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View Conditions of Sale >
\n

\n","auctionDetailsSmall","Hong Kong Auction 29 March 2025","extraInfo","

Kimberley Wong
\nAssociate Specialist
\nModern & Contemporary Art, Hong Kong
\n+852 2318 2095
\nkimberleywong@phillips.com

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Lala Curio 的訂製壁飾為《New Now: 現代及當代藝術和設計》香港拍賣預展錦上添花。

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富藝斯（P）：請你介紹一下專為富藝斯拍賣預展而設的創作。

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LAURA CHEUNG WOLF: 我們為這個展覽訂製了兩幅壁飾，其中一幅以手工刺繡，詮釋動感飄逸的銀杏葉，綴於同色黃麻壁布之上。銀杏葉的比例宏大，然而在層次豐富的草編基底，與串珠和亮片的細緻刺繡相互映襯下，整體呈現出和諧統一的視覺效果。銀杏作為中日裝飾藝術中的重要符號，象徵堅毅、幸運與長壽。

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拍品54：維拉基米爾．卡根《「輪廓」躺椅及軟墊》>

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LCW: 另一幅壁飾以漂浮的蕗葉為重點，來自我們最新的《葉子》（Feuillage）系列，並於巴黎裝飾展（Deco Off）首度亮相。每片蕗葉皆以手工刺繡，採用三維立體設計：葉片先繡於歐根紗上，再嵌入金屬線框，最後縫製於壁紙基底上，使觀者可以親手體驗，塑造葉片形態。情景彷若深秋時節的輕脆落葉，閃耀於深邃的藍綠絲絨背景之上。本次設計靈感源於自己在日本屋久島時的遠足之行，而這座充滿靈氣的森林亦啟發了吉卜力工作室創作動畫《龍貓》。上述旅程喚起了美好的童年回憶，而我也期待與富藝斯的藏家分享這份創意結晶。

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拍品18：夏洛特．貝里安《「墨西哥」櫃，巴黎國際大學城墨西哥公寓》>

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拍品52：梁大原《愛第3號》>

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拍品125：方力鈞《金色頭像第20號》>

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拍品122：卡蓮娜．夢露《排列與混亂》 >

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P: 你如何看待裝飾藝術與純藝術在室內空間中的結合？

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LCW: 我始終堅信裝飾藝術亦是一種藝術性表現，並且重視其中的歷史、工匠的手工技藝，以及每件物件的來源故事。如同設計一樣，我認為裝飾藝術應當以整體性的視角來欣賞。個人對於室內設計的興趣，與我對時尚、攝影及平面設計的熱情同等深厚。對於真正熱愛藝術的人而言，裝飾藝術與純藝術之間的界線其實極為微妙。室內設計猶如在三維畫布上創作，透過物件的精心排列與組合，訴說一個動人的故事；而當裝飾藝術與純藝術彼此呼應，這個故事便得以完整呈現。

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我自幼便沉浸在紡織與裝飾藝術的世界裡。我於澳洲出生，在香港長大，家族數代皆從事裝飾藝術相關行業。我的祖母精於掐絲琺瑯工藝（源於皇室的鑄銅技藝），而她曾是極少數將此工藝出口至香港，並將之推廣國際市場的商人。父親家族則以製作精美的紅木家具聞名。這樣的背景使我得以接觸到無數傑出的工藝大師，也讓我深感責任，將這些精湛技藝的故事帶入當代設計界別。藝術已然流淌在我的血脈之中，而我的使命便是透過自身的視角，創造美學、傳承工藝，並為未來世代延續這些珍貴的文化遺產。

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P: 本次拍賣有特別吸引你的作品嗎？

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LCW: 維拉基米爾．卡根（Vladimir Kagan）可謂現代主義的象徵，也是二十世紀設計的大師。我曾於紐約從事時尚活動製作，當時負責湯姆．福特（Tom Ford）的一系列活動，其中不少向卡根致敬的環節。

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我尤其偏好《「輪廓」躺椅》，其流暢線條極具雅致氣息。這種中世紀風格的設計不論置於任何室內空間，都能融入其中，無比耐看。

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草間彌生1979年作品《南瓜》。《New Now: 現代及當代藝術和設計》香港拍賣 >

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LCW: 我曾經創作過一個受草間彌生南瓜雕塑啟發的系列——壁紙全景的構圖層層遞進，猶如雕塑本身的展開與鋪陳，充滿戲劇張力。我對草間彌生的作品有著無數美好記憶，從日本直島的藝術之旅，到孩子學校的萬聖節南瓜派對，草間的南瓜早已滲透至我們生活的每一個創意層面。

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此外，前衛的《KAWS粉紅椅》簡直妙不可言，超凡脫俗，而且充滿幽默感！它既是異想天開，又玩味十足，我特別欣賞那些不拘一格和不太嚴肅的設計。

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KAWS 及坎帕納工作室2018年作品《KAWS 粉紅椅》。《New Now: 現代及當代藝術和設計》香港拍賣 >

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P: 你從何處汲取靈感？

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LCW: 我的創作過程與藝術家的方式極為相似。靈感無處不在，往往來自最意想不到的瞬間。我總是四處奔走，時常在出行或旅途中獲得最佳的創意啟發。當念頭閃現，我便立即將其素描記錄。

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富藝斯西九龍畫廊Lala Curio精選專區尚有溫德爾．卡索、今井麗、奧斯華度．馬里斯科蒂、艾迪．馬汀尼茲等藝術家的作品。拍賣預展將會持續至3月28日，歡迎閣下蒞臨參觀。

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瀏覽《New Now: 現代及當代藝術和設計》香港拍賣詳情 >

\n","publishDate","2025-03-24T04:14:38.000000Z","authorCredit","Veronica Chow","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/156733311/the-endless-creativity-of-laura-cheng-wolf-cn","displayOrder",2,"auctionEditorialID",7492,"editorialID",4859,"flocklerID",156733311,"https://flockler.com/thumbs/sites/889/kmp00409-d11ce178-f08b-45f4-b6dc-5a043139ef52_s600x0.jpg","Ahead of Phillips’ New Now: Modern & Contemporary Art and Design auction in Hong Kong, we invited Lala Curio to create bespoke wall scenes in our gallery. Here, the brand’s visionary tells us more about her approach and shares a few of her favorites from the auction.","The Endless Creativity of Laura Cheung Wolf","

Lala Curio’s bespoke wallpaper enlivens the New Now: Modern & Contemporary Art and Design auction preview in Hong Kong.

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PHILLIPS: Tell us about the work you’ve prepared for the Phillips auction preview exhibition.

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LAURA CHEUNG WOLF: For the exhibition, we did two bespoke scenic walls. The sisal wall with dramatic swaying ginkgo leaves is fully hand-embroidered — the scale is majestic while harmonious with the tone-on-tone ensemble, with the richly textured surfaces from the seagrass base as well as the intricate embroidery of beads and sequins. Ginkgo is an important motif in decorative arts both in Chinese and Japanese culture. It symbolizes resilience, good luck, and longevity.

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**Discover Lot 54: Vladimir Kagan, 'Contour' lounge chair and ottoman >**

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LCW: The other wall of drifting Fuki is from our most recent collection, Feuillage. It debuted in Paris at Deco Off. Each Fuki leaf is hand-embroidered and three-dimensional, with each leaf embroidered on organza with a wire frame, then appliquéd onto the base wallpaper. The result is a leaf that you can sculpt with your own hands. The experience is incredible, like a crunchy fall leaf sparkling on the deep, dark teal velvet ground. The inspiration was sparked by a hike I took on Japan’s famed Yakushima Island — the mystical forest where Studio Ghibli's film Totoro took inspiration. This trip really ignited my childhood nostalgia, and I am so excited to share this piece with the discerning clients of Phillips Auction House.

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**Discover Lot 18: Charlotte Perriand, 'Mexique' cabinet, from the Maison du Mexique, Cité Internationale Universitaire, Paris >**

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**Discover Lot 52: Daewon Yang, LOVE 3 >**

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**Discover Lot 125: Fang Lijun, Goldhead No. 20 >**

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**Discover Lot 122: Galina Munroe, Arrangement and Disarray >**

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P: What is your approach to pairing decorative and fine arts in an interior?

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LCW: I am a big advocate for treating decorative arts as art. I value the history, the craft by the hands of the artisans who made the object, and I love the stories of the provenance behind each piece. Like design, I truly believe it's a wholistic approach. I have an interest in the interiors as much as I do in fashion, photography, and graphics. For someone who appreciates the arts, the difference between decorative and fine arts becomes a fine line. Working with interiors is like painting on a three-dimensional canvas, assembling and composing beautiful objects to narrate a story. Both decorative and fine arts come together harmoniously to tell the story.

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I was surrounded by textiles and decorative arts for as long as I can remember. I was born in Australia, grew up in Hong Kong, and both sides of my family have been in decorative arts for generations. My grandmother specialized in cloisonné — an imperial enameling technique cast in bronze. She was one of the only merchants to export these treasures to Hong Kong to share the craft with the world. My father’s side of the family produced stunning rosewood furniture. The family lineage opened doors to artisans creating the most exquisite works of art, and I am committed to sharing their stories with the design industry. The arts run deep in my bones, and I have always longed to create beauty and share artisan works through my lens, driven by the mission to continue these treasured crafts for future generations.

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P: Are there any specific works from the auction that resonate strongly with you?

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LCW: Vladimir Kagan is the icon of modernity, the beacon of 20th-century design. When I was working in New York doing fashion event production, we did all of Tom Ford's events, where the Kagen name is most celebrated.

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I love the lines of the Contour lounge chair — so sophisticated. The midcentury aesthetic is so versatile in different interiors.

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Yayoi Kusama, Pumpkin, 1979. New Now: Modern & Contemporary Art and Design, Hong Kong >

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LCW: I did a collection inspired by a Kusama pumpkin sculpture, where our wallpaper panorama was the built-up experience to the unraveling of the sculpture — so dramatic. I have so many fond memories of Kusama’s works, from the art island Naoshima island to the kids' school pumpkin party, the power of the pumpkin has infiltrated into every creative aspect of our lives.

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Lastly, the avant-garde KAWS pink chair is beyond fabulous — out of this world, hilarious. It is so just otherworldly and playful! I love design that does not take itself too seriously.

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KAWS and Estudio Campana, KAWS CHAIR PINK, 2018. New Now: Modern & Contemporary Art and Design, Hong Kong >

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P: Where do you look for inspiration?

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LCW: My creative process works like an artist’s. Inspiration can come to me from anywhere. It’s often unexpected. I’m always on the go, and it’s often when I’m in motion or traveling that the best ideas arrive. An idea will strike, and I will sketch it down.

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Further works by Wendell Castle, Ulala Imai, Osvaldo Mariscotti, Eddie Martinez, and more are featured in the Lala Curio selection at Phillips’ West Kowloon gallery. Visit the auction preview through 28 March to explore these scenes and more.

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Discover More from New Now: Modern & Contemporary Art and Design, Hong Kong >

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中文閱讀

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壁紙藝術家Laura Cheung Wolf的創意場景>

\n","2025-03-21T18:22:22.000000Z","Jesse Limbacher","https://www.phillips.com/article/156644258/the-endless-creativity-of-laura-cheng-wolf",7491,4857,156644258,"https://flockler.com/thumbs/sites/889/li-hei-di-b25a367c-8969-48d8-975e-bc0250129507_s600x0.jpg","Eight artists on our radar ahead of the New Now: Modern & Contemporary Art and Design auction in Hong Kong.","Artists to Watch","

Li Hei Di, Concubine Fell In Deep Sea, 2021. New Now: Modern & Contemporary Art and Design, Hong Kong >

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中文閱讀

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Li Hei Di

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Li Hei Di’s Concubine Fell in Deep Sea is a haunting and stunning portrayal of sorrow and spiritual longing, evoking the tragic tale of Nie Xiaoqian — the primary female character from the Qing dynasty novel Strange Tales from a Chinese Studio. The deep blue hues of the underwater scene envelop the central figure — a woman with pale skin and sorrowful eyes, surrounded by ethereal beings. Her expression reflects the despair of one trapped in an abyss, much like Xiaqian’s plea, “I have fallen into a deep sea, unable to find the shore.” Through this work, Li Hei Di invites viewers to explore the interplay of human vulnerability and otherworldly forces, creating a visual narrative that resonates with timeless emotional depth.

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A rising star, Li Hei Di is the youngest artist on the Pace Gallery roster and was named in Forbes’ “30 Under 30” list in 2024 for their exceptional talent and dedication. Since earning a Master’s Degree in painting from the Royal College of Art in 2022, Li has gone on to have works featured in numerous exhibitions at prestigious galleries and institutions, including Uncanny Valley, Gagosian, Hong Kong (2023); Home is where the haunt is, X Museum, Beijing (2023); and The Armory Show, Michael Kohn Gallery, Los Angeles (2024). Their latest solo exhibition, 700 Nights of Winter, took place at Pippy Houldsworth Gallery in London (2024).

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Vivien Zhang

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Vivien Zhang, Georadian, 2022. New Now: Modern & Contemporary Art and Design, Hong Kong >

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Vivien Zhang’s paintings draw attention to the instabilities inherent to the linguistic, visual, and categorical frameworks that underpin our experience of reality, questioning their reliability with fresh alternatives. For a defining example of her approach, look no further than the captivating Georadian, which marks the artist’s auction debut at Phillips. This seemingly abstract composition juxtaposes hyper-precise, digitally rendered sections with unpredictable, fluid washes of paint that bleed and pool organically. The result is a striking, collage-like abstraction that merges fragmented personal, cultural, and contextual references.

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Born in 1990, the London-based artist spent her formative years in China, Kenya, and Thailand. She received a BA in Fine Art from the Slade School in 2012 and an MA in Painting from the Royal College of Art in 2014. She is represented by Pilar Corrias Gallery in London, and her work has been featured in solo and group exhibitions at Le Consortium, Dijon, France; K11 MUSEA in Hong Kong; and in special projects with Long March Space in Beijing. From May to November this year, Aranya Art Center North will present her new solo exhibition, marking her first museum solo exhibition in China.

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Gao Ludi

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Gao Ludi, Reality No.16, 2019. New Now: Modern & Contemporary Art and Design, Hong Kong >

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In Gao Ludi’s Reality series, the artist’s unique approach is physical, active, and transcendent, piercing the flatness of the picture plane to draw a new dimension out of the panel, directing it toward the viewer. In Reality No. 16, the artist takes various materials and truncates, polishes, smears, and grafts them to the work’s surface, liberating them from their functional utility and granting them an emergent structure. To stand before this work is to witness the artist’s own consciousness transcribed to imagery — the metaphysical made physical.

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Born in 1990 in Zhengzhou, Henan Province, China, the artist received his BFA in Oil Painting at the Institute for Fine Arts at Capital Normal University in Beijing in 2013. This work from Gao Ludi’s Reality series was included in his landmark solo exhibition 1:1 at Qiao Space in Shanghai in 2020. His recent solo exhibitions include Overwrite, Long Museum (West Bund), Shanghai, China, and Journal, WHITE SPACE, Beijing, China.

\n\n

Jansson Stegner

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Jansson Stegner, Cedar Lake, 2020. New Now: Modern & Contemporary Art and Design, Hong Kong >

\n\n

California-based artist Jansson Stegner’s mannerist approach rethinks human forms, questioning the nature of power, gender normativity, visual pleasure, and the mechanics of painting itself. His works are layered with art-historical and pop culture references, simultaneously serene and cynical, classical and kitsch. His 2020 work Cedar Lake encapsulates these themes, at once alluding to the ubiquitous sexualization of female models in contemporary commercial imagery and historic depictions of Greek nymphs. In Stegner’s hands, the female figure is disproportionate, with elongated and swollen limbs, subverting our preconceived notions of the ideal body.

\n\n

Represented by Nino Mier Gallery, Los Angeles, and Sorry We’re Closed, Brussels, Jansson Stegner is widely acclaimed in North America and Europe. He was the recipient of the 2010 Art Brussels: Collectors’ Choice Award and was a 2015 Deutsche Bank NYFA Fellow. He has been the subject of numerous solo and group exhibitions with Nino Mier Gallery, Los Angeles; Almine Rech, New York; The Hole, New York; and Michael Kohn Gallery, Los Angeles. Stegner’s most recent exhibition marks the artist’s first solo show in Asia — Jansson Stegner: Arena is currently on view at CVG Foundation, Beijing, through 18 March 2025.

\n\n

Maria Farrar

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Maria Farrar, Hot Cross Buns, 2019. New Now: Modern & Contemporary Art and Design, Hong Kong >

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Approaching Maria Farrar’s Hot Cross Buns, we are transported to an alternate reality of colour and intrigue as we encounter a seemingly simple scene — a woman, seen from behind, gazes through a bakery window. This whimsical depiction of an everyday sight is highly emblematic of Farrar’s practice at the time this work was executed. First seen in her 2019 solo exhibition Too Late to Turn Back Now at Ota Fine Arts in Tokyo and Singapore, the work reflects the rich layers of brushstrokes that transform a trivial, transient moment into a densely textured visual experience that engenders a fresh, emotional intensity.

\n\n

Currently based in London, Farrar was born in the Philippines in 1988 and raised in Japan. She brings facets of these multicultural experiences to her work as she navigates the fragments of memories from living in various cities across the globe.

\n\n

Issy Wood

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\n\n

Issy Wood, Professional Help on Rye, 2020. New Now: Modern & Contemporary Art and Design, Hong Kong >

\n\n

Describing herself as a “Medieval Millennial,” the London-based artist Issy Wood’s starting point is a classical solemnity, yet she lands at a critical examination of our rapidly changing contemporary lives. Created in 2020, Professional Help on Rye is perhaps one of the most compelling examples of the more realist facet of Wood’s work, in which she captures a particular experience of alienation felt during the global pandemic. At this time, the artist turned to nostalgic TV shows, from The Sopranos to Sex and the City, which served as reminders of the days when people were physically closer. This work features a female figure with curly blonde hair enjoying rye bread, which evokes memories of Carrie relaxing with friends at Magnolia Bakery in Sex and the City. Executed at an ambitious larger-than-life scale — measuring over 180 centimetres tall and 240 centimetres long — the composition zooms sharply into an extreme close-up. This dissonance in perspective heightens the defamiliarizing effect and serves as a metaphor for our misplaced positionality amid tremendous changes in contemporary life.

\n\n

Following the lauded What I Eat in A Day at TANK Shanghai, Wood’s current solo exhibition Wet Reckless is on view at Michael Werner Gallery in Los Angeles through 17 May 2025. In the coming fall, sponsored by LEAP Art Foundation, Wood will present a collection of new works at the Schinkel Pavillon in Berlin as part of her first solo exhibition with the institution. Wood is currently represented by Michael Werner Gallery and Carlos/Ishikawa.

\n\n

Sylvia Ong

\n\n

Sylvia Ong, Echoes No. 2, 2023. New Now: Modern & Contemporary Art and Design, Hong Kong >

\n\n

Sylvia Ong’s innate need to create transcends a single medium. Born in Kuala Lumpur in 1980, she first studied cinematography, directed television programs, and produced commercial fashion photography shoots before turning to visual art. Her short films have been nominated for major awards and screened at film festivals in New York, Rotterdam, Bangkok, Jakarta, Singapore, and more. Currently based in Dubai, UAE, Ong is inspired by the cities she’s lived in worldwide, which manifests in compelling abstract canvases that function much like film or music.

\n\n

\n
When I listen to music, I feel the colours and the mood as if it was a film. From this point of view, I felt the desire to create art that gives one the sense of life being a journey. The space we pass through, the time we experience: Isn't it as if we traveled along a piece of music, while following the slightest, brilliant nuance? In fact, with my paintings I would like to transport emotions, which fill the space and bring a new perspective to the world.
\n—Sylvia Ong
\n

\n\n

Mel Bochner

\n\n

\n\n

Mel Bochner, Oh Well, 2012. New Now: Modern & Contemporary Art and Design, Hong Kong >

\n\n

This work exemplifies the late artist’s enduring fascination with language and words as both a medium and a conceptual focus. The painting consists of a cascade of colloquial phrases rendered in an ethereal palette of yellows, mint greens, powder blues, and golden oranges against a misty grey background. Rather than simply applying the text to canvas, Bochner reveals the letters through masking and resistance. The words appear to float at different depths within the picture plane, some more prominent, others ghostly and barely perceptible. This traces back to Bochner’s first use of velvet as a medium in 2005 when he discovered that it doesn’t absorb paint as much as other mediums and can thus create a visual depth that mirrors the semantic layers of the text itself.

\n\n

Mel Bochner (1940–2025) was a pivotal figure in Conceptual Art, renowned for integrating language into his visual practice. Educated at Carnegie Mellon University, he gained prominence in 1960s New York, curating groundbreaking exhibitions such as Working Drawings and Other Visible Things on Paper Not Necessarily Meant to be Viewed as Art (1966), which is often cited as one of the first Conceptual Art exhibitions. His career spans painting, photography, and critical writing, with works held in major institutions, including MoMA and the Art Institute of Chicago.

\n\n

Discover More from New Now: Modern & Contemporary Art and Design, Hong Kong >

\n\n

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Stegner 2020' on the reverse","dimensions","91.4 x 61 cm. (36 x 24 in.)","medium","oil on linen","sigEdtMan","Painted in 2020.","provenance","Nino Mier Gallery, Los Angeles\r\nAcquired from the above by the present owner","exhibited","Los Angeles, Nino Mier Gallery, Jansson Stegner: New Paintings, 7 - 14 December 2020","mainImagePath","https://dist.phillips.com/auction-assets/HK010325/216533_001.jpg","additionalImagePaths",[539],"enhancedLotComponents",[524],"conditionReport","This work is in very good condition overall. Upon very close inspection, there is evidence of minor rubbing to the lower corners and a minute paint loss to the upper right corner. There is no restoration apparent under Ultraviolet light. 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“I like seeing traditionally masculine and feminine characteristics blended in all of my figures, male or female.”
\n—Jansson Stegner

\n\n

Emerging from a contemporary momentum of undoing realism, the California-based artist Jansson Stegner has developed a mannerist interest in rethinking human forms as interlaced with power and normativity. With an emphasis on gender, he imagines particularly female images, which explore the inversion of conventional fixation throughout human visual experiences. Layered with art-historical references and popular cultural contexts, his compositions are simultaneously serene and cynical, classical and kitsch, through which he solicits inquiries into the mechanics of painting bounded by identity and authority.
\n
\nThe current lot Cedar Lake exemplifies Stegner’s signature approach to deconstructing canonical subjects. The tableau carries a palpable allusion to the convention of eroticism by staging a bikini girl as the primary subject, a ubiquitous sexual icon in commercial posters. In a moment of wrapping the towel, her right arm is lifted high, exposing her body and seemingly preparing it for the visual consumption of the viewer. This almost performative accentuation of the female form as a consumable spectacle is reminiscent of the sensual renditions of Greek nymphs by Reigón Francisco, where the mythological narrative is transformed into a parade of feminine seduction.
\n

\n\n

\"\" — Reigón Francisco, *Diana in the bath*, 1858, Museo Nacional del Prado, Madrid

\n\n

While evoking this historical genre, Stegner poignantly satirises established norms of gender representation. A closer look at his portrayal reveals a disproportionate figuration that subverts our preconceived definitions of the ideal body. A seemingly erotically charged coquette subjugated to the male gaze, the female contour is nuancedly tweaked with limbs elongated and swollen. This particular exaggerated form is inspired by images of modern women athletes, whose overt muscularity and daring confidence impresses Stegner with a refreshed understanding of feminine vitality. The artist frequently recalls his experience of watching women’s volleyball on TV: ‘They’re spiking the ball with this fierce athleticism and competitiveness. And then they did close-ups of the athletes’ faces, and they looked like the girl next door, with very typical feminine faces. I knew that it was something that I wanted to explore on canvas.’ ⁱ
\n
\nFurther perplexing Stegner’s critical engagement is his ironic distillation of contemporary visual pleasure. His handling of paint is infused with a consumerist sensibility, characterised by its comically sweet visuality that emphasises a sense of juiciness and luster. More intriguing is Stegner’s choice of Cedar Lake as the setting of the work, which is a manmade lake famously used as a Hollywood film location. As such, Stegner digs into broader implications from California’s local history in its dynamic entanglement with the rise of modern cultural industry.
\n
\nAesthetically, Stegner aligns himself with a more disquieting genealogy of defamiliarisation. As Stegner puts it, ‘To make a painting interesting, you need to blend familiarity with unfamiliarity or strangeness with normalcy. Too much normalcy and it’s boring. Too much strangeness and it’s unrelatable.’ ⁱⁱ Artists such as El Greco, Balthus, Egon Schiele and Alice Neel are frequently referenced as Stegner’s inspiration; their nuanced choreography of the human form—whether expressionist or dramatic—leverages painting’s capacity to navigate the boundary between the real and the unreal. In a sense, the unnaturally proportioned figuration in Cedar Lake orchestrates a similar alienating effect as the oddly turned or bent poses staged in Balthus’s works, transforming ordinary trivialities into a theatre of the uncanny.
\n

\n\n

\"\" — Balthus, *Les enfants Blanchard*, 1937, Musée Picasso, Paris. Image: © Photo Josse / © Fonds Balthus / Harumi Klossowska de Rola / Bridgeman Images, Artwork: © 2025 Artists Rights Society (ARS), New York / ADAGP, Paris

\n\n

Represented by Nino Mier Gallery, Los Angeles, and Sorry We’re Closed, Brussels, Jansson Stegner is widely acclaimed in North America and Europe, who was the recipient of the 2010 Art Brussels: Collectors’ Choice Award and 2015 Deutsche Bank NYFA Fellow. He has been the subject of numerous solo and group exhibitions with Nino Mier Gallery, Los Angeles, Almine Rech, New York, The Hole, New Yor, and Michael Kohn Gallery, Los Angeles. Currently on view at CVG Foundation, Beijing, through 18 March 2025, Stegner’s most recent exhibition Jansson Stegner: Arena marks the artist’s first solo show in Asia.

\n\n

\ni Jansson Stegner, quoted in Maxwell Williams, ‘A Fine Art Inspired by old-world masters, painter Jansson Stegner creates mysterious, magical portraits in a subversive style all his own’, RL Mag, n.d., online
\nii Jansson Stegner, quoted in Sarah Cunningham, ‘The Good Land: Jansson Stegner’, Lum Art Magazine, 12 December 2022, online

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1

Jansson Stegner

Cedar Lake

Further Details

Full-Cataloguing

Jansson Stegner