VOLTA Basel
Welcome to VOLTA Basel’s 20th anniversary, where Artbridger marks this milestone with a future-facing exhibition that bridges tradition and innovation, legacy and experimentation. This year’s presentation is a vibrant celebration of global creativity, uniting emerging and established artists, and unveiling the next chapter of the renowned BK SIGG Collection: “Technically Collecting.”
Chanelle Rose
Chanelle Rose is an Australian contemporary fine artist, known for her striking characters and highly detailed large-scale artworks using ink, and more recently oil paint.
Mi Reserve Gallery
Mi Reserve Gallery was founded in 2020 in Dali, Yunnan China. It began as an upstairs space in a café showcasing the owner's personal collection of contemporary Chinese art.
Curated contemporary art: Where emerging talent meets established voices, building tomorrow’s collectors
Artist of the Month
John Paul Fauves
John Paul Fauves is a contemporary visual artist from Costa Rica whose practice is defined by a bold interrogation of identity, the human condition, and the pervasive influence of popular culture. Fauves' work is instantly recognizable for its vivid color palette, distorted imagery, and the fusion of abstraction with iconic symbols drawn from both art history and mass media. His compositions, often chaotic yet meticulously controlled, employ techniques of layering, cutting, and collaging, resulting in paintings that transform familiar pop-cultural figures into unsettling, provocative forms.
Highlighted articles
There’s something wickedly subversive about watching a female artist take the masculine stronghold of Chinese calligraphy and infiltrate it with lace—yes, lace, that most feminine of decorative arts, traditionally crafted in hushed monasteries and draped across the bodies of society women.
In the gleaming halls of the Chi K11 Art Museum, where commerce meets culture in Shanghai’s ever-evolving artistic landscape, Takashi Hara’s recent exhibition, “Blazing in the Universe,” emerges as a profound meditation on existence itself.
There are moments in art criticism when serendipity reveals deeper truths about an artist’s work. I experienced one such moment with Francesco Lietti on a humid Hong Kong afternoon in Wyndham Street. There he stood, carefully cradling his paintings wrapped in simple cloth, having just retrieved them from a gallery.
Curator's Selections
Luke Chapman
As founding curator at Artbridger, Luke has passion for making art accessible and meaningful, he curates impactful experiences that foster community, support artists, and offer fresh perspectives on the evolving art landscape.
Hong Kong Express series, "No way to be good" (蕾絲書法—沒有辦法做乖乖)
by Luke Chapman
The use of lace as ink is particularly poignant; it transforms traditional calligraphic practices into a contemporary dialogue about identity and memory. Each piece in the series not only serves as a tribute to the past but also engages with ongoing conversations about cultural heritage, nostalgia, and the complexities of modern life in Hong Kong.
- Ester lace sculpture
- 100.0 x 155.0 cm x 20.0 cm (39.37 x 61.02 in x 7.87 in)
USD 7,200
More Dim Sum
by Luke Chapman
In Francesco Lietti's latest series, we encounter a masterful convergence of Hong Kong's pulsing urban energy and his distinctive mixed-media approach. This particular piece - executed in his signature combination of media with resin on canvas - captures the city's verticality with an almost jazzy rhythm, the buildings swaying like notes on a modernist score. This piece, emerging from the same celebrated series as his Louis Vuitton Pacific Place commissions, demonstrates why Lietti's work resonates so profoundly with collectors who seek to capture Hong Kong's essence. Through Artbridger, we're able to facilitate commissioned pieces from this series, allowing collectors to possess their own fragment of Lietti's Hong Kong symphony.
- mixed media and epoxy resin on canvas
- 90.0 x 60.0 cm (35.43 x 23.62 in)
USD 4,300
The realm of perception of a Japanese princess
by Luke Chapman
Ting's work is a powerful commentary on the intersection of tradition and modernity. In "The Realm of Perception of a Japanese Princess," she deconstructs conventional notions of portraiture, offering instead a glimpse into the subject's inner world. The artist's fearless use of color and texture creates a visually stunning and emotionally resonant experience. This piece exemplifies Artbridger's commitment to showcasing art that challenges boundaries and celebrates cultural diversity.
- Acrylic and Chinese ink on canvas
- 240.0 x 160.0 cm (94.49 x 62.99 in)
USD 15,800
Wayfinding 2
by Luke Chapman
"Wayfinding 2" continues the artistic exploration of industrial landscapes with a remarkable shift in emotional tenor from its companion piece. Where the previous work employed cool teals, this painting introduces a warm, almost nostalgic palette that transforms industrial architecture into something approaching the sublime. The rose-gold atmospheric treatment suggests either dawn or dusk—transitional moments when ordinary structures take on extraordinary qualities. This temporal ambiguity serves the painting's conceptual foundations, suggesting that our perception of industrial landscapes shifts with context and perspective. The golden navigational lines create visual pathways through the composition while simultaneously referencing lighthouse beacons, search lights, and perhaps even divine illumination—asking viewers to reconsider these utilitarian structures as potential sites of transcendence. What distinguishes this work is its sophisticated negotiation between documentary impulse and emotional response. The artist maintains the recognizable features of industrial architecture while elevating them through atmospheric treatment and compositional devices. This approach resists both naive romanticism and cynical critique, instead occupying a nuanced middle ground that acknowledges the complex legacy of industrialization. For collectors interested in contemporary landscape painting, "Wayfinding 2" offers an important meditation on how we navigate environments that are simultaneously human-made and beyond human scale. The work succeeds in finding unexpected beauty in utilitarian structures while acknowledging their cultural and environmental implications. Through this romantic-industrial aesthetic, the artist invites viewers to reconsider spaces typically overlooked in traditional landscape painting traditions.
- Acrylic on canvas
- 150.0 x 100.0 cm (59.06 x 39.37 in)
