The Thirty Six for Coral auction runs through June 22. A special gala event in Cap Ferrat on June 20th features 10 lots that will be auctioned off live & via-live stream for bidders that cannot attend in person. All proceeds benefit coral reefs. To learn more visit www.forcoral.org

Bid to create a future for coral reefs. 

<div><div>Bio Resin, Pigment, Brass Chains, Brass ring, Brass eye hooks, Brass wall hook, Brass caribiners</div><div><br></div><div>130cm x 40cm x 35cm</div><div><br></div><div>2025</div><div><br></div><div><br></div><div><b>HENRIETTA ARMSTRONG</b></div><div>&nbsp;</div><div><i>Medusa's Blood</i></div><div><br></div><div><br></div><div><span>Medusa’s Blood is a ritual object for a dying world. Inspired by traditional Italian apotropaic charms, such as the mano figa and corno, often carved from Corallium rubrum, the red coral of the Mediterranean, this work reimagines their protective power at an exaggerated scale. Glowing in coral reds and pinks, it hangs suspended like an oversized pendant or sacred offering. According to Greek mythology, red coral was born from the blood of Medusa, the Gorgon whose severed head turned men to stone. When Perseus beheaded her, the legend says her blood spilled into the sea, staining seaweed and transforming it into living coral. This myth ties red coral to both death and creation, a duality that lies at the heart of the piece.  In various belief systems, red coral is more than decorative: it is alive with meaning. It is said to offer protection from harm, promote well-being, and guard against negativity. In some traditions, if red coral changes colour, it’s considered a warning, an omen of illness or misfortune. These beliefs imbue the material with a sense of urgency and power, further deepening its connection to themes of life, loss, and transformation.  Drawing on these histories and associations, Medusa’s Blood evokes the contradictory beauty and devastation of coral reefs under threat. As the Great Barrier Reef fades to white through bleaching and death, the charms become relics, symbols of protection, grief, and feminine fury. Part shrine, part fossil, the work asks what we are trying to preserve, and what we are already mourning. It is a spell for the reef, and a curse for the forces undoing it.</span></div></div><div><br></div><div><br></div><div>Henrietta Armstrong MRSS is a multimedia artist and curator based in London, specialising in sculpture, installation and public art. She looks at man-made objects and structures from everyday technologies that are often obsolete or defunct, and the symbolism or meaning that we imbue them with. Henrietta creates work that can sometimes be playful but has a serious message that stays with the viewer about the effects we are having on the planet and what we will be leaving behind for the future. Protection and defence are recurring themes, looking at the brutalist forms of sea defences, sea erosion and the global threat of rising sea levels due to global warming. Her most recent work continues her exploration of themes related to personal relics, the mystical unknown and ritualistic practices. Considering the hypocrisy between the Catholic Church's veneration of relics and its historical condemnation of witchcraft. While relics, often mass-produced religious items with supposed divine significance, are celebrated and revered, the Church's stance on witchcraft has been one of persecution and condemnation. This contrast adds an intriguing layer to Armstrong's exploration of religious artefacts and their cultural symbolism, urging viewers to reflect on the complex dynamics of the symbols, rituals and shifting perceptions that shape human belief systems. The paradox between the acceptance of institutional idolatry and the persecution of marginalised groups for similar behaviour, raises questions about the role of power and biases embedded in historical narratives. Through her work, she encourages us to confront the incongruities within our societal norms, inviting us to question the malleable boundaries between the sacred and the condemned.</div><div><br></div><div><br></div><div>Henrietta Armstrong BA Fine Art (Hons) at Sir John Cass School of Art, London, graduating in 2003. Recent exhibitions include: ‘Entangled: Saatchi Gallery X Liminal Gallery’ - Saatchi Gallery, London, Take A Seat - HA.LF X Bow Arts FRIEZE Takeover, London, Art Car Boot Fair - Sweet ‘Art, London, Sex Sells - Beyond The Historical Matrix - Semjon Contemporary, Berlin, The Garden of Delights on Earth - Gallery 46, London, HOW LONG IS FOREVER - G37 Galerie, Berlin, solo show SANCTUM FUTURUM: Relics and Forbidden Desires at Liminal Gallery, Margate, Throwing Bones II at Chaucer Group Ltd, The Scalpel Building, London. She is a member of the Royal Society of Sculptors, her work is part of the Soho House permanent collection and is held in private collections around the world.</div>

HENRIETTA ARMSTRONG |  Medusa's Blood

<p>The Coral Collective brings some of the worldʼs most celebrated artists together with its Thirty Six for Coral exhibition and sale.</p><p>The online auction opens on May 28th and bidding will remain open until June 27th.  Ten pieces will be selected for a live auction on June 20th.  Bidders will be informed on June 19th which pieces will be in the live auction and are able participate in the live auction online via livestream from Cap Ferrat.</p><p>Thirty Six for Coral is being exhibited at the iconic Grand Hôtel du Cap-Ferrat in the South of France from June 12-20. This immersive exhibition brings together 36 celebrated artists whose stunning works will serve as a powerful call to action for global conservation efforts for coral reefs, the rainforests of the sea.  Thirty Six for Coral aims to raise global awareness and secure essential funding for protection and restoration of one of the most critically endangered ecosystems on Earth.</p><p>Thirty Six for Coral has been made possible by the Pavoncelli Foundation.   We would also like to thank Hedley's and OMOSS for their support.</p><p>To learn about conservation impact being made,  please visit:  <a target="_BLANK" href="https://www.forcoral.org/impact">https://www.forcoral.org/impact</a></p><p>For enquiries, please contact: michele@weareprojectzero.org</p><p></p>


<b>OSGEMEOS</b><div><br></div><div><i>I See The Light&nbsp;</i></div><div><br></div><div><br></div><div>Mixed Media on Wood</div><div><br></div><div>120 x 100cm</div><div><br></div><div>OSGEMEOS is the collaborative project of Brazilian twin brothers Gustavo and Otavio Pandolfo, who got their start as graffiti artists. Under their chosen moniker, which means “the twins” in Portuguese, OSGEMEOS create a fantastical private universe filled with bright-yellow long-limbed characters and surrealistic landscapes. Their works, which span paintings, murals, sculpture, installation, and video, reflect contemporary and folkloric Brazilian culture in addition to the twins’ aesthetic influences, which include hip-hop, contemporary global youth culture, and the world of graffiti that launched their career. OSGEMEOS have exhibited in New York, London, São Paulo, Hong Kong, Seoul, and Berlin. Their work has sold for six figures on the secondary market and belongs in the collections of the Franks-Suss Collection, the Museu de Arte Moderna de São Paulo, the Museu de Arte Brasileira, and the Museum of Contemporary Art, Los Angeles.</div>

OSGEMEOS  |  I See The Light 

<b>WALTON FORD</b><div><br></div><div><i>Study for Cabeza de Vaca&nbsp;</i></div><div><br></div><div><br></div><div><br></div><div>Watercolor, gouache, and ink on paper&nbsp;</div><div><br></div><div>32.7 x47.3cm (framed)</div><div><br></div><div>2021</div><div><br></div><div><br></div><div><br></div><div>Turning the work of naturalist and painter John James Audubon on its head, Walton Ford imbues the flora and fauna in his own watercolors and prints with sex, violence, and melodrama. His aim is to satirically comment on the history of colonialism, slavery, and other forms of oppression. The beauty and naturalism of his meticulously rendered scenes belie their comedic grotesqueness. As he explains, “I think that there’s almost no subject that you can’t treat with some humor, no matter how brutal it can seem.”</div>

WALTON FORD  |  Study for Cabeza de Vaca 

<b>NANA FUNO</b><div><i>Fingerprints of Tide, Eardrum of the Sea</i></div><div><br></div><div>Acrylic on panel</div><div>162.0 x 112.0 cm each (set/2 pieces )</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>Nana Funo’s dense images are delicately and laboriously constructed, through a process the artist describes as “woolly yet very sharp at the same time.” Each of her works is built up in a complex series of layers: she paints acrylic on the work’s base, creates her image in pen, applies gesso to create gradation, and finally masks the surface in another layer of acrylic paint. The final work has both depth and kaleidoscopic texture. The subjects of Funo’s works appear fantastical, but are in fact based on her day-to-day experiences and moods; recurring motifs include figures, animals, flora and fauna, and writing.</div>

NANA FUNO  |  Fingerprints of Tide, Eardrum of the Sea

VIK MUNIZ<div><br></div><div>Garoupa</div><div><br></div><div>2022</div><div><br></div><div><br></div><div>Archival injet print</div><div><br></div><div>1 of 4 AP</div><div><br></div><div>40 x 53.3 inches&nbsp;</div><div><br></div><div>Framed</div><div><br></div><div><br></div><div>Mixed-media artist Vik Muniz recreates historical artworks with unusual materials, then photographs the results. He’s previously used chocolate, sugar, trash, and toys to appropriate and reinterpret the work of artists ranging from Andy Warhol and Mark Rothko to Caravaggio and Jacques-Louis David.&nbsp;</div><div><br></div><div>Muniz has exhibited in New York, London, Paris, San Francisco, and Tokyo, among other cities. His work belongs in the collections of the Art Institute of Chicago, the Los Angeles County Museum of Contemporary Art, the Metropolitan Museum of Art, the Museum of Modern Art, and the Museu de Arte Moderna de São Paulo. In addition to his mixed-media works, Muniz has also starred in "Waste Land" (2010), an Oscar-nominated film about garbage pickers at a Brazilian landfill and led a number of social justice–oriented projects that focus on education and development in his native Brazil. In 2001, the artist represented the country at the Venice Biennale.</div><div><br></div><div>“Money is perhaps one of the most important and efficient means of communication that exists, but for me it is a type of media. It is a means of communication that is on the verge of disappearing, and that is what interests me. The Dinheiro Vivo series did not happen out of nowhere. I think that since 2010, a time that coincides with the acceleration of this change from chemical to digital, we were changing a lot of things in the studio, and perhaps my attention turned to this story of paper, of the image still dependent on a medium of support, until we arrived at the idea of ​​money. I had this opportunity through the Mint, which gave us a huge amount of shredded money, which is stuff they don't use. They asked if I wanted some of this material to make something and of course I accepted, but we didn't know how much money they were offering. I had this opportunity through the Mint, which gave me a huge amount of shredded money, which is stuff they don't use. They asked if I wanted some of this material to make something, and of course I accepted, but we didn't know how much money they were offering. I was wondering what to do with this material, especially given the fact that Brazilian money has representations of animals, some of which are endangered. There's also the issue of animals, they offered a limit on the number of works, which would be seven in this case, and then I felt the need to perhaps explore this history of money a little more, and I opted for landscapes.” - Vik Muniz</div>

VIK MUNIZ  |  Garoupa

<p><b>BRITT BOUTROS-GHALI</b></p><div><br></div><div><i>Untitled&nbsp;</i></div><div><i><br></i></div><div><br></div><div>Acrylic on Canvas</div><div><br></div><div>180 x 123 cm</div><div><br></div><div>2024</div><div><br></div><div><br></div><div>Britt Boutros-Ghali, the esteemed Norwegian-Egyptian abstract expressionist, has woven her artistic legacy into the very fabric of her adopted homeland of Egypt over the past five decades. Her journey is one of vibrant hues and boundless creativity, punctuated by accolades and recognition from around the globe. Born in 1937 against the stark backdrop of Svolvaer, Norway, Britt's early years were etched with contrasts — from the luminous summers to the enveloping darkness of winter, and the tumult of World War II looming in the background. It was amidst this emotional maelstrom that her artistic spirit took flight, finding solace and expression through bursts of color and emotion. Stepping into Britt's world is akin to embarking on a visual odyssey. Her canvases, marked by a kaleidoscope of colors and dynamic brushstrokes, exude an energy that is both captivating and enigmatic. Rooted in the principles of action painting, her process is a dance of spontaneity and structure, where the materials themselves become conduits for storytelling. At the heart of Britt's practice lies a deep reverence for her surroundings. Egypt's rich and exotic tapestry of culture and history serves as a perpetual wellspring of inspiration. From the bustling souks of Cairo to the tranquil shores of Agami, her dual studios reflect her profound connection to the land and its people.</div><div><br></div><div><br></div><div><b>A Journey Through Color: The World of Britt Boutros-Ghali</b></div><div><br></div><div>In the bustling streets of Cairo, amidst the vibrant tapestry of Egyptian culture, resides a luminary whose canvases pulsate with life. Britt Boutros-Ghali, the esteemed Norwegian-Egyptian abstract expressionist, has woven her artistic legacy into the very fabric of her adopted homeland over the past five decades. Her journey is one of vibrant hues and boundless creativity, punctuated by accolades and recognition from around the globe.</div><div><br></div><div>Born in 1937 against the stark backdrop of Svolvaer, Norway, Britt's early years were etched with contrasts — from the luminous summers to the enveloping darkness of winter, and the tumult of World War II looming in the background. It was amidst this emotional maelstrom that her artistic spirit took flight, finding solace and expression through bursts of color and emotion.</div><div><br></div><div>Stepping into Britt's world is akin to embarking on a visual odyssey. Her canvases, marked by a kaleidoscope of colors and dynamic brushstrokes, exude an energy that is both captivating and enigmatic. Rooted in the principles of action painting, her process is a dance of spontaneity and structure, where the materials themselves become conduits for storytelling.</div><div><br></div><div>At the heart of Britt's practice lies a deep reverence for her surroundings. Egypt's rich and exotic tapestry of culture and history serves as a perpetual wellspring of inspiration. From the bustling souks of Cairo to the tranquil shores of Agami, her dual studios reflect her profound connection to the land and its people.</div><div><br></div><div>In 1996, Britt's contributions to the arts were honored with the prestigious St. Olav's Order, Norway's highest artistic accolade, bestowed upon her by King Haakon himself. Yet, it is perhaps her 2023 Lifetime Achievement Award for Women in the Arts from the Egyptian government that resonates most deeply. A testament to her indelible impact on the artistic landscape of her adopted homeland, it serves as a fitting tribute to a lifetime devoted to creativity and expression.</div><div><br></div><div>Today, Britt's home in Agami stands as a living testament to her artistic vision. Adorned with intricately crafted mosaics and murals, it serves as a beacon for local artists, collectors, and admirers alike. Here, amidst the whispers of the Mediterranean breeze, her legacy continues to unfold, inviting all who encounter it to embark on a journey through color, emotion, and the boundless depths of the human spirit.</div><div><br></div><p></p>


BRITT BOUTROS-GHALI  |  Untitled 

<p><b>Tessa 	Campbell Fraser	</b></p><div><br></div><div><i>Coda Conversation 34</i></div><div><br></div><div><br></div><div>28 x 36cm	</div><div><br></div><div>Oil paint on paper&nbsp;</div><div><br></div><div>2024&nbsp;</div><div><br></div><div>Tessa Campbell Fraser is a British painter and sculptor based in Oxfordshire. Born in Edinburgh, she studied at Chelsea School of Art and afterwards established herself as one of the country’s leading animal artists. She has completed several major life-size, and larger than life, sculptures for clients including the late Queen Elizabeth II, the King of Bahrain, Knuthenborg Safari Park Denmark, William Grant &amp; Son, the Household Cavalry and Sir Jackie Stewart. She has work in private collections around the world including Australia, South Africa, Monaco, and the USA, and has exhibited widely including at the Royal Academy Summer Shows, Sculpture at Goodwood, the Pitt Rivers Museum, Oxford and the Natural History Museum in London where she had a major solo show in 2004. In 2001, she was elected an Associate Member of the Royal Society of Sculptors and became a Fellow of the Society in 2004.&nbsp;</div><div><br></div><div>Campbell Fraser’s work is informed by her travels, notably to Greenland, which inspired a series of paintings and allegorical sculptures exploring the interspecies relationship between man and animal. She Portrayed this in a group of sculptures for her Bishop and Bear series, which raise her concerns for the world in the face of the twin threats of War (and specifically people using religion as a pretext for conflict) and Climate Change (represented by the polar bear). She has been concerned with the effects of Climate Change for over twenty years and her sculptures offer a poignant and beautiful reflection on the symbiosis between man and animal, and how precarious this balance is for both as man encroaches more and more into the wild spaces. Her latest sculptures have articulated the effects of Climate Change, seen in the fragility of the 42,000 year old frozen foal encased in the Siberian permafrost and only now revealed by the retreating ice of the melting glaciers as a potent and portentous warning; or the empty polar bear skin hung on a peg, entitled ‘I keep thinking he’ll return’. Campbell Fraser’s current solastalgic sculptures are haunting, and eloquent reminders of our ‘One Foot in Eden’ ; of what may be lost if we refuse to recognise our symbiotic and tentacular connections and responsibilities.</div><p></p>


TESSA CAMPBELL FRASER  |  Coda Conversation 34

<b>ROB &amp; NICK CARTER</b><div><i><br></i></div><div><i>Valle della Luna II, Capo Testa, Sardinia&nbsp;</i></div><div><i><br></i></div><div><br></div><div>Framed Cibachrome print&nbsp;</div><div><br></div><div>50 x 50 in</div><div><br></div><div>2007</div><div><i><br></i></div><div><i><br></i></div><div>Rob and Nick Carter are a husband and wife artistic duo who have been collaborating for over 20 years. The Carter’s work is centered on the boundaries between the analogue and the digital and has taken many mediums including camera-less photography, painting, installation, neon, sculpture and time-based media. Their acclaimed Transforming series has been 10 years in the making and creates a unique intersection between the art of the past and cutting edge computer generated imagery.&nbsp;</div><div><br></div><div>Their work is housed in the collections of the Frick, Pittsburgh; Mauritshuis, The Hague; Frans Hals Museum, Haarlem; Victoria &amp; Albert Museum, London; David Roberts Foundation, London; Städel Museum, Frankfurt; and the Fondation Custodia, Paris, as well as being the only living artists to show a work at the Frick Museum, New York.</div>

ROB & NICK CARTER  |  Valle della Luna II, Capo Testa, Sardinia 

<b>CHARLOTTE COLBERT</b><div><br></div><div><i>Out With Lanterns</i></div><div><i><br></i></div><div><i><br></i></div><div>Stainless steel</div><div><br></div><div>Height 50cm</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>'Out With Lanterns', a riff on Emily Dickinson’s famous line “I am out with lanterns looking for myself,” playfully references the archetypal nature of all fairy tales—ultimate origin stories which shed light or guidance on our narratives of identity. "Fairy tales feel like narratives of our universal unconscious, in a similar way to tarot, symbols and archetypes," says Colbert. A small angel-like figure braves giant waves, morphing into swan-like creatures—in this epic quest of self-discovery. “The girl is small, the waves are big but maybe they can be reimagined not as a drowning force but as something which might allow you to fly.”</div>

HENRIETTA ARMSTRONG | Medusa's Blood

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