Frieze London Highlights

After combing through hundreds of previews for Frieze London, I wanted to share an exclusive look at some of my favorite pieces by both emerging and established fine artists. Enjoy!

Olafur Eliasson
The space before the idea (purple, pink, blue, grey), 2018

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Silvered coloured glass (purple, pink, blue, grey), glass mirror, aluminum| 62 1/4 x 66 7/8 x 1 3/8 inches

Analogue accelerator, 2018

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Stainless steel, glass spheres, silver, paint (cyan, magenta, yellow, black), motor, wire
Overall: 15 3/4 inches

Eliasson works with mirrors to open up virtual expanses within the physical space. These works frequently employ forms that, when seen together with their reflections, produce the illusion of single objects that appear to traverse the boundary between the actual world and the mirror-world, giving rise to the impression of a single continuous space. 

Large panes of silvered hand-blown glass suggest a cluster of overlapping transparent circles and ellipses. While the three glass spheres form a triangle on a hanging stand that holds them at eye level. The inner-facing third of each sphere sports a coating of transparent colour – one cyan, one magenta, and one yellow. As the work slowly rotates, the colours mingle in different combinations within the spheres, filling the glass with additional colours – red, blue, and green.

Keltie Ferris
Untitled, 2018

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Oil on canvas in the artist‘s frame | 40 x 35 inches

Keltie Ferris translates the concept of identity on an abstract level. Her paintings are characterized by references to Performance Art, Abstract Painting and digital imagery, combining the illusion of space with direct bodily experience. She occasionally uses her own body as a tool, while her painting as such evokes a corporeal space due to the change between spray-painted, hand-painted and relief-like elements. Ferris grasps painting as a personal index that rejects easy gendered identification of the body, suggesting a performative state of identity.

Julie Curtiss
Cleave (Head), 2018

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Oil and acrylic on canvas | 30 x 25 inches

By omitting parts of an image or suggesting abnormal situations, Curtiss captures both feelings of familiarity and the surreal. In her most recent work, the artist explores the dissonance between the layered female psyche and the objectified female form, wherein the female mane both seduces and repulses. 

Jeppe Hein
NO ONE IS LIKE YOU (handwritten), 2018

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Powder-coated aluminium, white neon tubes, two-way mirror, powder-coated steel, transformers | 39.37 x 39.37 x 3.94 inches

Questioning the ritualistic relationship between art and the spectator, Jeppe Hein creates witty and minimalist installations that intervene with both indoor and outdoor spaces. Hein mixes the notion of the functional with the artistic and by setting up a dialogue between the work, the viewer and the site of intervention, he suggests that the audience contributes to the completion of the work. Whilst his style refers to minimalism, and to abstract concepts, he also tries to depart from an abstract experience by making the audience physically activate the work.

Sam Falls
Untitled (Mark Twain National Forest, 1) 2018

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Pigment on canvas | 100 x 62 inches

Sam Falls works intimately with the core precepts of photography –namely time, representation, and exposure – to create works that both bridge the gap between various artistic mediums and the divide between the artist, object, and viewer. Working symbiotically with nature and the elements, Falls's artworks are engrained with a sense of place indexical to the unique environment of their creation while imbued with a universal sense of mortality. With a reverence toward art history, Falls empathetically blurs the lines between artistic genres and practices, from modern dance and minimalist painting to conceptual photography and land art, boiling it down to the fundamentals of nature and the transience of life that art best addresses. 

Luiz Zerbini
Urano, 2018


Acrylic on canvas | 59 x 59 inches

Luiz Zerbini’s work exists somewhere between abstraction and figuration — the two genres develop either alongside each other or simultaneously. While maintaining the modernist grid (a characteristic of his abstract work) as an organizing principle, Zerbini introduces new circular geometries in Urano in a nod to Brazilian modernist architecture. The linear and curvilinear areas overlap and intersect resulting in complex forms filled with vivid color and texture.

Maria Farrar 
Cherry Pie, 2018

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Oil on Linen | 82.68 x 51.18 inches

Maria Farrar’s paintings combine art historical and contemporary influences, traversing multicultural styles and art-making processes. Born in the Philippines and raised in Japan, her canvases clearly display the legacy of her formative engagement with calligraphy, which now pushes to the surface through masterful, singularly descriptive brushwork. She analogises her painting process, an instinctive deployment of form to ground, object to negative space, and through a process of reduction – a taking away – that forms inherently contained within the medium are revealed. Similarly, Farrar thinks of subjects and painterly gestures that might best evoke them, then follows the path dictated by minimum intervention.

Tomás Saraceno
Helix Nebula/M+I, 2018

Powder coated stainless steel, monofilament fishing wire, plexiglass iridescent
22 x 37 x 18 7/8 inches

Informed by the worlds of art, architecture, natural sciences and engineering, Tomás Saraceno’s floating sculptures and interactive installations propose new, sustainable ways of inhabiting the environment. Embodying one of the core concepts in Saraceno's work, Helix Nebula/M+I presents a model of life floating in space and suggests an architectural vision of the future. Suspended from the ceiling as if a luminous cloud or a collection of beautiful bubbles, the complex geometric shape of the modules are derived from the artist's continued experimentation with a structure termed the "Weaire-Phelan Model," which describes an idealized mathematical geometry of foam. The mesmerizing visual quality of the sculpture results from each iridescent panel’s reflected surroundings shifting as the viewer’s perspective changes.

Jose Dávila
Fundamental Concern XXII, 2018


Concrete volumes, boulder and epoxy paint | 68 1/2 x 22 x 23 2/3 inches

In the course of a day the heart is theoretically capable of filling three tank cars with ten thousand litres of blood, 2018

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Silkscreen print and acrylic paint on loomstate linen | 82 2/3 x 67 x 2 1/3 inches

Jose Dávila works in a variety of media, including painting, prints,collage, and sculpture. His conceptual preoccupations originate in the potential of materials in dialogue with the space.Through appropriation, reinterpretation, and other discursive re-enactments, Dávila’s work offers a fertile ground to reflect on the ways that art history movements are digested in peripheral cultures, questioning cycles of dissemination and utilizing the political potential of materials and images to address forms of consumption.

Andreas Schmitten
Mutter, 2018

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Bronze, lacquer, corten steel
14.57 x 37.6 inches sculpture | 18.74 x 44.5 inches plinth

Glossy white surfaces and abstract, amorphously rounded shapes characterize Schmitten's most recent work. The sculptures are elegant with symbolic titles that directly reference Modernist sculpture. The work's curved lines are traceable to Duchamp's "Fountain" and are associated with forms commonly referred to as female and the title, Mutter, translates to Mother.

Claudia Comte
Star Wars on Copper (Triangular Painting), 2017


Acrylic on canvas | Each 47.24 x 23.62 x 1.77 inches

Comte creates a unique, rule-based measurement system for each new body of work so that every piece relates to a particular scale. Despite such regimented schemes, Comte’s pieces are imbued with a sense of playfulness, humor and irreverence, puncturing the solemn atmosphere connected with minimalism. The work can be displayed in a variety of fashions to suit the space it inhabits.

Luchita Hurtado
Bulto, 1976

Oil on canvas | 30 x 24 inches

Over the course of her long career, Luchita Hurtado has maintained a rigorous commitment to experimentation—with styles, forms, and materials, and across a range of media. Hurtado’s works from the 1940s and 1950s primarily consist of paintings and works on paper that contain abstract forms, biomorphic landscapes, totemic figures, and patterns. At 97, Hurtado became one of the featured artists in the Hammer's 2018 "Made in LA" exhibition. 

Callum Innes
Exposed Painting Cadmium Orange, 2017


Oil on linen | 39.37 x 38.19 inches

Callum Innes’ practice takes the form of an intense exploration of the possibilities of paint on canvas. He works in a number of different ways, all of which are gradually evolving in a subtle but constant progression with each new painting. Innes has probably become best known for his Exposed Paintings series – made by layering pigments onto the canvas and then removing the oil paint with washes of turpentine. This is both a process of painting and un-painting.

Sandra Cinto
Untitled, 2018


Permanent pen and acrylic on canvas | 39 1/4 x 23 1/2 inches

Sandra Cinto has developed a rich vocabulary of symbols and lines to create lyrical landscapes and narratives that hover between fantasy and reality. Using drawing as her point of departure, the artist renders intricate and mesmerizing environments of turbulent seascapes, violent rainstorms, and celestial skies that frequently engage with the surrounding architecture to a disorienting effect, creating the illusion of a weightless, spiraling universe. Evoking stories of human hardship and redemption, these fantastical landscapes serve as a metaphor for the human odyssey, while also pushing the limits and possibilities of drawing.

Rita Lundquist
Mountain/Berg, 2016


Oil on panel | 20 7/8 x 20 7/8 inches

Executed with opaque washes of mossy greens, indigos, muted grays, or pale glowing yellows and often divided by a stark horizon line, the world Lundqvist’s figures inhabit is one of subdued meditative hues and pure economic geometry. Epitomizing Lundqvist’s mastery of enigmatic minimalist compositions, these exquisite paintings unfold as a series of discrete yet interconnected moments, at once absorbing the viewer into arresting psychological as well as narrative mysteries. Drawing on her unique vocabulary of characters, symbols, and landscape motifs developed over the past decades, Lundqvist combines these visual elements in various formulations that illicit scenes at once still and kinetic, sacred and mortal, timeless and specific.

Billy Childish
Southern Lake, 2018

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Oil and charcoal on linen | 59.84 x 83.86 inches

Childish’s canvases clearly bear the marks of the art-historical lineage of which Childish feels himself a part. Interlocking patterns and forms cluster, coalesce, and dissipate, working as vehicles for Childish’s Munch-like preoccupation with colour. Staccato brushstrokes are contained by more flowing, sinuous lines, recalling the visionary intensity of German Expressionism. Embedded in a tradition stretching back into the late nineteenth and early twentieth century, Childish’s work is still insistently and idiosyncratically his own. As Childish states, “You could say that these paintings are ultra-postmodernist; they’ve absorbed everything, and then decided what’s of value. Each one is an exultation of being a painting.”

Jacqueline Humphries
.,:;:), 2018

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Oil on linen | 114 x 127 inches

A contemporary painter best known for her abstract canvases, Jacqueline Humphries has created a body of work that stands as a quiet parenthetical to formalist American abstraction. Often creating muted paintings in shades of grey, silver, or black, Humphries’s paintings rely on the simple gesture of a line or the soft imprint of her paintbrush to convey her intention. Creating paintings and “non-paintings,” as she calls them, Humphries explores the possibility of creating complexity through simple forms.