All artworks

With Abstrakt schwarz weiss XXL , Stéfanie Raus offers an immersion into a universe where rhythm, movement, and pictorial energy intertwine. The monumental canvas unfolds in a radical contrast between deep black and dynamic white lines. These lines, alternately curved, looped, and arabesque, cover the surface like spontaneous writing, an abstract calligraphy that eludes any rational interpretation. The black background acts as a field of intensity against which these repeated gestures stand out, creating an effect of visual vibration. The alternation between density and breathing, between superpositions and free spaces, gives the whole an almost hypnotic musicality. This work is part of Stefanie Raus's constant research: to make abstraction a sensory and immediate language, where the spectator is invited to project his own imagination and let himself be carried away by the force of the gesture.

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In this work, Stéfanie Raus explores the radicality of contrast and the power of pictorial gesture. A large, dense, and moving black form occupies almost the entire canvas, creating an immediate tension between fullness and emptiness. The light background, left visible in fragments, acts as a luminous counterpoint that emphasizes the depth of the dark mass. The irregular contours and white openings at the heart of the composition suggest an organic, almost calligraphic movement, where black unfolds like raw energy. The peripheral splashes and traces recall the immediacy of the creative act, where the spontaneity of the gesture prevails over any search for formal perfection. With its minimalist strength and visual intensity, this acrylic canvas embodies Stefanie Raus's approach: a painting of the essential, which questions matter, space and the gaze, oscillating between chaos and balance.

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In this work, Stéfanie Raus deploys a minimalist and gestural visual language where the fluidity of the lines interacts with the rigor of the composition. Against a warm, matte brown background, thick, supple, and continuous white lines intertwine to form a labyrinthine network. Here, the artist explores the tension between control and spontaneity: each line seems both calculated and free, evoking perpetual movement. The paint splashes, deliberately left visible, reinforce the organic dimension of the canvas and recall the artist's gesture in the moment of creation. This combination of geometric rigor and vitality of gesture gives the work a presence that is both graphic and meditative. This acrylic canvas perfectly illustrates Stefanie Raus's approach, where abstraction becomes a field of sensory and emotional experimentation, inviting the viewer to lose themselves in the meandering lines and rediscover their own inner rhythm.

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In this composition, Eric Lespinasse continues his exploration of the fragile balance between realism and raw material. The female portrait, of great poetic intensity, stands out delicately against a textured background that appears cracked, as if marked by time. The face, with its strikingly precise features, expresses a deep interiority, accentuated by the closed eyes and the serenity of the gesture. The thick, fragmented areas of paint reveal an almost mineral texture, giving the whole a sculptural dimension. Warm hues of ochre, orange, and flesh blend with cool shades of blue and green, creating a vibrant contrast that magnifies the light and emphasizes the sensuality of the body. This large-format giclée on canvas (100 cm wide by 150 cm high) perfectly illustrates Éric Lespinasse's approach, where human emotion meets the expressive force of the material, between fragility and intensity.

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This work of Eric Lespinasse powerfully illustrates his mastery of blending hyperrealism and pictorial material. The female portrait, captured in an attitude of surrender and gentleness, is rendered with an almost photographic precision that contrasts with the textured abstraction of the background. The delicately modeled skin blends in places into thick strokes of color, as if the flesh were in direct dialogue with the paint. The vibrant flat tints—mauve, green, orange, and blue—applied in broad strokes with a knife fragment the composition and give the whole an expressive intensity. Here, the artist plays on the boundary between figuration and abstraction, emphasizing the sensuality of the subject while recalling the raw materiality of painting. This large-format giclée on canvas (100 cm wide by 150 cm high) perfectly captures the unique world of Éric Lespinasse, where human emotion combines with the gestural force of the material.

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Stone by Stone is a black and white abstract canvas that explores raw materiality and the power of graphic rhythm. The artist layers paint, worked through repeated gestures, creating a visual structure reminiscent of eroded walls, mineral textures, and urban footprints. The sharp contrasts between deep black and bright white evoke construction and deconstruction, as if each brushstroke represented a stone placed or moved. The vertical and horizontal traces intersect to form a complex, almost architectural pattern, where the eye is lost in a play of depth and density. This work embodies the approach of Parscha Mirghawameddin : an expressive abstraction that invites us to feel the strength of materials and the passage of time, while leaving everyone the freedom to project their own images onto it – ruins, urban landscapes, or memories of stones built “stone by stone”.

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This work of Lasveguix embraces a raw urban aesthetic, somewhere between collage, repurposing, and graffiti. The background is made up of successive layers of torn-off posters, typographic fragments, and advertising images reminiscent of the city's saturated walls, bearers of overlapping visual memories. In the center, a black and white visual takes up the iconography of the famous video game Space Invaders , accompanied by the word "LOST", reinforcing the idea of disappearance or wandering in the urban visual chaos. Above, a graffiti in thick and spontaneous black letters announces "INVADER WAS HERE", a direct nod to the street artist Invader and his practice of marking territory with his mosaics. A blue halo in the background highlights the inscription, as if to give it a particular aura, while the torn colors and textures of the posters contribute to the palimpsest effect. The work questions traces, memory, and ephemerality in public spaces: what is glued, covered, scratched, and then reappropriated. It creates tension between popular culture (video games, street art) and the poetic decomposition of city walls.

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This large-format canvas by Irina Vladau (150 x 150 cm) unfolds like a veritable explosion of textures and colors. The artist plays with shades of powder pink, azure blue, deep gray and luminous white , creating an airy and organic composition. The broad brushstrokes and layering of material give an impression of movement, almost of breathing, as if the canvas captures the ephemerality of a changing sky or a suspended abstract landscape. A few brighter touches – turquoise blue, carmine red or warm brown – punctuate the whole and draw the eye towards areas of density contrasting with lighter and more diffuse spaces. Both abstract and poetic , this work invites contemplation and introspection. The balance between spontaneity and subtle nuances reflects Irina Vladau's quest: to transform raw emotion into pictorial harmony.

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La Danse Amoureuse is a four-handed work that combines two distinct but complementary artistic worlds. On the left, Jérôme Mesnager unfolds his iconic white silhouette, a symbol of life, movement, and freedom. Two stylized bodies intertwine in a fluid dance, vibrant with energy, against a vibrant orange backdrop that intensifies the warmth and vitality of the scene. On the right, the universe of Lasveguix brings an urban and chaotic dimension. Collages, torn posters, popular icons, and fragments of faces compose a teeming mosaic, imbued with memory and street culture. Batman, punk slogans, anonymous portraits, and tags overlap, evoking the fragility of time and the expressive power of the city. The encounter between the two styles creates a poetic tension: Mesnager's timeless, amorous impulse engages with Lasveguix's visual and historical depth. This work thus becomes a metaphor for love at the heart of urban tumult—a light, universal dance that resists the noise and fragments of the contemporary world.

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At the heart of this abundant composition, the Mona Lisa stands out, revisited with the contemporary audacity characteristic of Wawapod . Reinterpreted as a constellation of white dots on a black background, it floats in the center of the canvas like a pixelated apparition, both recognizable and abstract. Its gaze, enigmatic as always, slips into the visual tumult orchestrated by Lasveguix , whose colorful and saturated collages evoke the raw energy of the city walls. Around the Mona Lisa, fragments of popular culture collide: a little girl blowing a bubble of gum, female icons from vintage magazines, typography ripped from the street, hip-hop figures, and fragments of comics. This carefully composed urban chaos powerfully highlights the serenity of the central face. The sticker “ Hello, my name is Amour Toujours, ” Wawapod’s leitmotif, punctuates the work like a declaration of tenderness addressed to Leonardo da Vinci’s icon—and, through her, to the entire history of art. Here, the Mona Lisa is no longer frozen in a museum: she lives, breathes, and evolves in a world of color, noise, and contradictory messages. She becomes a figure of gentle resistance in our image-saturated era.

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In this brilliant work, Willis revisits the ancient myth of Cupid , the god of love, by propelling it into a resolutely contemporary aesthetic. The winged child, bow drawn, prepares to shoot an arrow of love—a universal symbol of desire, passion, and human vulnerability. Against a vibrant yellow background , splashed with dynamic white projections, Cupid's silhouette stands out powerfully. The detailed and organic green wings contrast with the graphic black and white treatment of the body, offering a play of textures and materials. The suspended, almost choreographic posture freezes the movement in mid-flight, reinforcing the dramatic intensity of the gesture. The combined use of stencils , acrylic paint and spray paint reflects the artist's signature style: a confident urban style, a cross between classical and street art. The black "W" in the lower right corner affirms the work's identity. With The Flight of Love , Willis offers a bold reinterpretation of the mythological figure, mixing love, tension and urban energy in a picture that is as pop as it is poetic.

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In this powerful work, Willis , Street Artist, explores the theme of the duality of being through a face split into two contrasting halves. On one side, the character sports a disturbing clownish grin, referring to a chaotic and theatrical figure; on the other, a darker, more realistic face, expressing inner tension. This fusion clearly evokes the Joker from the Batman universe, and more specifically the intense and tormented interpretation by Joaquin Phoenix in the film Joker (2019), where the character oscillates between social marginalization, psychological suffering and an explosion of violence. The textured background in shades of gray and black, treated with a marbled effect, accentuates the latent violence of the composition and highlights the striking contrast of the central portrait. The artist skillfully plays with chiaroscuro , using the stencil as a tool of visual and symbolic impact. At the bottom right, the stenciled "W" print confirms the artist's identity while recalling the urban universe of his creations. With Duality , Willis questions the limits between character and person , between appearance and truth, in a society where masks are omnipresent.

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In this vibrant and poetic work, Jean-Philippe Ghiglione , renowned for his mastery of the poppy in painting, captures all the fragility and power of this iconic flower. Painted in oil with a knife, this 100 cm x 100 cm composition magnifies shapes and textures with an energetic and controlled gesture. The intense red of the petals contrasts with the white background, highlighting the delicate curves and the vitality of the flower. The slender, slightly golden stems evoke a fluid, almost dancing movement, while the budding buds add a touch of narrative: that of the cycle of life. The work demonstrates Ghiglione's characteristic style: an expressive painting, on the border between abstraction and figuration, where the poppy becomes a symbol of freedom, ephemeral beauty and sublime nature.

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"Seidenschals" of Ronan Martin is a powerful work that explores the tension between the lightness of movement and the depth of matter. Against a dense, luminous black background, the artist pays explicit homage to Pierre Soulages , working the surface with particular care given to black pigment and glazing , giving the background a vibrant, almost living texture. This black is not absence, but presence: it captures, reflects, reveals. At the heart of this textured darkness, two swirls of color emerge, like silk scarves suspended in space—hence the title, Seidenschals . The pictorial gesture, fluid but controlled, brings out reds, yellows, blues, and greens, in a thick, almost sculpted material. These colored filaments meet at the center in a point of fragile tension, like a moment of grace frozen between two forces. This work engages in a dialogue between light and shadow, matter and movement, abstraction and emotion. It embodies a search for contrast and balance, where black becomes a field of expression rather than a void, and where color becomes breath.

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This work of Jean-Philippe Ghiglione 's dynamic and expressive painting depicts a cavalcade of horses in motion. Painted in oil with a palette knife, it is distinguished by its gestural, semi-abstract style. The horses, rendered in energetic strokes of brown, black, white, and yellow, appear to leap from the canvas, carried along by a powerful and spontaneous momentum. The white background accentuates the effect of speed and freedom, giving the impression that the animals are galloping in a bright, almost unreal light. The material is worked with vigor, evoking both the muscular strength of the horses and the wind surrounding them. The contours are deliberately blurred, reflecting the intensity of the movement rather than the precision of the shapes. The signature at the bottom left - recognizable among other things by its free line - confirms the authenticity of the Ghiglione style, which explores here, as often, the themes of wild nature and animal vitality.

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In "Wild Love" , Lasveguix fuses the raw instinct of nature with the urban energy of contemporary street art. This abundant work juxtaposes the majestic, hyperrealistic image of a lion, a symbol of strength and pride, with a chaotic collage of advertisements, graffiti, and torn vintage posters, witnesses to a collective urban memory. The word "YES," painted in bright pink in the center of the canvas, contrasts with the feline's wildness and evokes a surge of acceptance, hope, or raw passion. We also glimpse an illustrated woman, in pop art style, who seems to be looking intensely at the viewer—a nostalgic yet powerful reminder of the female figure in the popular imagination. Here, Lasveguix explores the duality between love and instinct , the civilized and the wild, past and present. The splattered layers of paint, the superimposed typography, and the torn elements give the work an almost musical rhythm, somewhere between tension and harmony. "Amour Sauvage" is a visual statement where tenderness meets power, and where street art becomes the language of primal emotions, expressed with striking intensity.

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This work of Jean-Philippe Ghiglione depicts a cockfight in the artist's characteristic Abstract Expressionist style. Painted with a palette knife and great energy, the composition captures the intense movement and dramatic tension of the confrontation. The subject depicts two roosters facing off, frozen in a fighting posture, almost symmetrical, but each retaining its own dynamic. The color palette is vivid and contrasting, dominated by warm tones—red, orange, yellow—that evoke combativeness and vitality, and dark tones—black, gray, touches of white—that accentuate confrontation and strength. The knife strokes are powerful and edgy. The impasto adds substance to the feathers and conveys the violence and brilliance of the duel. The almost blank white background highlights the roosters' movement and focuses the eye on the central scene, without distraction. This cockfight goes beyond the animal anecdote to become a metaphor for duality, rivalry, and even controlled chaos. The pictorial gesture evokes struggle, instinct, and the immediacy of the clash. Jean-Philippe Ghiglione's signature, visible at the bottom right, anchors the work in its artistic identity, mixing abstraction, gestural energy and strong symbolism.

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In Cautiva dorada , J. Hanter continues her sensitive exploration of femininity and interiority through a composition that is both powerful and poetic. The portrait of a woman, in profile, with closed eyes and a peaceful face, occupies the entire verticality of the canvas. Her dark, flowing and slightly tormented hair becomes the support for a sumptuous ornament, made of stylized golden motifs evoking leaves, cells, genetic imprints or plant adornments. These golden acrylic lines, with an almost calligraphic ornamental precision, intertwine in the hair like a precious cage, both captivating and protective. They seem to hold, as if suspended, the thought or memory of the figure represented, while emphasizing its mystery. The background, in warm, velvety tones, highlights the delicacy of the face, treated in oil with soft modeling and a subtle palette. The whole gives off an impression of inner silence, abandonment, and chosen captivity. With Cautiva dorada , J. Hanter questions the link between ornament and identity, between constraint and beauty. The work evokes a duality between symbolic confinement and inner wealth, suggesting that some prisons are made of gold, but also of dreams.

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The Angel's Stroke is a powerful and luminous work that fuses the delicacy of realistic portraiture with symbolic abstraction. At the center of the composition, a female figure, her eyes closed, appears suspended in a moment of profound serenity and elevation. The soft modeling of the skin, executed in oil, contrasts with the boldness of the golden lines drawn in acrylic, which unfold in an upward movement, like wings or celestial flames. These fine, dynamic lines evoke both the lightness of breath and the power of divine energy. They draw a stylized aura around the figure's head and bust, featuring a crown, hair, and angelic wings. The canvas is tinged with a range of pinkish beiges and golds, reinforcing the softness and spirituality of the scene. Through this work, J. Hanter explores the boundary between the human and the sacred, between the visible and the invisible. El trazo del ángel is both a tribute to inner grace and an invitation to let oneself be traversed by a greater, silent, and luminous force.

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In this striking work, Gunnar Zyl presents a poetic and urban scene where a child, a black stenciled silhouette, holds up a large red umbrella, emblematic of protection and vulnerability. The strong contrast between the bright red of the umbrella and the deconstructed background in gray, beige and black tones, saturated with graffiti and drips, embodies one of the markers of Zyl's style: the fusion of raw street art with tender or universal symbols . The anonymous figure of the child, imbued with gentleness and nostalgia, evokes innocence in the face of a chaotic world. The umbrella, while meant to protect, itself appears splattered and degraded, as if the protection were imperfect—a subtle metaphor for the challenges we all face as we grow up. The deliberately disordered background evokes a street wall where graffiti becomes memory, noise, or despair. Through this piece, Gunnar Zyl continues his reflection on the fragility of innocence in a saturated urban world , but also on resilience , the act of standing up with dignity in an unstable universe. The work, despite the tension of its contrasts, exudes an energy full of sensitivity and inner strength . It is a powerful canvas, as graphic as it is emotional, which fits perfectly into the artist's universe: at the crossroads of the intimate and the collective, of urban chaos and hope.

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Spring Moon is an original and unique work by the artistMargot Laffon , now highly sought after by collectors and lovers of contemporary portraits. Hand-painted in acrylic, this exceptional piece embodies the artist's unique world: powerful, refined, and deeply expressive. The canvas depicts a hypnotic female portrait. The face—of an almost supernatural pallor—is contrasted with intense blue hair , piercing electric blue eyes , and deep red lips . The whole is framed by a stylized textile background , where floral patterns and an Art Nouveau atmosphere evoke a dreamlike, dense, and vibrant world. The garment, adorned with vibrant flowers and oriental details, draws inspiration from traditional textile cultures, offering a touch of ethnic elegance and great visual richness. The red flower in the hair accentuates the balance between sensuality, mystery, and inner strength.

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