AUCTION 2025
AUCTION 2025
LUIS WEST
Ibiza Sunrise Pill, 2025
Digital art on canvas with aluminum frame and LED lighting
60 cm x 84 cm
Minimum bid 1400,-
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Luis West is a Berlin-based artist with a background in architecture whose work explores the interplay of color, light, and space. Drawing inspiration from modern stained-glass windows and translucent materials, his pieces transform environments by casting shifting hues and atmospheres. Through lightboxes, acrylic works, and large-scale installations, West creates immersive experiences that blur the line between art and design, turning light itself into a medium of emotion and memory.
About the artwork:
Ibiza Sunrise Pill distills the fleeting magic of dawn on the Balearic Islands into a single, luminous form. Inspired by the shifting hues of an Ibiza sunrise the piece captures a moment of pure transition. Encased in its pill-like shape, the artwork becomes both memory and object: a vessel you can ‘take’ to relive the warmth, stillness, and light of that morning over and over again.
PHRANK
Cocoon Clubbers in CO² in Amnesia Main Room, 2012
Cocoon at Amnesia, Sant Rafel de Sa Creu
Edition 1 of 50, signed by the artist
Minimum bid 850,-
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Born in Düsseldorf in 1973, Frank Weyrauther—known as Phrank—studied design in Germany before beginning his career as a graphic designer for leading agencies and record labels. His early work in visual communication soon expanded into photography, where he found a medium to capture both atmosphere and emotion.
Drawn to Ibiza in the late 1990s, Phrank quickly became part of the island’s creative fabric. His photographs have defined the visual identity of some of its most iconic moments—working with Cocoon, We Love…, Manumission, Circoloco and beyond—while also collaborating with international DJs and publications. His role as partner and creative director of Dub Magazine Ibiza further deepened his influence on how the island’s culture is seen and remembered.
With a career spanning more than two decades, Phrank’s images are now woven into Ibiza’s collective memory. Through his lens, he has chronicled its people, its places, and its transformations—making him not only a witness to the island’s history, but an enduring part of it.
About the artwork
An ecstatic sea of bodies dissolves into mist, where music and light blur the line between self and collective, embodying the energy of electronic music culture. In this suspended moment, the crowd becomes a single organism, breathing rhythm and surrendering to sound.This photograph captures the euphoric atmosphere of Cocoon at Amnesia, one of Ibiza’s most legendary club nights. Phrank’s lens captures not just a scene, but the pulse of Ibiza’s clubbing spirit—ephemeral, electric and unforgettable.
Exhibited at Olas Gallery - ‘Flashback’ by Phrank: Ibiza Clubbing History Since 1999.
EGLÈ OTTO
Jeanne d’Arc, 2024
Oil on Canvas
36 cm x 31 cm
Minimum bid 2600,-
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Egle Otto is a German-Lithuanian artist based in Berlin.
Since graduating from the University of Fine Arts in Hamburg, Germany, in 2010, she has been exhibited internationally in cities such as New York, Beijing, and Berlin. Her artworks are part of several private collections. In 2024, she was awarded a fellowship from the Goldrausch Künstlerinnenprojekt in Berlin.
Egle Otto’s practice unfolds at the intersection of abstraction and figuration, defined by a material and process-driven approach to painting. Thick layers of pigment, superimpositions, and her distinctive scratching technique create richly textured surfaces that evoke both textile-like qualities and references spanning from medieval icon painting to gestural modernism.
Her work is rooted in an exploration of cultural narratives surrounding the body, identity, gender, and intimacy. By quoting, deconstructing, and reassembling mythological imagery, Otto generates open pictorial spaces that unsettle and question entrenched systems of value and visual convention.
Balancing conceptual precision with sensorial depth, her paintings conceive of the body not as a fixed form but as a porous, mutable field where history, memory, and desire are continuously inscribed.
About the artwork:
In this work, Jeanne d’Arc does not appear as a classical heroic portrait, but rather as a figure composed of fragments. Armor, lace, flames, and wings allude to strength, martyrdom, and historical attributions, which condense in the image into a multilayered cipher. At the same time,it becomes apparent how female bodies have been coded through projections and role models over the centuries – oscillating between veneration, victimhood, and mythologization.
The work ties into the tradition of Arcimboldo, yet transforms it into a visual language that places questions of gender, identity, and social ascriptions at its center. Jeanne d’Arc becomes a metaphor for a fragmented identity, one that does not appear as a fixed entity but rather as a web of cultural relics, myths, and collective expectations. In doing so, the painting opens a critical dialogue between “History” and “Herstory” – revealing how historical icons can be reinterpreted in the 21st century: not as rigid heroic images, but as open, contradictory, and multilayered constructions.
STEPHAN CRASNEANSCKI
Pasolini A08, 2025
Inkjet prints on three layers of vellum paper, glass sheets, edition 1/5, signed by the artist
21cm x 29cm
Minimum bid 2000,-
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Stephan Crasneanscki (*b. 1969, Grenoble; lives in New York) is an interdisciplinary artist whose practice weaves together sound, image, and text. His long-term projects often unfold through journeys mapped with field recordings and photography, tracing the legacies of figures such as Andrei Tarkovsky, Jean-Luc Godard, and Pier Paolo Pasolini.
In 2001, he founded Soundwalk Collective, which he co-leads with producer Simone Merli. Their work integrate sound, film, and mixed-media in site- and context-specific artwork. Central to Crasneanscki’s artistic philosophy is the exploration of sound as a medium to navigate and interpret the complexities of human experience and the environment. In doing so, his practice engages in the narrative potential of sound across mediums such as art installations, dance, music and film.
About the artwork:
This original work is inspired by the death of Pier Paolo Pasolini, who was murdered in 1975 on the outskirts of Rome at the beach of Ostia. Stephan Crasneanscki draws on Pasolini’s legacy as a radical filmmaker, poet, and public intellectual, creating a visual meditation on the place of his passing and the traces of objects left behind.
JEAN WILLI
Alter Klang, 2019
Oil on Canvas
81 cm x 100 cm
Minimum bid 2600,-
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Jean Willi (b. Basel) trained as a graphic artist and worked in Basel and Paris for clients such as Olivetti and Kodak before turning fully to painting and drawing in the 1970s. In 1977, he developed a distinctive technique where calligraphic gestures transformed into structures and networks—a practice that linked him to artists like Roman Opalka and Cy Twombly in the landmark exhibition Schreibgestik (Zurich, 1982). His exploration of the visual power of letters and sound continued in painting, illustration, and book design, notably his 1988 illustrations for One Hundred Years of Solitude.
Beyond visual art, Willi is also a writer. His acclaimed novel Sweet Home (1999) blended autobiographical depth with a family tragedy, praised for its psychological acuity. Further works, including matar (2005) and Oedipus in the Here and Now (2014), confirm his talent for merging reality and fiction into suspenseful, sensitive narratives.
Willi divides his time between Basel and Ibiza.
About the artwork:"His preference for automatic, subconscious actions is visible in each work, which is an uncontrolled manner, developing a sort of complex, chromatic lattice, and by fleeing from all representativeness, end up evoking recognizable forms."
Elena Ruiz Sastre, directora del Museu d’Art Contemporani d’Eivissa (MACE)
CONXI SANE
Approaching the light, 2025
Mixed media (Oil painting, gouache, acrylic, spray, ink
160 cm x 115 cm
Minimum bid 2700,-
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Conxi Sane is a Spanish multidisciplinary artist based in Berlin. Her practice merges painting and ceramics through an abstract language shaped by the subconscious, surrealism, and cubism. Architecture and music play a central role in her creative process, providing rhythm, structure, and harmony to works that transform unseen emotions into vibrant, poetic forms. Her art aims to bridge the intimate and the universal, inviting viewers on a deeply personal and sensory journey.
About the artwork:This work explores the process of transcending trauma: from the depths of darkness where everything seems obscured, toward the gradual emergence of light as a symbol of resilience, healing, and renewal.
RAPHAËLE BIDAULT-WADDINGTON
Dark Matter #4,2012
Skai and foam on stretcher
73cm x 92 cm
Minimum bid 4500,-
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Her practice spans the fields of contemporary art, speculative thinking, and experimental aesthetics. Bidault-Waddington’s artistic approach is deeply rooted in a methodology of research and exploration, articulated through a constellation of thematic “laboratories” or Labs that she has developed over the years. These Labs function as conceptual and creative ecosystems in which artistic production intersects with philosophical inquiry and future-oriented thinking.
Raphaële Bidault-Waddington’s textile paintings tread a fine line between textile art and the legacy of abstract painting, intertwining the visible, the invisible, and the tactile in a remarkable state of balance. With her « Dark Matter » series, she revisits the codes of the most hermetic works of the 20th century, to which the fabric lends a far more sensitive dimension (even sensual), one that evokes the desire to touch the invisible, or perhaps that dark matter which makes up 80% of the universe. The embodied work traces a form of subtle presence, imbued with a sense of strangeness and mystery.
About the Artwork
The Dark Matter series—named after the unseen substance shaping the universe—presents hybrid “painting-sculptures” where material, volume, and light converge. Through restrained gestures, Bidault-Waddington sculpts folds and surfaces into forms that echo minimal and conceptual traditions yet suggest an organic, almost bodily presence. These works emit an enveloping silence, their interplay of shadow and matter inviting reflection, meditation, and a sense of inner resonance. At once visual and contemplative, they become sculptures of silence—spaces where viewers encounter both mystery and calm. Several works from the series have been exhibited at Silencio, the Paris club founded by David Lynch, affirming the artist’s place at the intersection of contemporary art and avant-garde culture.
AMELIE VON HEYDEBRECK
‘Aura’,2023
Lightpainting, Pigment print on Alu Dibond / Unique work
37,6 cm x 38,8 cm
Minimum bid 1200,-
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In her Lightpaintings, Amélie von Heydebreck works with light and its movement. For her, it represents the expression of an infinite energetic pulsation of which we are all a part.
The artist transforms the light captured by her camera using a unique analog-digital technique she developed specifically for this purpose. The final result is a pigment print on aluminum - the so-called Lightpainting: The abstract forms, at times in motion, almost dance-like in appearance, evoking a sense of the universe that can be felt rather than seen.
About the artwork
AURA belongs to Amélie von Heydebreck’s body of work, the Lightpaintings. Here, transformed light gathers into a sensuously charged spectrum of color that moves beyond the realm of pure physics, touching on questions of contemporary spirituality and on how the presence of the individual can shape both the encounter with others and the larger whole.
SARICE BRUDET
‘Poetic Gesture Blue XXII-24.5’, 2024
acrylic on canvas
100 cm x 110 cm
Minimum bid 4400,-
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Text about artist:
Sarice Brudet (*1982, Gießen) is a Dutch artist with roots in Holland, Indonesia and Surinam. Her art reflects her cross-continental upbringing across Germany, Asia, Europe and the US. Her diverse background shapes a visual language centered on dignity, empathy and the emotional layers of human coexistence. Working primarily in abstraction which she sees as an act of resistance and a starting point to create streams of thoughts for reimagination. Brudet explores balance through layered textures, fluid compositions and subtle colour shifts that encourage openness and introspection. Alongside these works, she also creates semi realistic figurative pieces that add to her engagement with a philosophical and cultural subject matter.
Sarice Brudet is the founder and curator of the exhibition concept THE SPACE //. The objective is to create besides the exhibitions a space for thought, art mediation, foster dialogs and interdisciplinary connections. The subject matter deals with cultural complexities in a global context, humanity as a practice, coexistence, diversity, identity, social structures, postcolonial engagement, the new sublime, relational aesthetics and the relation between the human – technology – nature – biodiversity and the cosmos.
About the Artwork:
At the auction the artist presents one of her works of the “Poetic Gesture” series. The “Poetic Gesture” and “Context of Time” series consider how time, balance and empathy influence both personal and collective identity. With the choice of material like raw materials like linen, hemp, jute and cotton, she investigates and symbolizes the tension between humans, nature and constructed systems, whose only constant is change. Her compositions act as visual mediations – quiet spaces where complexity, memory and movement meet in pursuit of belonging and transformation. The compositions are based on a folding technique, first developed as a sketch on paper, transitioned into a folding of the raw material, then documented photographically and finally translated into a painting. In a metaphorical sense, her work is concerned with gaining insight and making the invisible visible.
In both her abstract and figurative work, Sarice Brudet explores themes of coexistence, cultural complexity, fragmentation and regeneration. Her practice is a space for questioning and reimagining, where new narratives are shaped beyond traditional frameworks. Rather than forcing unity, she allows diverse elements to coexist in dialogue, dynamic, layered and evolving.
Her informal abstractions speak in a language of untamed gestures, where intuition leads and structure gives way to fluidity. These works resist rigidity, creating space for the unexpected and unknown. Through movement, texture and open form; Brudet evokes rhythm, energy and a sense of becoming. Her compositions feel like memories, possibilities or quiet invitations to reflect and shift perspective.
For Brudet, abstraction is not an escape but an offering, a space where belonging is not defined by sameness but by resonance. Her work invites us to dwell in uncertainty, to feel and to listen to what is yet to emerge.
As artistic sources of inspiration the artist often mentions among others the works of Anna-Eva Bergmann, Hans Hartung, Karl Otto Götz, Mark Bradford, Peter Paul Rubens, Gottfried Helnwein and Lynette Yiadom-Boakye. For her artistic research she often quotes and incorporates among others the works and writings of Édouard Glissant, Nicolas Bourriaud, Chus Martinez, Hegel, Gaston Bachelard and Gilles Deleuze.
LOUIS WESSENDORFF
‘Where did it turn?’, 2025
oil on canvas
78cm x 52cm
Minimum bid 3800,-
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About artist:
Wessendorff’s works are multilayered and enigmatic, unfolding as a world of symbols, pictograms, and associative references. His early practice emphasized decoding, to the extent of creating a personal “alphabet,” and fragments of this system still surface in his paintings today. At the same time, his art continues to possess a textual quality: like a woven fabric, it interlaces signs and meanings into intricate layers. In this pictorial world, the everyday encounters art history, comics, and playful irony, opening spaces rich with narrative potential, a fabric suspended between reality and perception.
About artwork:
In his work , Louis Wessendorff paints a quiet scene of collapse where identity and presence begin to dissolve. A hollow, headless figure stands frontally, reduced to empty clothing, with two small puffs of steam escaping where the head should be. Above, carried by a loop of wind, a red Phrygian cap, once a symbol of revolution, floats away, accompanied by three fragile soap bubbles. A cartoon hand snaps its fingers and releases a small star. The gesture hints at action, but there is no impact. What remains is rendered in playful color and suspended between memory and disappearance, gently evoking an act of letting go.