Oli Epp

Born in London in 1994, Epp studied at the City & Guilds of London Art School and the Royal Academy of Antwerp. He emerged in the late 2010s as a defining figure of the new figurative wave, coining the term "post-digital surrealism" for a practice that renders the body as a smooth, logo-laden avatar of the online age. The work is immediately recognisable — faceless heads, oversized limbs, branded objects — and reads as both playful and critical of consumer identity.

The present holding is a signed print edition (9/100), a characteristically wry, self-referential image of "the painter" reduced to an empty coat, palette, brush and yellow clogs — selfhood evacuated, leaving only the signifiers of the artist. A graphic, highly legible example of his visual language.

Epp has one of the most active primary and secondary markets of his generation, with strong gallery placement and international fairs. His paintings sit within the figurative-resurgence cohort that has driven much of the contemporary market since 2018. A signed edition print is an accessible, liquid entry point to the name — lower in value than his canvases but broadly collected, with a wide buyer base that supports resale.

Epp commands a deep, internationally distributed market across primary galleries and the secondary circuit. His editioned works are among the most accessible and liquid in the young-figurative segment, with a wide, engaged collector base. As a print within the Genesis Collection, the holding functions as a low-cost, high-recognition position rather than a core capital asset — a name that broadens the collection's reach rather than anchoring its value.

Epp adds a sharp, legible, consumer-culture voice to the collection's contemporary figuration thread, in dialogue with the Moka Lee and Angela Santana holdings on identity and the mediated self. As an edition print it is a modest, liquid position with a recognisable name and broad resale support, rather than a capital-growth engine. Low downside, limited upside — value is in breadth and recognition. Monitor his canvas market as the principal indicator of edition demand.