SEEING (Blue) (2018) represents a significant evolution in the practice of KAWS, marking a moment in which his sculptural language expands beyond collectible vinyl into the realm of hybrid art and design objects. Produced in an edition of 250 and published by AllRightsReserved Ltd., the work belongs to the broader Seeing/Watching series, yet distinguishes itself through the integration of light as both material and concept. By appropriating the figure of Elmo, one of the most recognizable characters in global popular culture, KAWS constructs a work that is at once familiar and disquieting, transforming a symbol of childhood innocence into a contemplative, inward-facing presence.

SEEING (Blue)

Medium: Ceramic and alloy multiple with LED light and white pedestal
Year: 2018
Figure: 38x19x18 cm (15x8x7 inches)
Overall approx.: 48x19x18 (19x8x7 inches)
Edition: 250
Publisher: AllRightsReserved Ltd., Hong Kong

Contained in a foam-lined wooden box
Signed in black ink and incised with numbering on the underside of the right foot

The sculpture depicts a seated figure derived from Elmo, rendered in a deep monochromatic blue and covered in stylized, rhythmic fur textures. The character retains its rounded proportions and oversized eyes, yet these are marked with KAWS’s signature crossed-out motif, immediately signaling a departure from its original identity. The figure sits on a minimal block, its legs extending forward while its hands rise to cover its eyes. This gesture defines the composition, introducing a sense of closure and introspection that contrasts with the typically expressive nature of the source character. Unlike earlier vinyl iterations, this version is constructed from alloy and ceramic, incorporating an internal LED light system. The materials lend the work a greater physical presence and permanence, while the integration of light transforms it into an active object within its environment.

The inclusion of LED illumination fundamentally alters the nature of the work. SEEING (Blue) is not simply an object to be observed; it becomes a source of light, interacting with the surrounding space. This introduces a nuanced conceptual tension. The crossed-out eyes suggest a form of symbolic blindness or emotional detachment, yet the sculpture itself emits light, traditionally associated with clarity, awareness, and presence. Rather than a contradiction, this creates a layered condition in which the figure is both visually present and perceptually withdrawn. The light does not resolve the ambiguity, but rather amplifies it. The work becomes both object and atmosphere, extending its presence beyond its physical boundaries. Rather than functioning as a purely decorative feature, the light element is integral to the meaning of the piece. It extends KAWS’s exploration of perception into the spatial realm, transforming the sculpture into an environmental presence.

The Seeing/Watching series marks a broader shift in KAWS’s practice toward more explicitly psychological themes. While earlier works centered on the Companion as a self-contained icon, this series engages directly with widely recognized cultural figures, recontextualizing them through gesture and form. Elmo, traditionally associated with joy, openness, and early childhood, is here reimagined as withdrawn and introspective. The act of covering the eyes replaces expression with negation, producing a powerful emotional inversion. Within this context, SEEING (Blue) represents one of the most advanced iterations of the series, both materially and conceptually, as it integrates light into the sculptural language.

At its core, SEEING (Blue) is a meditation on perception, avoidance, and emotional withdrawal. The gesture of covering the eyes suggests a desire to disengage from external stimuli, to retreat into an interior space, or to resist the pressures of constant visibility. This reading is particularly resonant within contemporary culture, where images and information are omnipresent. The work can be understood as a response to this saturation, embodying a form of self-imposed distance. At the same time, the luminous quality of the sculpture complicates this withdrawal. The figure may refuse to see, yet it cannot avoid being seen. The emitted light ensures its continued presence, reinforcing the tension between isolation and exposure.

SEEING (Blue) occupies a key position in KAWS’s evolution, bridging his origins in street culture and collectible objects with a more expansive engagement with design and environment. The work demonstrates a growing emphasis on material experimentation, as well as a deeper exploration of gesture as a primary carrier of meaning. It also reflects KAWS’s ability to navigate seamlessly between categories, producing objects that function simultaneously as artworks, design pieces, and cultural symbols. This hybrid approach has become increasingly central to his practice, positioning him within a broader discourse that blurs the boundaries between fine art and design.

As a limited edition of 250, SEEING (Blue) holds a strong position within the KAWS market. Its desirability is reinforced by its relative scarcity, its distinctive material composition, and its place within a key conceptual series. The integration of light further differentiates the work from more common vinyl editions, elevating it within the hierarchy of KAWS’s sculptural production. Collectors are drawn not only to its visual impact, but also to its conceptual depth and its status as a hybrid object. Its publication by AllRightsReserved, a platform known for producing high-quality artist editions, further supports its credibility and market appeal.

SEEING (Blue) exemplifies KAWS’s capacity to transform familiar imagery into a site of critical reflection. By combining sculpture, design, and light, he expands the possibilities of his practice while maintaining a clear and accessible visual language. The work captures a distinctly contemporary condition, in which visibility and withdrawal coexist, and in which the act of seeing is inseparable from the desire to look away. Through its simplicity and precision, it articulates this tension with remarkable clarity. In doing so, SEEING (Blue) stands as a compelling example of KAWS’s ongoing relevance, demonstrating his ability to evolve while remaining deeply connected to the cultural imagery that defines his work.

Seeing (Black), 2020

Seeing (Black)

Medium: alloy, ceramic, LED light and mixed media
Year: 2020
Dimensions: 15 1/4 (H) x 8 1/4 (W) x 11 (D) inches (39x21x28 cm)
Edition: 150
Publisher: AllRightsReserved Ltd., Hong Kong

Impressed title and number to underside of foot
Signed and dated to underside of foot

Seeing (Pink), 2020

Seeing (Pink)

Medium: alloy, ceramic, LED light and mixed media
Year: 2020
Dimensions: 15 1/4 (H) x 8 1/4 (W) x 11 (D) inches (39x21x28 cm)
Edition: 150
Publisher: AllRightsReserved Ltd., Hong Kong

Impressed title and number to underside of foot
Signed and dated to underside of foot

Auction Results

Phillips New-York: 24 June 2025
Estimated: USD 8,000 – 12,000
USD 16,510

KAWS
SEEING (BLUE), 2018
Ceramic and alloy multiple with LED light and white pedestal
Contained in the original foam-lined wooden box
Signed in black ink and incised with numbering 005/250 on the underside of the right foot
Accompanied by a numbered certificate issued by the publisher
Published by AllRightsReserved, Hong Kong

Bonhams Hong-Kong: 13 December 2024
Estimated: HKD 50,000 – 100,000
HKD 102,400 / USD 13,155

KAWS (B. 1974)
SEEING (BLUE), 2018
Zinc alloy and ceramic lamp, with LED light
Signed, dated 2018 and numbered 202/250 on the underside
This work is number 202 from the edition of 250 and is accompanied with the original box

SBI Art Auction: 24 May 2024
Estimated: JPY 2,000,000 – 3,000,000
JPY 3,105,000 / USD 19,783

KAWS
SEEING (Blue), 2018
Alloy, ceramic, LED light, pedestal with original case
Signed, dated and numbered on the bottom of left foot
From the edition of 250
Instructions card by AllRightsReserved

LA Modern: 10 April 2024
Estimated: USD 10,000 – 15,000
USD 22,680

KAWS (Brian Donnelly) (b.1974)
Seeing, 2018
Alloy, ceramic, LED light and mixed media
Signed and dated to underside ‘KAWS..18’
Impressed title and number to underside ‘Seeing 131/150’
This work is number 131 from the edition of 150
Sold with a certificate of authenticity from AllRightsReserved Ltd. and original packaging

SBI Art Auction: 28 October 2023
Estimated: JPY 2,500,000 – 3,500,000
JPY 2,875,000 / USD 19,210

KAWS
SEEING (BLUE), 2018
Alloy, ceramic, LED light, pedestal with original case
Signed, dated and numbered on the bottom of left foot
From the edition of 250
Instructions card by AllRightsReserved

Phillips London: 8 December 2022
Estimated: GBP 15,000 – 20,000
GBP 12,600 / USD 15,415

KAWS
SEEING (BLUE), 2008
Zinc alloy and ceramic lamp, with LED light, with the original box
Signed and dated ‘KAWS 2018’ on the underside
Titled and stamp-numbered ‘SEEING 245/250’ on the underside
This work is number 245 from an edition of 250
Published by AllRightsReserved, Hong Kong

Christie’s New-York: 21 July 2022
Estimated: USD 25,000 – 35,000
USD 30,240

KAWS (B. 1974)
SEEING (BLUE), 2018
Zinc alloy and ceramic lamp, with LED light, with the original box
Signed and dated ‘KAWS 2018’ in ink on the underside, titled and stamp-numbered ‘SEEING 096/250’
This work is number 96 from the edition of 250

Bonhams Hong-Kong: 10 July 2020
Estimated: HKD 300,000 – 500,000
HKD 375,625 / USD 48,465

KAWS (American, born 1974)
SEEING, 2018
Alloy, ceramic, LED light and mixed media
Signed, titled, dated 18, numbered 180/250 and inscribed ©KAWS..18 on the underside

Heritage Auctions: 21 April 2020
Estimated: USD 30,000 – 50,000
USD 55,000

KAWS (b. 1974)
Seeing, 2018
Alloy, ceramic, LED light and mixed media
Edition: 69/250
Signed and dated in ink to the underside of the left foot
With stamped numbering and title
Published by AllRightsReserved, Hong Kong