Art Basel Hong Kong 2025

Timothy Taylor is pleased to return to Art Basel Hong Kong with a presentation of new and recent works by gallery artists in conversation with significant secondary works. Our booth will represent the international and intergenerational scope of the artists in our programme, including numerous paintings and sculptures created specifically for the fair. In addition, Hayal Pozanti will be featured in the Encounters sector, which focuses on presenting large-scale sculpture, with an immersive presentation of exuberant, biomorphic sculptures. 

Highlights of booth 1D23 will include Love Letter (2025), a new painting by Marina Adams featuring a luminous pattern of relaxed geometric forms. The canvas centres on a vivid blue glyph that intersects with passages of modulating yellow, pink, green, and oxblood. The resulting composition exemplifies the nuance of Adams’s work—at once timeless, universal, and deeply subjective. This presentation will mark our debut of Adams’s work following our announcement of representation in London and New York. The gallery will mount a solo exhibition of new paintings by the artist in New York in September 2025.

Sean Landers’s hand-painted bronzes Snowman (2024) and Plankboy (2021)—the first of his sculptural works presented by the gallery—are differently uncanny, each possessing intense anthropomorphic expression, whether unhinged or weary. While the snowman outstretches twig arms in a balletic pose, the wooden boy steps reluctantly forward. The artist’s new, meticulously painted portrait of a rabbit similarly bestows the creature with a sense of ominous existential awareness. 

A highlight of our booth will be Alex Katz’s monumental Four Poplars (2019), a brilliant rendition of a subject he has been painting since the 1960s. Picturing the soft ground of a breezy copse, sun-dappled and lush with lively impressions of greenery, the composition suggests the movement that occurs in the limbs and foliage above the pictorial frame. 

Hilary Pecis’s radiant study of a desk populated with colourful books and patterned vases filled with explosions of red poppies and anemones will also be on view. In it, Scandinavian prints on urns, sunbursts on book covers, and watermarks from absent mugs set the viewer’s eye in dazzling movement across amplified and distorted hues.  

Kineticism is essential to the paintings of the late Pierre Soulages (1919–2022), whose Peinture 81 x 65 cm, 19 Octobre 1987 (1987) grounds a selection of the artist’s work. A remarkable example of Outrenoir, a series the artist elaborated over more than four decades, the painting is characterised by thick striations of black paint that variously reflect and refract light, generating a sculptural dimensionality. With strokes set in diagonals that create an inner compositional tension, the work achieves a sense of precariousness met with counterbalance.

Following his first major institutional exhibition in Asia at Space K in Seoul last year, Eddie Martinez will present the painting Untitled (2024), featuring the artist’s signature accumulation of vibrant forms—a butterfly, a pacifier—that nearly evade recognition. His small-scale sculpture Huffy (2018), a painted bronze comprising an arrangement of untenably balanced forms, is likewise characterised by a heavily worked surface, on which the artist’s shrewd use of white creates dynamic spatial illusions. 

Hayal Pozanti’s new, richly atmospheric painting The Gate to All Mysteries (2025) is a glowing composition in which an undulating floral form blooms under a full moon. Otherworldly, its bursting red and pink contours seem to lap up the ethereal light. This work accompanies Cosmic Trees, Pozanti’s new sculptural works presented in the Encounters sector, curated by Alexie Glass-Kantor and organised in collaboration with Jessica Silverman.