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A vintage strongman — bathing suit, bald head, the particular physique of someone who has spent considerable time lifting things that should not be lifted — holds a full-sized crocodile aloft with one arm, his body arching beneath the weight and the wildness of it, his expression suggesting that this is simply Tuesday.\u003c\/p\u003e\n\u003cp\u003eThe crocodile, for its part, appears to be going along with it.\u003c\/p\u003e\n\u003cp\u003eThe ground is a fever dream of yellow-green — acid, swampy, the colour of somewhere genuinely dangerous — shot through with vertical drips of orange and red that fall like heat, like warning, like the aftermath of something. Dark red handprints cluster to the left in groups, bleeding downward, the marks of hands that were here before this moment and will be here after. The spray paint bleeds at the edges of the figure, gives the whole composition the quality of something witnessed rather than arranged.\u003c\/p\u003e\n\u003cp\u003eThis is painting with the scale and energy of a carnival banner, the technical ambition of a serious studio work and the humour of someone who understands that strength and absurdity have always been companions. The circus. The sideshow. The extraordinary ordinary.\u003c\/p\u003e\n\u003cp\u003eAt 58×61 \u003cem\u003eStrongman\u003c\/em\u003e is one of the largest works in the collection and commands every inch of it.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003e📦 Shipping \u0026amp; Details\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e58\" × 61\"\u003c\/strong\u003e original acrylic and spray paint on canvas\u003c\/li\u003e\n\u003cli\u003eShips carefully \u003cstrong\u003erolled in a professional tube\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eUpon arrival we recommend professional stretching and framing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePrefer it shipped pre-stretched?\u003c\/strong\u003e Contact us before purchasing for a shipping quote at cost\u003c\/li\u003e\n\u003cli\u003eCertificate of authenticity included\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cem\u003eOne original. No reproductions. He is holding a crocodile. 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Behind her a full moon glows — warm gold, enormous, the kind of moon that belongs to outlaws and runaways and people who move best in the dark. Neon pink drips fall around her like rain or like the aftermath of something that happened just before this moment. Lavender orbs drift through the blackness. Her cotton dress is pale and ordinary and completely at odds with everything surrounding it, which is precisely the point.\u003c\/p\u003e\n\u003cp\u003eThe spray paint does what spray paint does — bleeds at the edges, refuses to be contained, brings the energy of a wall and a street and a city night into the same space as a painted figure that belongs to an older, stranger tradition. She is folk tale and urban myth simultaneously. The girl in the mask. 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Everything has been somewhere before.\u003c\/p\u003e\n\u003cp\u003eThis is a work for the collector who loves books, who loves Paris, who loves the idea that discarded things carry the most interesting histories. It is erudite and warm and completely singular — the kind of piece that draws people across a room and keeps them there.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003e📦 Shipping \u0026amp; Details\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e32\" × 34\"\u003c\/strong\u003e original on canvas\u003c\/li\u003e\n\u003cli\u003eAcrylic and collage — vintage Parisian book covers on bronze-painted ground\u003c\/li\u003e\n\u003cli\u003eShips \u003cstrong\u003estretched on timber stretcher bars — ready to hang\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eCertificate of authenticity included\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cem\u003eOne original. No reproductions. 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This painting made it permanent.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003e📦 Shipping \u0026amp; Details\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e36\" × 36\"\u003c\/strong\u003e original acrylic on canvas\u003c\/li\u003e\n\u003cli\u003eShips carefully \u003cstrong\u003erolled in a professional tube\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eUpon arrival we recommend professional stretching and framing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePrefer it shipped pre-stretched?\u003c\/strong\u003e Contact us before purchasing for a shipping quote at cost\u003c\/li\u003e\n\u003cli\u003eCertificate of authenticity included\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cem\u003eOne original. No reproductions. 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Two girls stand together with the particular solemnity of children who have been told to stand still and are doing so with complete, slightly mutinous compliance. The younger leans into the older. The older stands her ground. Both clutch their dolls with the grip of children who understand that some things are yours and you hold onto them.\u003c\/p\u003e\n\u003cp\u003eThe painting is rendered in the muted, almost monochromatic tones of the photograph it came from — grey, taupe, the dusty blue of a sky that has never quite decided to be anything — interrupted by the polka dots. Hot pink circles on both dresses, painted with a pop art directness that arrives in the composition like a radio signal from the present, cutting through the past with cheerful, slightly anarchic precision. Kusama-adjacent. Completely their own.\u003c\/p\u003e\n\u003cp\u003eThe dolls are dark and slightly unsettling in the way that vintage dolls always are. 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A homage to the Russian punk feminist collective who wore balaclavas and lipstick and performed in churches and went to prison and kept going — this work takes their central aesthetic tension and runs with it completely. Pretty and horror. Dolls and darkness. Good girls who went somewhere considerably more interesting than good.\u003c\/p\u003e\n\u003cp\u003eThree figures inhabit the deep black ground — a green-skinned doll face with red lips that smiles the smile of something that was made to be sweet and decided to be something else entirely, a masked figure whose eyes and mouth emerge from the balaclava with the particular intensity of someone who has chosen anonymity as a form of power rather than concealment, and a third presence at the upper right, hair falling, expression unreadable. Between them a rose blooms in deep pink and burgundy — beautiful, slightly decomposing, exactly right. 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The collaged photograph sits at the centre of the composition with the authority of an image that has earned its place in the cultural imagination permanently — black and white, graphic, completely iconic — surrounded by a ground of deep black and violet alive with oil stick marks in pink and blue that move across the surface with the loose, urgent energy of a crowd that cannot stay still.\u003c\/p\u003e\n\u003cp\u003eThe marks are the audience. The energy in the room. The particular electricity that existed only when Freddie Mercury was on a stage and everyone in the building understood simultaneously that they were witnessing something that would not come again.\u003c\/p\u003e\n\u003cp\u003eThe harlequin costume — diamonds, performance, the court jester elevated to royalty — is painted with careful attention to its graphic geometry, the black and white of it anchoring the composition against the painterly expressiveness of everything surrounding it. 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