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Timothy Taylor Announces New Space in New York
June 23, 2022
Timothy Taylor announces the opening of a new 6,000-square-foot space in New York’s Tribeca in early 2023, replacing the Chelsea townhouse that was formerly the gallery’s New York space.
Located in the vibrant Tribeca gallery district, the ground-floor space at 74 Leonard Street is similar in scale to Timothy Taylor’s flagship gallery in London. The larger size will allow the gallery to present expansive exhibitions with monumentally-scaled work, as well as multiple exhibitions simultaneously, and reflects the importance of New York as a hub for the gallery and its artists.
The New York-based architecture and design firm studioMDA, led by Markus Dochantschi, is completing a full renovation of the space that will maintain the character of the building, including its cast-iron columns, 15-foot ceilings, and original storefront. The final gallery will feature new exhibition spaces, skylights, viewing rooms, and offices. An authority on cultural buildings, studio MDA has worked extensively with art collectors, artists and gallerists to design more than a dozen art galleries, including Bortolami, Anton Kern, Andrew Kreps, Luhring Augustine, Lisson, PPOW, 303 Gallery, and the Faurschou Foundation.
“When we expanded to New York six years ago, it was an experiment, a way to explore how the gallery and our program could contribute to this vibrant art hub while still maintaining our identity. New York has exceeded our highest expectations—from the enthusiasm with which our artists and exhibitions have been received to the relationships that we have made and strengthened with collectors, curators, and artists alike. I am delighted that we now have a gallery space that can accommodate our ambitions for New York” – Timothy Taylor
Image: Courtesy studioMDA
Timothy Taylor to Represent the Estate of Victor Willing
June 21, 2022
Timothy Taylor announces the representation of the Estate of Victor Willing (1928-1988).
A British painter of vibrant compositions derived from the subconscious, Willing developed a fierce new form of Surrealism that wove together the metaphysical with complex memories of his life in Portugal with his wife, the artist Paula Rego, and their family. During his lifetime, Willing was the subject of solo exhibitions at the Whitechapel Gallery, curated by Sir Nicholas Serota, and the Serpentine Gallery, among others.
The gallery plans a major solo exhibition of works in London in September 2022, illustrating Willing's dramatic shift from figurative painting to the psychologically piercing abstract works of the 1970s and '80s. In this most significant period of creation, Willing's paintings grew enigmatic and opaque, threaded with expressionistic dashes of vivid colour that anticipated 1980s New Wave painting as well as recalling the off-kilter still lifes of Giorgio Morandi and Giorgio de Chirico.
“We are honoured to work with the Estate of Victor Willing, whom I first met as a young gallerist working at Bernard Jacobson where Willing gave several shows in the early ’80s... Expressing ideas decades ahead of his time, Willing’s emergence as an artist of profound psychological insight echoes his artistic peer Philip Guston’s radical turn from abstraction to surreal landscapes of the inner self. Were he alive today, I am certain that the intensity of his flame would have burned just as brightly.” - Timothy Taylor
Gagosian and Serpentine present a screening of “The Painter,” a film by Oliver Hirschbiegel, written by Ben Becker and Albert Oehlen
June 16, 2022
Join Gagosian and Serpentine on Monday 20 June, 6.30pm at Curzon Mayfair, London for a screening of The Painter (2022), a docufiction film made collaboratively by Albert Oehlen, director Oliver Hirschbiegel, and writer/actor Ben Becker, featuring narration by Charlotte Rampling. The film is an artistic tour de force, taking viewers into the real and imagined mind of the artist as he struggles with the creation of a single painting. In the film, Becker (playing the role of Oehlen) improvisationally re-creates an artwork that Oehlen himself is painting in real time behind the camera.
After the screening, Oehlen and Hans Ulrich Obrist, curator and artistic director of Serpentine, will discuss the film, followed by a question-and-answer session with the audience. Doors open at 6pm; screening begins at 6.30pm. To attend the free event, register here.
Han Bing joins Thaddaeus Ropac
Born in China and currently based in Paris, Han Bing is recognised for her sensitive yet disruptive visual language in paintings that deconstruct pictorial reality and open up new dimensions. Representing the artist in Europe and Korea alongside Antenna Space in China and Night Gallery in the USA, Thaddaeus Ropac gallery will stage a solo exhibition of Han’s work in 2023.
“Han Bing is a fascinating young artist who has already succeeded in developing her unique pictorial language, characterised by a very nuanced and fragile relationship between abstraction and figuration. She manages to transform the places that serve as her inspiration into completely mesmerising visual worlds. We are incredibly happy to be working with her.” - Thaddaeus Ropac
Han Bing’s practice draws on urban elements including city streets and architectural façades. Having recently moved to Paris after living in New York, Los Angeles and Shanghai, she is inspired by the textures and patterns that appear in cities, especially the ‘errors’ and ‘glitches’ generated by ripped posters. For the artist ‘painting is a way to resist all the information that is being forced on us’. Taking inspiration from various sources, including theatre, science and literature, Han allows the dynamics of the works to guide their compositions. Using oil stick and spray paint, and occasionally allowing surprises during the process to introduce an unexpected twist, her works gradually move towards abstraction as figurative elements are filtered and deconstructed into fragments.
Thaddaeus Ropac 画廊欣然宣布代理中国艺术家韩冰。韩冰因其敏锐而颠覆性的视觉语言备受瞩目，她的画作解构图像现实，并开辟全新的维度。韩冰目前生活工作于法国巴黎，其四幅新作正在画廊巴黎庞坦空间的群展中展出，该展览由奥娜·道尔 (Oona Doyle) 策展。Thaddaeus Ropac 画廊将在欧洲和韩国代理韩冰，与中国天线空间以及美国Night Gallery 共同代理其作品。Thaddaeus Ropac 画廊计划于2023年举办韩冰的个展。
韩冰的作品被国际重要美术馆和私人机构收藏，包括洛杉矶郡立美术馆。她的作品亦曾参加全球众多重要展览，包括在北京尤伦斯当代艺术中心的群展“紧急中的沉思” (2020年)。
“韩冰是一位有自己独特绘画语言的才华横溢的年轻艺术家，她的作品于抽象和具象之间建立错综复杂和脆弱的联系。她将激发其灵感的场所转译为趣味盎然的视觉世界，令人神往。我们很高兴能与她合作。” — Thaddaeus Ropac 先生
韩冰的创作实践借鉴都市的元素，包括城市街道和建筑外墙。她曾在纽约、洛杉矶和上海生活，目前居住在巴黎。其灵感来源于城市中的纹理和图案，尤其是撕裂的海报所产生的“错误”和“故障”之感。对韩冰而言，“绘画是一种抵制被强行灌输予我们的过剩信息的方式”。韩冰亦从多样的来源获得灵感，包括戏剧、科学和文学，并让作品的进程引导其自身的发展方向。她运用油彩和喷绘的方式精心创作，时而追随创作中的偶然性，时而任由意外引入出乎意料的转折，具象的元素由此被过滤和解构成碎片，画面形成趋于抽象的视觉效果。
“我的绘画有再现性的因素但他们更是一个在几个色块不期而遇时，从一个令人费解的瞬间整理出一个对我而言合理秩序的过程。” — 韩冰
Photo: Charles Duprat. © The artist
Gagosian announces representation of Stanley Whitney
June 14, 2022
Gagosian is pleased to announce the representation of Stanley Whitney. Following the 2020 exhibition of his work at Gagosian Rome, the artist will have a solo exhibition with the gallery in London in 2023.
Renowned for the depth of his exploration into the expressive potentials of painted color and form, Whitney has been committed to abstraction since the mid-1970s. While living in Rome in the 1990s, he consolidated a process-based painterly approach which he has now sustained and developed over the course of three decades. Dividing square canvases into sequences of loosely defined rectangular blocks of saturated color that are demarcated by linear bands, Whitney progresses from the top of the canvas across and down, choosing each successive color in relation to those laid down previously. His visible brushwork establishes nuanced passages amid the boundaries of these rectangular planes. The resulting chromatic and spatial interactions define relationships between each shape and the composition as a whole. The strictures of the modernist grid are loosened in these paintings, their freehand geometries at one with their progression of vivid hues.
Stanley Whitney was born in 1946 in Philadelphia. He lives and works in New York and Parma, Italy, and is professor emeritus of painting and drawing at the Tyler School of Art and Architecture, Temple University, Philadelphia.
Photo: Jeannette Montgomery Barron/Trunk Archive
Astrid Krogh’s Planet awarded Best Contemporary Work 2022 at Design Miami/Basel
Galerie Maria Wettergren has announced that Astrid Krogh’s Planet has been awarded Best Contemporary Work 2022 at Design Miami/Basel.
Made of gold leaf, silver, platinum, aluminium and fiber optics, Astrid Krogh creates a feeling of enchantment and marvel in her light sculpture, Planet, inspired by cosmos. With its sweeping flux of moving light and various vibrating surfaces with reflections and solarisations, the work seems to breath and pulsate with a life of its own. The countless cosmic phenomena that shape our Universe offer an extraordinary source of inspiration for this pioneering Danish artist, and over the past few years, she has been corresponding with the American astrophysicist, Dr. Margaret Geller from the Centre for Astrophysics in Cambridge, Massachusetts. Indeed, the exchanging of ideas between science and the visual arts, has allowed Krogh to push boundaries, probing differently into understanding and interpreting the Universe’s architecture, as well as the physical laws that govern it, creating the foundation for her sensorial experimentation with light, space, materials and colours.
Planet (2021) is made of gold leaf, silver and platinium, aluminium, optic fibers and light monitors. It measures 150 cm in diameter and is 25 cm deep and is of a limited edition of 8 unique pieces.
Stephen Truax appointed Director of Timothy Taylor New York
June 9, 2022
Timothy Taylor is pleased to announce the hire of Stephen Truax as a director of the New York gallery, to help support the gallery's U.S. growth. Truax will work closely with Taylor and with U.S. partner Chloe Waddington to further develop the gallery's sales and program in the U.S.
A curator, artist, and writer, Truax was most recently a director at Cheim & Read, where he worked for seven years. He has curated recent exhibitions at the RISD Museum in Providence, RI, and at Yossi Milo Gallery in New York, both of which explored the power and significance of intimate relationships in works of contemporary art, particularly those made by artists who identify as Queer and artists of color. He is a frequent contributor to museum catalogues and scholarly journals.
“I am delighted that Stephen is joining the Timothy Taylor team at this key moment in the development of our New York gallery. I look forward to working alongside him to strengthen and broaden our presence in the U.S.” – Chloe Waddington, Partner
Photo: Thomas McCarty
Parafin welcomes Aimée Parrott into the gallery programme
June 8, 2022
Parafin announces that British artist Aimée Parrott has joined the gallery programme.
Aimée Parrott distills her ideas, motifs and imagery through a range of media and styles but the monoprint remains at the heart of her practice. It yields spontaneity and gives her works a subtle sense of seriality. For her paintings, the transferral of an image on the plate onto an unprimed cotton canvas surface also allows her to work with the slippages produced by this method.
The trace of a motif is offered forward by its ghost print onto another cotton surface, becoming a suggestion for a new idea. Images are echoed through Parrott’s work in this way, creating a sense of movement, alluding to growth. There is an atmosphere of interconnectivity where unnameable microbial forms or planetary motifs are perceivable in other works. This adds to the overall impression of a relationship between the micro and the macro, and of space and time on a larger spectrum.
She works into her compositions on cotton – sometimes dyed, embellished or stitched – to the degree where they might become like furrows of skin, at once tangible and intangible. By using appliqué to add further material, a seam or juncture, she positions her work between being an image and a material object. There is sometimes also a sense of multiplicity in the way she alludes to a frame within a frame, or a window within a window.
Parafin will showcase Parrott’s new work with a solo exhibition in 2023.
Paula Rego 1935 – 2022
Paula Rego, the celebrated painter, illustrator and printmaker, known for her visceral and unsettling works, has died aged 87, Victoria Miro announced earlier today.
Rego’s style evolved from abstract towards representational, reflecting aspects of feminism inspired by literature, folk-themes, myths and fairytales from her native Portugal and from Britain, as well as cartoons and religious texts. Drawing her imagery from sources as varied as Peter Pan and Mary Magdalene, Rego created narrative works imbued with mystery, while also challenging gender stereotypes and championing women’s rights.
In 1988, Paula Rego had her first major solo exhibition in Britain at the Serpentine Gallery, London, and was appointed the first National Gallery Associate Artist, London in 1990. In 2005 she received an Honorary Doctorate of Letters from Oxford University, and was made Dame Commander of the Order of the British Empire for her contribution to Art by the Queen of the United Kingdom in 2010.
Portrait of Paula Rego, 2021 © Nick Willing
galerie frank elbaz now represents Chloé Delarue
June 1, 2022
galerie frank elbaz is pleased to announce the representation of Chloé Delarue. She is the recipient of the Fondation Patiño - City of Geneva grant and will have a residency at the Cité Internationale des Arts in Paris from September 2022. Her first solo exhibition at the gallery is scheduled for 2023.
Chloé Delarue observes the interactions between the technique and the living acting on our systems of representations and identifications. Thinking in particular on the notions of reproducibility and simulation and their effects on our perception of reality, she explores the transformation of the tangible, of bodies, of affects that have become sensors.
Chloé Delarue lives and works in Geneva (Switzerland).
Workplace announces move to 50 Mortimer Street, the gallery’s new permanent space in London
May 26, 2022
The gallery will open to the public on 9 June 2022, and will launch with a group show of new and recent works by represented and invited artists.
With a floor to ceiling glass street frontage and arranged over two floors, the 1,500 square foot gallery in the heart of Fitzrovia combines the best features of Workplace’s current spaces into one and is motivated by the necessity for more space in a central location following the growth of the gallery’s programme; in the last year Workplace has added four new artists to its roster: James Prapaithong, Olivia Jia, Miko Veldkamp and Katinka Lampe.
Bringing together international and British artists who respond to the art historical legacies of specific media whilst focussing upon an interrogation of socio-political contexts, the gallery is underpinned by a constant commitment to excellence and the development of artists at all stages of their career.
Alfonso Artiaco announces the representation of Diego Cibelli
May 25, 2022
Cibelli’s design practice is mainly based on the use of ceramics and porcelain, never to highlight technical virtuosities. These media become an open link ready to connect a variety of artistic techniques, visions and historical references.
The design culture is an act of generosity and with this value Cibelli creates his collections, understood as a real “motor activity of the image”. The resources are connected to each other through a skilful interplay of references and, in this accelerated intertwining, the artist designs collections in which past, present and future coexist together.
From this method Cibelli reinvigorates his imaginative power and each production becomes a narrative system capable of merging the dimension of the domestic landscape with the external territorial context.
Diego, in his artistic research, has always explored humanistic geography, interpreted as the study of territories, their history and the related sense of belonging that human beings develop, generating new spaces of the living. With the activation of a series of cultural and visual references, Cibelli build scenarios that drive themselves the design of the installations. Each scenario, composed by several sculptures, is understood as a set of tangible and intangible relationships between mankind and landscape and it is conceived as an habitat.
photo: Francesco Squeglia
Karsten Schubert London announces representation of Charlotte Verity
May 16, 2022
Karsten Schubert London announces the representation of British artist Charlotte Verity - following two recent solo exhibitions at the gallery, “Echoing Green” and “Echoing Green Part II: The Printed Year”, which presented Verity’s recent paintings and watercolour monotypes respectively.
“Things move quickly, fleetingly, barely noticeably. How to respond?” Verity
Whether working at a large or small scale, Verity maps the ephemerality of her immediate surroundings, evoking the cycles of nature. The sense of light and space compels the viewer to look more closely. Transient moments and feelings are captured whether in the blossom of the pear tree in spring, or the starkness of holly in winter, the sky reflected in its shiny leaves. With her brush she seeks out the subtle shifts in tone and colour, or the exact line and curve of what is in front of her. Her handling ranges accordingly - from broad strokes to intense passages of fine brushwork.
“Nothing in a Verity painting is ever motionless […] How Verity achieves this sense of movement - birth growth, blossom, decay, four seasons on a single surface -with such an economy of subject is what makes her a truly contemporary painter” - Rachel Spence
photo: Sophie Davidson
Gagosian announces representation of Ashley Bickerton
Gagosian announces the gallery’s representation of Ashley Bickerton. The artist’s first solo exhibition with the gallery is scheduled for 2023 at Gagosian New York.
Bickerton made his name with ironic, abstracted constructions focused on ideas of consumerism, identity, and value. Establishing his own personal (and pointedly “feminine”) brand, Susie, he produced a succession of slickly manufactured “self-portraits” that juxtapose his imaginary company’s logo with familiar real-world examples, including those of Bayer, Marlboro, and Renault. Bickerton also produced “still lives” incorporating digital screens that display the work’s fluctuating market value - a satire of art as the object of commercial speculation.
When Bickerton relocated permanently to the Indonesian island of Bali in 1993, his work took a self-consciously “exotic” turn. Its tongue-in-cheek feel and ornate, crafted look contrast sharply with the conceptual detachment of his previous output, though a slippage between mediums, genres, and subjects remained. Employing polished figuration to parody Western fantasies of a hypersexualized expat life, Bickerton depicts himself, his family, and his friends in lurid colors, introducing the grotesque “blue man” character as an archetypal European male in an “othered” tropical setting. “I consider him an escapee from the grand canons of the nineteenth and twentieth centuries,” Bickerton comments, “but now lost and adrift in an alien twenty-first century, awash in a whole other set of sociocultural and psychological metrics—ones that he is clearly unable to grasp.”
Over the past few years, Bickerton has brought his practice full circle, synthesizing its heterogeneous modes and gestures into an all-encompassing visual language. In the Ocean Chunk series, originally conceived of in New York shortly before his move to Bali, he uses resin and fiberglass to create the impression of shimmering water, while in the mixed-media Flotsam paintings, he employs the framing devices of his earlier work to recontextualize objects—such as ocean-borne waste and assorted marine gear—in a way that contradicts their natural milieux. The industrial trappings of his 1980s and ’90s output also find their way into the Vector series, in which various forms of hardware appear alongside logos that recall his early works’ self-consciously detached focus on commerce. However, far from trumpeting a reductive opposition between nature and technology, the series navigates our exploitation of natural resources while implying that the planet will outlast humanity’s disruptive impact.
Former Institut Giacometti Artistic Director Christian Alandete joins kamel mennour
May 11, 2022
Christian Alandete has been the Artistic Director of the Institut Giacometti in Paris for the past ten years, and was also in charge of relations with contemporary artists.
He has coordinated more than twenty publications on Alberto Giacometti and co‑curated Giacometti retrospectives at Pera Museum in Istanbul, Yuz Museum in Shanghai, LaM in Villeneuve‑d'Ascq and Grimaldi Forum in Monaco. He was the curator of the following exhibitions: “Giacometti, The Late Work” in Nice, “Picasso ‑ Giacometti” in Doha, “Giacometti, After Models” in Seoul, “Giacometti Face to Face” in Stockholm and “Giacometti / Sade, Cruel Objects of Desire” in Paris.
He also curated the major retrospective Henry Moore at Fonds Hélène & Édouard Leclerc in Landerneau, a dozen exhibitions of contemporary art in France and abroad, and the program “Partitions (Performances)” at Fondation Pernod Ricard from 2008 to 2021.
His research mainly focuses on the relationship between contemporary art and art history — and in particular from the modern period.
His latest project “Alberto Giacometti / Douglas Gordon. the morning after” is currently presented at Institut Giacometti, Paris until 12 June.
Almine Rech announces representation of Mehdi Ghadyanloo
Almine Rech has announced representation of the Iranian artist Mehdi Ghadyanloo in France, Belgium and Shanghai, following his first solo exhibition at the gallery’s Brussels space in the spring of 2021.
There will be a solo exhibition of the artist at the London space in 2023.
Born in Karaj, Iran in 1981, Ghadyanloo began his career as a muralist in Tehran in the early 2000s, when, following a call for proposals by the city, he produced almost one thousand gigantic wall paintings, including dreamlike landscapes and science-fiction scenes.
His work combines minimalist themes and a surrealist aesthetic in his paintings, using acrylic, oil, or watercolor. He uses the trompe l’œil technique of his murals to compose his paintings that take on the shape of square boxes with dreamlike imagery and hyperrealistic technique. Each of his works reveals his brilliant ability to trick our eyes and our perception of reality. Their architectural appearance reflects the artist’s investigation into designing and representing space on the canvas.
Shadow and light overlap and challenge each other endlessly in Ghadyanloo’s practice, and the symbolism of the movement from darkness to light is at the heart of his vision. All the elements that he depicts in his paintings — ladders, fences, holes in the ceiling — are methods of representing a way out, a kind of hope.
Mehdi Ghadyanloo is based in Sarrebrücken, Germany and New York, US.
— Martha Kirszenbaum, independant curator and writer
Richard Prince takes over Gagosian Shop in London’s Burlington Arcade
May 10, 2022
Beginning 10 May, Richard Prince is taking over the Gagosian Shop in the historic Burlington Arcade in London on the occasion of the exhibition Richard Prince: Hoods at Gagosian, New York.
Included in the takeover are the artist’s books, posters, and other merchandise, with a special selection from the Katz + Dogg line created by Prince in collaboration with Darren Romanelli. Richard Prince: Hoods, 1988–2013, an artist’s book documenting a series of paintings made using the hoods of muscle cars as supports, will also be available in advance of its official release by Fulton Ryder in June 2022. Upstairs, on the first floor, the presentation will include a recent painting (2021) and a grouping of High Times drawings (2019) that have never before been exhibited.
HB381 inaugurates new gallery with an exhibition of works by Pernille Pontoppidan Pedersen
May 9, 2022
HB381 is pleased to announce Tentacular Thinking, an exhibition of new ceramic sculptures by Pernille Pontoppidan Pedersen (Danish, b. 1987). Opening on 12 May, Tentacular Thinking is the gallery’s inaugural show and the artist’s first solo presentation in the United States.
Pontoppidan Pedersen’s work is inherently pluralistic, concerned with notions of kinship as they extend to the “more than human” interspecies realms and relationships in which we participate. Drawing on ideas of Ecofeminism and Norse mythology, she fertilizes a distinctly feminine paradigm, working from a place of freedom and intuition. Her physicality is visible—fossilized as she pushes, coils, pinches, and layers clay on a human scale, infusing it directly with her energy. Through a process of theoretical and political composting, she imagines a speculative future based on interconnectedness and caring.
HB381 is a new contemporary art gallery founded by Juliet Burrows and Kim Hostler. Located in the heart of Tribeca’s gallery district, HB381 serves as a dedicated space for solo artist presentations, focusing on contemporary Nordic sculpture and ceramics. The gallery’s program will highlight work that is created by hand through deep material investigation and with the intention of the artist at its core.
Gagosian announces global representation of Anna Weyant
May 6, 2022
Gagosian is pleased to announce the gallery’s global representation of painter Anna Weyant. The artist will be the subject of a solo exhibition at the gallery in New York this fall.
Weyant’s precisely rendered paintings depict figures embroiled in tragicomic narratives, and still-life compositions in which everyday objects adopt an uncanny, portentous air. Far from presenting these individuals and items as generalized types, however, she employs a keen ironic wit to evoke their myriad idiosyncrasies and contradictions.
Among the first works that Weyant exhibited is a sequence of darkly cinematic vignettes depicting a dollhouse and the strange, cloistered lives of its inhabitants. A more recent series deconstructs the representation of American suburbia in made-for-TV movies, casting it as a surreal realm in which violence lurks just beneath the surface. And in her still lifes, Weyant depicts flowers and other items in a similarly unsettling light; Lily (2021), for example, juxtaposes the titular bloom with a revolver bound in gold ribbon.
After graduating from the Rhode Island School of Design, Weyant studied at the China Academy of Art in Hangzhou, and in these images her technical accomplishment is clear. Drawing on influences ranging from seventeenth-century Dutch masters such as Frans Hals and Judith Leyster to contemporary painters Ellen Berkenblit and Jennifer Packer, she conveys an understanding of her work’s roots while eliciting an immediate and emotional response.
Ouattara Watts joins Almine Rech
May 3, 2022
Almine Rech is very pleased to announce that Ouattara Watts has joined the gallery. Almine Rech will feature Ouattara Watts' work at TEFAF New York 2022, at Art Basel Unlimited 2022 and in a solo show at Frieze London 2022. Ouattara Watts will also have his first solo exhibition at Almine Rech Brussels in 2023.
In his works, Ouattara Watts summons imaginary worlds and mystical visions, from ancestral to contemporary, to observe the metaphysical relationship between creatures. Vibrant colors, mysterious figures, and allusions to spiritual rites in the form of equations and cryptic symbols are apparent, and the interrelationship of these elements creates a dimension unique to Watts. His source material is colorful and varied, from traditional fabrics and paint to cut-out photographs and digital prints. The added layers forge a sense of his multicultural identity and reflect upon an increasingly multicultural society. Regardless of the origin of these elements, the discernable spiritual power of his works conveys another world that is both instantaneous and timeless.
Born in the Ivory Coast in 1957, Watts lives and works in New York and considers himself an American artist. He was persuaded to move to the city in the late '80s by Jean-Michel Basquiat, after meeting the artist at an opening in Paris. Lifelong friends, a thematic similarity is evident in their art, both of which highlight African culture, philosophy, and spirituality.
Ouattara Watts is represented by Karma and Almine Rech.
