and reflects the main themes and masterful work of this incredible artist.&nbsp;&nbsp;The very elements that have characterised his impressive career create a truly&nbsp;immersive experience, where Aili's post-apocalyptic vision comes to life in all its&nbsp;evocative power.&nbsp;&nbsp;In this deep dark submersion, the viewer can almost&nbsp;feel the cold, the&nbsp;humidity of the air, and the&nbsp;isolation.&nbsp;The hefty atmosphere weighs on the audience like an eerie omen.&nbsp;

Snow Mountain

Douglas Gordon (b. 1966, Glasgow, Scotland) is an internationally acclaimed artist whose multidisciplinary practice spans video, film, installation, sculpture, photography, text, and sound. Known for his conceptual rigor and psychological depth, Gordon’s work explores themes of memory, morality, duality, and the disruption of perception. Using found footage, literary references, religious symbolism, and his own recordings, he probes the human condition through acts of distortion and repetition.Gordon studied sculpture and environmental art at the Glasgow School of Art (1984–88) and earned his MFA at the Slade School of Fine Art, London (1988–90), where he began engaging deeply with the cinematic medium. His breakthrough work, 24 Hour Psycho (1993), stretched Alfred Hitchcock’s classic film to a full day’s duration, dramatically altering its psychological impact and challenging viewers' relationship to time and narrative.Binary oppositions—good and evil, light and dark, life and death—are central to Gordon’s work, often explored through haunting juxtapositions and conceptual subversion. In Three Inches Black (1997), a tattooed fingertip becomes a meditation on violence and intimacy. In Between Darkness and Light (after William Blake) (1997), he screens a film about divine revelation simultaneously with one about demonic possession, blending sacred and profane.Gordon’s work has been widely exhibited in major institutions including MoMA New York, Tate Britain, Hayward Gallery, Musée d’Art Moderne de la Ville de Paris, Neue Nationalgalerie Berlin, and ARoS Aarhus. He represented Britain at the Venice Biennale and participated in Documenta 14 (2017). He received the Turner Prize in 1996 and has also been recognized at major film festivals including Cannes, Venice, and Toronto.

Douglas Gordon

Throughout his diverse practice—spanning photography, video, performance, sound, and text-based work—Douglas Gordon recontextualizes familiar images and artworks, distorting time, language, and other aesthetic aspects to challenge viewers’ perception, expectation, and memory.

https://data.wengcontemporary.com/media/Douglas_Gordon_Portrait_of_a_Self_Portrait_of_a_Self_Content_sheet_NEW_BRANDING_Compress_8veHm6y.pdf

Icons of the artist’s oeuvre are his Self-Portraits, where Gordon uses real flames to erode Hollywood paradigmatic figures, such as Marilyn Monroe, Elvis Presley and James Dean. The fire corrodes specific elements of the represented characters, such as the eyes, noses and mouths. The remain untouched parts are then assembled on reflective, mirror-like surfaces, which denote Gordon’s interest in phenomenological experiences. The resulting surfaces details are the most compelling elements of these editions, where solidified drops meet the burnt areas, in a ambiguous encounter of elements. In an interview given to The Talks, Gordon jokingly admitted that he set his jeans on fire by accident during one of these burning sessions at Gagosian's in New York.

Portrait of a Self Portrait of a Self, as Marilyn

Print on canvas, inner frame, Dibond backplate

Tracey Emin (b. 1963, London) is one of Britain’s most prominent contemporary artists, known for her deeply personal, confessional, and emotionally raw work across media including drawing, painting, installation, sculpture, film, photography, neon, and embroidery. A leading figure of the Young British Artists (YBAs), Emin first gained public attention in the 1990s for works that defied convention and embraced vulnerability, memory, and autobiography.Her breakthrough came with Everyone I Have Ever Slept With 1963–1995 (1995), a tent appliquéd with names of everyone she had shared a bed with—family, lovers, and unborn children. In 1999, she was shortlisted for the Turner Prize with My Bed, an unflinching installation of her own unmade bed surrounded by personal debris, capturing a moment of profound emotional crisis. These works, both iconic and controversial, redefined intimacy and confession in contemporary art.Emin’s practice is rooted in self-portraiture and life experience, confronting themes of love, sexuality, trauma, illness, and mortality with striking honesty. Her neon text works, embroidered quilts, and raw figural drawings extend her exploration of the female body and inner life. More recently, her large-scale sculpture The Mother (2021), permanently installed beside Oslo’s Munch Museum, honors both her own mother and Edvard Munch’s legacy—an artist who deeply influenced her.In 2020, following a cancer diagnosis and major surgery, Emin returned to painting with renewed intensity, channeling her physical and emotional reality into gestural, urgent works. She lives and works between London, the South of France, and Margate, where she founded TKE Studios and a free residency program for emerging artists.Emin has exhibited internationally, with major shows at Tate Britain, the Musée d’Orsay, Munchmuseet, and the Royal Academy. She was appointed Professor of Drawing at the RA in 2011 and was made a Dame in 2024 for her services to art.

Tracey Emin

Tracey Emin’s poetic, confessional practice spans film, painting, neon, embroidery, drawing, installation, and sculpture.

https://data.wengcontemporary.com/media/Tracey_Emin_A_Journey_To_Death_2021_Set_of_10_Content_Sheet_LrQlGm4.pdf

A Journey To Death explores the trauma of surgery for the cancer that almost claimed her life. Tracey Emin has been painting, drawing and photographing herself for a long time, but these latest nudes are her grandest and most painfully resonant work yet. Emin has always made art about her physical existence and subjects that had felt unspeakably private, from sexual assault, devastating heartbreak, and ambivalence around motherhood, grief and longing, to adolescent sexuality and menopause. Her work offers companionship for many women going through difficult and painful experiences.Made in 2021, in these spindly blue-black works she is feeling her way through to a route back into art. Most works in the portfolio express pain, though there is also hope in some instances: the faces of her kittens Pancake and Teacup appear Then I Wasn’t Alone Life Was Here, as emblems of life that will go on. The text also makes its way into her work, as it so often has in the past. “It was inside – always inside,” she writes, the words hovering above her head in Even Saying Nothing is a Lie. It’s a vivid, horrifying expression of a haunted body: the realisation that a hostile presence has manifested within, attacking silently from the inside.In making herself the subject of her work, and concentrating intensely on figuration, Emin creates bridges with the rich art-historical tradition of the female figure and female nudes. She shows strong emotive force in these pictures, as seen for example in the work of male painters Munch and Schiele, which Emin admires and studied throughout her artistic oeuvre.

A Journey To Death (Portfolio of 10)

2 colour lithograph on Somerset Velvet Warm White 400 gsm

Peter Doig (b. 1959, Edinburgh) is a Scottish painter renowned for his dreamlike, evocative landscapes that blend personal memory with cultural references. Raised in Trinidad and Canada, Doig’s work draws on the visual and emotional atmospheres of both regions—snow-covered forests, isolated cabins, tropical jungles, and luminous beaches—rendered with a lush, painterly sensibility that invites both intimacy and mystery.Doig studied at the Wimbledon School of Art, Saint Martin’s School of Art, and completed his MA at Chelsea College of Art and Design in 1990. That same year, he won the Whitechapel Artist Prize, leading to a solo exhibition featuring key early works such as Swamped (1990) and The Architect’s Home in the Ravine (1991). Often working from photographs, postcards, and film stills, Doig resists photorealism, instead painting “by proxy” to capture a mood or atmosphere rather than a direct likeness.Since 2002, Doig lived and worked in Trinidad for nearly two decades, where he co-founded StudioFilmClub and maintained a studio near Port of Spain. He was also a professor at the Kunstakademie Düsseldorf until 2017. In 2021, he returned to London, where he continues to live and work.Doig’s major exhibitions include retrospectives at Tate Britain, Fondation Beyeler, Musée d’Art Moderne de Paris, and the Scottish National Gallery. In 2023, he became the first contemporary artist to exhibit at the Courtauld Gallery following its redevelopment, and in 2024, his work was the subject of two exhibitions at the Musée d’Orsay, Paris. Today, Peter Doig is widely regarded as one of the most important painters of his generation, admired for his technical mastery and rich, transportive imagery.

Peter Doig

Peter Doig’s serene, fantastical paintings feature kaleidoscope landscapes punctuated by enigmatic, partially obscured figures.

https://data.wengcontemporary.com/media/Peter_Doig_The_Zermatt_Series_Content_Sheet_yZQTT4I.pdf

Marking Peter Doig’s first return to snowscapes since the 1990s, the "Zermatt Series" consists of six limited-edition Giclée prints on Cotton Smooth Rag. This thematic body of work was conceived in 2018, when Doig’s friend, Swiss architect and artist Heinz Julen, offered him his chalet in the idyllic ski town as inspiration to capture the surrounding scenes. Conceptually inspired by vintage ski posters designed to promote tourism to the mountains, the collection features dynamic skiers set against majestic, snow-covered landscapes—simple yet captivating and energetic. These characteristics prompted Doig to create his own series of painted posters.Relying solely on his memory to recreate images inspired by his experiences in Zermatt, Doig drew from a wide range of influences – the town’s deep religious traditions, the perilous nature of its landscapes, and his own memories of skiing and the slopes. Additionally, his perception of the resort town was shaped by Derek Walcott’s evocative descriptions of Zermatt in his 2006 poem series "Prodigal". The six Zermatt paintings, which Doig considers the most 'poster-like' in both size and appearance, have been translated into prints.

The Zermatt Series (Portfolio of 6)

Giclée Print on Cotton Smooth Rag

https://data.wengcontemporary.com/media/Ai_Weiwei_Vases_in_five_colours_Content_Sheet_XE1b3WY.pdf

Vases in Five Colours (Set of 5)

Jeff Koons (b. 1955, York, Pennsylvania) is one of the most influential and controversial artists of our time, known for his bold, large-scale sculptures and glossy, photorealistic paintings that reflect on contemporary culture, consumerism, and the art historical canon. Emerging in the 1980s, Koons became a key figure in the dialogue around art and spectacle in a media-saturated world. With a stated aim to "communicate with the masses," his work draws on everyday objects, popular culture, and classical imagery, elevating the banal to the monumental.Koons studied at the Maryland Institute College of Art and the School of the Art Institute of Chicago, receiving his BFA in 1976. His first solo exhibition was in 1980, and since then, his practice has evolved from assemblages of found objects to iconic sculptures like Balloon Dog and Puppy, towering figures rendered in polished stainless steel or flowering topiary. Through series such as Banality, Celebration, Popeye, and Gazing Ball, Koons reinterprets familiar images and kitsch objects with dazzling surfaces, often provoking dialogue about taste, value, and authenticity.His work often references the readymade tradition of Marcel Duchamp, merging mass-produced aesthetics with deeply personal and metaphysical themes. Whether through inflatable cartoon characters, hyperrealistic sculptures, or mirrored glass orbs, Koons explores ideas of transcendence, sexuality, innocence, and self-reflection.Koons has exhibited globally, with major retrospectives at the Whitney Museum of American Art, Centre Pompidou, Guggenheim Bilbao, and Palazzo Strozzi, among others. His work is held in numerous prestigious public collections, including MoMA, Tate, and the Broad. He lives and works in New York.

Jeff Koons

One of the most famous artists working today, Jeff Koons makes gleeful, tongue-in-cheek sculptures, paintings, and installations that border—and often cross—the edge of good taste.

https://data.wengcontemporary.com/media/Jeff_Koons_Balloon_Dog_Blue_Content_Sheet_2024.pdf

This most iconic artwork series of the 21st century is a reproduction of the larger sculpture of the Balloon Dog from the Celebration series (1994-2000), as conceived in five unique colours (Blue, Magenta, Yellow, Orange, Red).The magic attraction of Balloon Dog lies in its ability to convey charm, power and material precision at once. Its equestrian shape resembles the heroic statuary trope that populates public spaces across the globe. Koons himself called this piece the "Trojan horse“ of the Celebration series.The Balloon Dog has chameleon-like qualities; its reflective surface is capable of physically changing with its surroundings and its many-layered meanings make it conceptually change in the mind of each viewer.The production of this artwork requires 60 people and takes a full month to complete. Its fashioning combines traditional porcelain decoration techniques with new technologies which are not typically applied to ceramics; this combination allows to achieve its specific metallic and reflective characteristics.Each piece is signed on the inside front right leg and the signature is applied on top of the porcelain and fired in the oven.

Balloon Dog (Blue)

Limoges porcelain with chromatic coating

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Ai Weiwei Artworks

"The inauguration of the showroom marks the beginning of a new era for Weng Contemporary, as it stands as a symbol of openness and encounter between people and art."

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