Following in the footsteps of previous Tate Britain Commission artists including Heather Phillipson, Anthea Hamilton, Cerith Wyn Evans and Pablo Bronstein, this year British sculptor Hew Locke has taken over Tate Britain’s Duveen Gallery with an ambitious new project, ‘The Procession.’

Comprised of figures who travel through time and space, Locke’s installation expands on his interest in exploring the languages of colonial and post-colonial power, the development of cultural identities and how they are shaped by the powers of authority, as well as the passing of time. In ‘The Procession,’ Locke invites visitors to walk alongside characters who carry physical representation of culture and history, with evidence of global financial and violent colonial control embellished on their clothes and banners. Through colour and pattern, Locke also makes reference to various cultural traditions, presented alongside powerful images of some of the disappearing colonial architecture of Locke’s childhood in Guyana.

The 150 life-sized figures journeying through the centre of Tate Britain also offer a comment on the museum’s own colonialist ties — the founder, Henry Tate, was both an art lover and a sugar refining magnate. In this way, the installation combines the joy and colourful exuberance of a carnival-like procession, with the sombre mood of a funereal one with its references to a dark, colonial context.

Inspired by painters such as Paul Gauguin, Emil Nolde and Vincent van Gogh, Suzanne Perlman (1922-2020) is best known today for her vibrant colours, bold brushstrokes and varied subject matter. ‘I never paint with any specific tactic or goal,’ she once said. ‘I just paint because I cannot help it.’

Over the course of her six-decade career, the self-taught artist painted everything from landscapes and portraits to nudes and still lifes. Many of these show the life and people on Curaçao, the Dutch Caribbean Island where she lived with her husband, Henri Perlman, after fleeing Nazi persecution in Europe in 1940. After the death of her husband, Perlman flitted between New York and London, settling in the latter in 1990. She continued to paint well into her nineties, explaining that ‘each brushstroke allows me to express my feelings.’

Offered at auction for the first time on 23 March at Sotheby’s in London, Reclining Nude (1986) depicts a woman dozing during the day, her curvaceous form illuminated by the dappled sun. Caught off guard, she is blissfully unaware of our intrusion. As such, a sense of peaceful calm pervades the canvas. Painted in a palette of earthy hues, it exemplifies Perlman’s expressionist style and her skill at capturing the ‘fleeting moment of insight’.

In recent years, there’s been an uptick in interest in Perlman’s work. In 2018 she enjoyed her first major retrospective at the Dutch Centre in London, and in 2021 Nude with Surinamese Drapery (1972) sold at Sotheby’s for £44,100, more than 10 times the low estimate. With a high estimate of just £7,000, we expect this charming picture to fly. Happy bidding!

David Hockney is one of few artists to have tackled the Grand Canyon. In 1982, in an effort, as he put it, to ‘photograph the unphotographable’ he produced a monumental photo-collage of the landmark comprising 60 images assembled in a grid. In the late Nineties, he returned to Arizona to capture the Grand Canyon in paint. ‘I wanted to paint it how I remembered it, with real colour and pigment, strong pure colour put right.’

The two resulting works, A Bigger Grand Canyon and A Closer Grand Canyon (both 1998), each feature 60 canvases executed in bright, Fauve-inspired hues. Since then, Hockney has returned to the Grand Canyon motif on numerous occasions. Grand Canyon I (2017), seen here, is one such brilliant example. Painted in reverse perspective on a hexagonal canvas, it exemplifies Hockney’s enduring interest in capturing three-dimensional space on the surface of a flat picture. The alluring canvas is currently on display for the first time in the UK as part of a new Hockney exhibition at the Fitzwilliam Museum in Cambridge.

Born Sarah Stern in Ukraine in 1885, Sonia Delaunay would go on to become a key figure in the Parisian avant-garde. She is best known today for her experimentations with bold colour and geometric patterns across a wide range of media. The abstract, cubist influenced painterly style which she co-developed with her husband Robert became known as Orphism. In Orphist artworks, starkly contrasting colours are juxtaposed to create a kind of visual vibration.

As well as being a painter, Sonia worked across the applied and decorative arts and in fashion. She designed fabrics for the Amsterdam luxury store Metz and Co and Liberty in London as well as costumes for the Ballets Russes. By the mid-1920s she had opened her own fashion house, selling clothes and accessories characterised by her signature approach to colour.

Long overshadowed by her artist husband, Sonia is now enjoying the well-earned recognition she deserves as a great pioneer of modernism.

If you’ve ever had the chance to handle a bejewelled Wallace Chan creation, you’ll know that they entrance and intrigue in equal measure. Usually crafted from titanium and the world’s finest gemstones, his daring high jewellery designs are inspired by everything from nature and Greek mythology to auspicious Chinese motifs. The same can be said of his sculptures.

Currently on display at One Canada Square in Canary Wharf are 10 of Chan’s large-scale titanium and iron sculptures that explore the dialogue between materials, space and time.

‘These sculptures come from a lifetime of memories and experiences, including my early years creating carvings and sculptures inspired by Greek mythology,’ says Chan. ‘TITANS, named after a group of super-strong giants, connects my present to my past. The series also acts as a passage to the future; carved and sculpted with a material as strong and resistant as titanium, my sculptures act as time capsules.’

The central motif of many of these works, including Titans I shown here, is an elongated head whose facial features are serene yet strong. With its extensively carved and modelled surfaces that can be viewed from multiple angles, the large freestanding sculpture calls to mind Chan’s innovative ‘Wallace Cut’, an illusionary three-dimensional carving process applied to gemstones which he developed in 1987.

Like Chan’s majestic, mysterious jewellery, this new body of work reveals his ingenuity, confidence and experimental impulses to dazzling effect. It’s a joy to see his accomplishments in sculpture being celebrated in London.

In 1993 Nick Knight made fashion history by taking a sumptuous ring-flash shot of Linda Evangelista for a cover of British Vogue. Since then, he has been exhibited widely and collaborated with some of the world’s leading designers, notably Alexander McQueen and John Galliano.

Captured in 2008, this striking image shows model Lily Donaldson in a whimsical pink dress from Galliano’s Spring 2003 Ready-to-Wear collection. ‘For his finale, he sent out girls whose voluminous outfits were covered in coloured powders used in Indian festivals,’ said a Vogue review of the show. ‘As the models twirled, the audience was showered – and, incredibly, responded with laughter.’

Here, Knight immortalises that runway moment. As the powder and fabric whirl together, Knight creates an ebullient fusion of pinks and reds. Lily appears to float in ecstasy, her arms in perfect poise. ‘It signifies my strength while at the same time reminding me of my own fragility and how important that balance can be,’ said Donaldson.

Tim Yip is a man of many talents. As well as working as an art director and costume designer, he is a world-renowned visual artist, working across photography, video, art and fashion. He has collaborated with industry heavyweights like Vivienne Westwood and Gilbert & George and enjoyed solo exhibitions around the world. In 2008, Yip was invited to stage a special exhibition at the Shin Kong Place in Beijing in celebration of the Chivas 25 series. Among the treasures on display was this dazzling vermilion dress, complete with stiff ruff, hooped skirt and sequins. Now this is an outfit to fall in love with.

‘People say – and I’m quite willing to believe it – that it’s difficult to know oneself – but it’s not easy to paint oneself either,’ Vincent van Gogh once said. And he would know. Over the course of his short but prolific career, Van Gogh painted 35 self-portraits. The majority of these show him looking restrained and serious with bright red hair, green eyes and an angular face. Self-Portrait with Grey Felt Hat (1887) is one of Van Gogh’s boldest colour experiments from his formative period in Paris. The short stripes of blue and orange paint follow the outline of his head, creating a kind of halo, while the daubs of red and green intensify his piercing gaze and thick beard. On loan from the Van Gogh Museum in Amsterdam, it will highlight the forthcoming Van Gogh self-portraits exhibition at the Courtauld Gallery in London.

Frank Stella is one of America’s greatest living artists. Born in Massachusetts in 1936, he is best known today for his vibrant geometric patterns, monumental prints and revolutionary approach to materials. It was in the 1960s that Stella first began to remove sections of paintings and experiment with shaped canvases, as seen in Untitled (Kufa Gate Shape) from 1967. This geometric riot of colour belongs to Stella’s Protractor series, which consists of 93 paintings based on 31 distinct formats, each one rendered in three different designs. It is named after the Great Mosque of Kufa in Iraq, one of the earliest and holiest mosques in the world.