All artworks

Sweet is a vibrant and instinctive work in which Jo Di Bona deploys all the energy of his Street Pop Art language. The composition, teeming and rhythmic, is built around an interlacing of dynamic white lines, black drips and colorful projections that cross the surface like a visual pulse. The vibrant colors—pinks, greens, oranges, and blues—clash and overlap in a play of transparencies and textures. Graphic fragments, typography, and painted signs emerge and then disappear beneath layers of material, evoking the urban aesthetic of collage and torn posters. The word "Sweet ," inscribed spontaneously, acts as a breath of fresh air amidst the visual chaos. The work oscillates between abstraction and urban art. It conveys a raw, almost musical emotion, where free gesture and color become vehicles of positive energy. True to Jo Di Bona's style, Sweet blends spontaneity, rhythm, and intensity, while maintaining a joyful and resolutely contemporary dimension. Through this work, the artist celebrates a paradoxical form of gentleness, born from the graphic tumult and vitality of the street. Sweet invites the viewer to lose themselves in its layers, to follow the lines and bursts of color, in order to better feel the expressive power of a free and instinctive urban art.

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Jo Di Bona 's King Of Pop is a vibrant and iconic tribute to Michael Jackson, a universal figure in music and popular culture. Through her characteristic visual language blending collage, painting, and vibrant colors, the artist reinterprets the singer's face as a contemporary icon, both intimate and collective. The portrait, structured by strong black and white contrasts, is enlivened by a profusion of colorful fragments taken from posters, typography, and graphic motifs. These elements, partially visible beneath the flat areas of paint, evoke the media construction of the star, their omnipresence in the collective imagination, and the multiplicity of narratives surrounding them. Michael Jackson's radiant smile occupies the center of the composition and acts as an emotional anchor. It embodies the joy, creative energy, and timeless dimension of the artist, while the vibrant colors and visual rhythms convey movement, music, and the stage. True to Jo Di Bona's Street Pop Art aesthetic, King Of Pop creates a dialogue between the legacy of street art and the mythology of pop culture. The work transcends a simple portrait to become a celebration of the icon, his global influence, and his ability to transcend generations. At once powerful, positive and resolutely contemporary, King Of Pop transforms a music legend into a pop, urban and universal image, emblematic of Jo Di Bona's work.

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Urban Wall of Lasveguix is an emblematic work that captures the raw and authentic essence of the street, drawing direct inspiration from urban walls marked by time, successive interventions, and layers of collective memory. The surface of the work evokes a fragment of the city torn from its context, where ripped posters, traces of paint, graffiti, and spontaneous signs are superimposed. The worn, almost eroded textures interact with vivid, contrasting colors—bright yellows, acid pinks, deep blues, and charcoal blacks—creating a visual tension between decay and vitality. The inscriptions and symbols, partially legible, reveal words, hearts, or universal signs, like fragmented messages left by anonymous individuals. Lasveguix's approach is both instinctive and controlled. Through collage, tearing, and painting, the artist constructs an urban palimpsest where each layer tells a different story. The work thus becomes a living testament to public space, its chaotic energy, and its power of free expression. With Urban Wall , Lasveguix doesn't seek to represent the city, but rather to capture its essence, its scars, and its raw poetry. The work invites the viewer's gaze to wander, to decipher its layers, and to feel the intensity of an art born in the street, deeply rooted in reality and resolutely contemporary.

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Urban Wall Basquiat is a powerful collaborative work signed by Jérôme Mesnage and Lasveguix , who pays homage to the legacy of Jean-Michel Basquiat while asserting a style deeply rooted in contemporary urban aesthetics. The composition evokes a city wall marked by time, torn posters, and successive layers of visual interventions. Fragments of posters in shades of yellow, pink, and black, partially ripped, interact with dark areas, tags, and bursts of color, creating a dense, vibrant, and chaotic surface, true to the raw energy of the street. At the heart of the artwork appears the famous white body of Jérôme Mesnager, an emblematic figure of street art, captured in an upward and expressive movement. This luminous figure contrasts with the visual violence of the background and embodies a form of momentum, resistance, and freedom, like a human presence seeking to emerge from the urban tumult. Lasveguix's intervention reinforces the graphic and textural dimension of the whole, through a process of collage, tearing, and layering that echoes Basquiat's radical aesthetic: an instinctive, political, and profoundly vibrant style of painting. The work thus plays on the collective memory of street art, somewhere between homage, reinterpretation, and contemporary reappropriation. Urban Wall Basquiat presents itself as an urban palimpsest, where the history of graffiti, the mythology of modern art, and the raw reality of the street intersect. A committed, vibrant, and resolutely contemporary work, it celebrates the expressive power of urban art as a universal language.

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With Urban Malabar , Lasveguix subverts the codes of advertising and popular imagery to reveal their mechanisms and excesses. The central figure, a smiling, retro-style character, seems to emerge from a pile of torn posters and graphic fragments. His deceptively reassuring expression, combined with the raised thumbs-up gesture, evokes a promise of standardized happiness, instantly recognizable yet profoundly ironic. The word "MALABAR," imposing and colorful, stands out like an advertising slogan torn from its original context. Around it, layers of torn paper, splashes of pink paint, and abraded areas convey the visual violence of urban space and the constant saturation of commercial messages. Here, collage becomes a battleground between graphic seduction and the erosion of reality. The chromatic contrasts—bright yellows, deep blacks, off-whites, and touches of pink—reinforce the immediate impact of the work while underscoring its critical nature. Behind the playful, pop aesthetic lies a reflection on consumerism, the repetition of images, and the superficiality of advertising. With this work, Lasveguix situates his art within a direct lineage of street art and pop art, transforming a familiar icon into an ambiguous symbol. Malabar acts as a jarring mirror to our image-driven society, where outward enthusiasm often masks a more fragmented and chaotic reality.

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With Pop Skull , Lasveguix revisits the universal iconography of the skull through a resolutely pop and urban language. At the center of the composition emerges a stylized skull, rendered in black and white, almost screen-printed, which stands out as a figure both familiar and unsettling. Its fixed smile oscillates between irony and provocation, recalling the tenuous boundary between popular culture and contemporary memento mori. The artwork is constructed from a dense collage of torn posters, fragmented typography, logos, and media references. The vivid colors—saturated yellows, electric blues, pinks, and blacks—create a striking contrast with the monochrome skull, accentuating its visual impact. This chaotic layering evokes urban walls covered with advertisements, slogans, and ephemeral messages. The tears, torn layers, and abraded areas are integral to the narrative of the work. They reflect the wear and tear of time, the saturation of the image, and the visual violence of our contemporary environment. The skull, a timeless symbol of death, is thus confronted with the excess of signs and consumerism, becoming a pop icon emptied of its original gravity, but imbued with a new critical irony. With Pop Skull , Lasveguix offers a striking work at the crossroads of street art and pop art, where the seductive aesthetic masks a deeper reflection on mass culture, the repetition of images, and the trivialization of symbols. The work stands as a jarring mirror of our times, at once playful, violent, and profoundly contemporary.

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With Le Mans , Lasveguix pays homage to an icon of cinema and automotive culture by merging street art aesthetics, urban collage, and collective memory. At the center of the composition appears the intense face of Steve McQueen, the mythical figure from the film Le Mans (1971), embodying speed, control, and a form of raw freedom associated with motor racing. The artwork is constructed from fragments of torn posters, ripped-off typography, and superimposed visual layers, evoking city walls marked by time. The tears, cracks, and erased areas create a tension between appearance and disappearance, like a memory reconstructed from traces. The race number, graphic references, and textual elements reinforce the historical and symbolic grounding of the work. The contrast between the black and white portrait and the bursts of vibrant colors—yellows, blues, greens, and reds—energizes the composition and conveys the energy of the race, the noise, the speed, and the adrenaline of the circuit. This chromatic opposition also underscores the dialogue between past and present, between a timeless icon and contemporary visual language. Through Le Mans , Lasveguix does more than simply represent a cult figure: he reinserts it into the urban space, confronting it with the ravages of time and the visual violence of the street. The work thus becomes a manifesto that is both nostalgic and modern, celebrating the legend, the mechanics, and the collective imagination linked to the mythology of speed.

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On this authentic road sign, Lasveguix presents a new variation on his signature urban aesthetic. At the center, a female figure inspired by Obey's iconography emerges from a dense collage of poster fragments, shattered typography, and vibrant colors. The portrait's deep blue contrasts with the layers of torn paper surrounding it, evoking the ephemeral and dynamic nature of city walls. The reflective texture of the panel, still visible beneath the collage, creates a subtle interplay of light and reinforces the contrast between the rigidity of street furniture and the expressive freedom of street art. The panel's red borders frame the composition, a reminder of its functional origins, now repurposed as an artistic medium. The superimposed layers of paper, sometimes worn, sometimes vibrant, give the whole an almost sculptural depth. One perceives the accumulation of time, the traces of passages, the visual narratives that overlap to form a fragment of the city frozen in a moment. With this work, Lasveguix blurs the lines between symbol, raw material, and urban aesthetics. He transforms a utilitarian object into a medium imbued with visual poetry, where the icon is reborn in the heart of urban chaos, between collective memory and artistic reinvention.

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On this genuine, repurposed road sign, Lasveguix deploys one of his signature artistic techniques: a vibrant collage, saturated with fragments of posters, shattered typography, and urban textures that seem torn from the city walls. At the heart of this composition emerges the figure of Marianne, inspired by Obey's aesthetic, a symbol of freedom and civic engagement. Marianne's silhouette emerges like a revelation amidst a controlled visual chaos. The torn layers, vibrant colors, and overlapping paper create a sense of depth reminiscent of the natural erosion of urban walls, where posters follow one another, overlap, and ultimately tell a collective story. The reflective background of the sign, partially visible beneath the artistic interventions, creates a striking contrast between the rigidity of the traffic code and the free-spirited energy of street art. The splashes of pink paint, the graffiti, and the artist's signature reinforce the impression of an object taken from public space and transformed into a unique work of art. With this piece, Lasveguix plays on boundaries: those between republican symbol and pop culture, between regulated space and personal expression, between erasure and revelation. The work becomes a fragment of the city, frozen in time, where Marianne is reborn in the heart of urban chaos.

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In this unique work, Lasveguix repurposes a real road sign, transforming it into an artistic medium rich in meaning and contrasts. At the heart of the sign, a fragmented collage reveals an iconic image of Charlot, the legendary character portrayed by Charlie Chaplin, sitting with a small dog. This emblematic figure of silent cinema emerges through layers of torn posters, partially legible typography, and overlapping urban motifs. The reflective background of the sign, still visible in places, creates a striking dialogue between the regulated world of road signs and the raw energy of street art. The blackened edges, scratches, and tags added by the artist reinforce the impression of an object taken from the street and reinvented. The layering of textures—torn paper, traces of glue, natural wear and tear, and painted interventions—lends the piece an almost archaeological dimension. Like a fragment of the urban landscape frozen in time, the panel tells the story of the street while paying homage to Chaplin, a timeless symbol of humanity, poetry, and melancholy. By using a medium as codified and functional as the traffic sign, Lasveguix blurs the lines between art, street furniture, and poetic subversion. The work then becomes a hybrid object, both familiar and subversive, where iconic tradition and urban chaos meet to form a piece with a powerful and evocative aesthetic.

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This work of Lasveguix boldly reinterprets the iconic Laughing Cow , a familiar figure in French popular culture, by placing it in a vibrant urban setting. At the center of the composition, the famous smiling red cow appears in large format, surrounded by torn posters, raw textures, typographic fragments, and tags that create a living wall, typical of the artist's street art style. The slogan "Vachement Bon" (Very Good) appears at the top, while the bottom of the image reveals, partially hidden beneath torn posters, the inscription "La Vache qui Rit" (The Laughing Cow) . This interplay of superimpositions creates a visual tension between the original advertising message and its contemporary reinterpretation. By blending nostalgia for an advertising icon, street energy, and the poetic chaos of collage, Lasveguix repurposes an everyday symbol, transforming it into an art object. The work plays on contrasts: between graphic cleanliness and urban wear, between smooth imagery and fragmented textures, between collective memory and artistic reappropriation. With this dynamic and expressive composition, Lasveguix places La Vache qui Rit at the heart of his universe: a space where pop culture, street culture and creation meet and reinvent themselves.

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Marianne Obey Urban Wall is a vibrant urban artwork by Lasveguix , combining collage, superimposed torn posters, and iconic iconography. At the center of the composition appears the figure of Marianne, inspired by Obey's graphic style, surrounded by floral motifs and positioned against a tricolor background of blue, white, and red. The republican inscription “Liberty, Equality, Fraternity” runs vertically across the work, reinforcing the piece's symbolic significance. Around this central figure, Lasveguix constructs a living wall made of torn posters, tags, bursts of color, and irregular textures. The successive layers reveal a dialogue between order and chaos, between official message and popular expression. Fragments of typography, traces of paint, and graphic symbols lend the whole a raw, energetic, and decidedly street art aesthetic. By merging an icon of French identity with contemporary urban aesthetics, the artist creates a work that questions public space, citizenship, and the visual power of symbols. Marianne Obey Urban Wall thus asserts a strong identity: that of a wall that speaks, that lives, and that carries both memory and modernity.

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In this powerful work, Bruno Boffa celebrates the audacity and creative genius of David Bowie , a timeless icon of music and pop culture. The artist's black and white portrait, marked by Ziggy Stardust's iconic red lightning bolt, occupies the center of the composition. Around him, a teeming universe mixes graffiti, graphic symbols, red lightning bolts, electric guitars, handwritten inscriptions and references to underground culture. The urban backdrop, saturated with textures, torn posters, and drawn elements, evokes the artistic effervescence and protest energy that accompanied Bowie throughout his career. The whole thing exudes an electric atmosphere, at the crossroads of rock, fashion, and the avant-garde. Created on an aluminum support , the piece combines photo montage and high definition printing , enhanced by the careful application of gold leaf , which brings brilliance and depth to the composition. An automotive-grade varnish is then applied, giving the work exceptional shine and lasting protection , while enhancing the richness of the colors and contrasts. Here, Boffa captures the essence of David Bowie—his visionary creativity, unique style, and free spirit—in a contemporary and intensely expressive aesthetic.

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In this energetic and colorful work, Bruno Boffa pays homage to Astro Boy , an iconic character from Japanese manga and animation. The young hero appears in the foreground in a dynamic pose, as if ready to leap out of the frame. His futuristic universe intertwines with a textured urban background, composed of superimposed posters, graffiti, shattered typography, and white paint splatters that accentuate the movement and vitality of the scene. The artist skillfully blends Japanese pop culture and Western street art aesthetics, creating a vibrant composition where the past, modernity, and imagination meet. The dominant shades of blue and red bring a visual intensity that highlights the character's positive energy. Made on an aluminum support , the piece combines photo montage and high definition printing , enhanced by the careful application of gold leaf , which brings shine and depth. An automotive quality varnish is then applied, providing exceptional shine and lasting protection , while reinforcing the vibrancy of the colors and contrasts. Boffa succeeds here in merging pop culture and urban art in a work full of energy, modernity and nostalgia.

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In this dynamic work, Bruno Boffa pays tribute to Graham Hill, a legendary figure in motorsport. Through a rich and immersive composition, the artist captures the heroic spirit and elegance of a legendary era in Formula 1. Hill's intense gaze dominates the scene, in black and white, while iconic images of his races and his Lotus team unfold in the background: racing cars in action, historic logos such as Lotus, Goodyear, and Esso, and period mechanical details intertwine in a striking visual fresco. The artist skillfully blends historical references, contemporary graphics, and textures to create a powerful atmosphere, somewhere between nostalgia and modernity. The sketched white lines evoke the speed, trajectories, and raw energy of the circuits. Created on an aluminum support , the piece combines photo montage and high definition printing , enhanced by the delicate application of gold leaf , which brings brilliance and depth to the composition. An automotive-grade varnish is then applied, giving the work a remarkable shine and lasting protection , while enhancing the contrasts and richness of the details. Bruno Boffa captures the entire legend of Graham Hill here: his unique charisma, his passion and his sporting legacy, in a contemporary and intensely expressive aesthetic.

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In this vibrant work, Bruno Boffa pays tribute to the timeless elegance and free spirit of Jane Birkin. At the center of the composition, a black and white portrait of the Franco-British icon stands out against a lush background blending graffiti, bold typography, fashion symbols, and references to popular culture. Visual elements such as the "LIFE" logo, the Chanel and Hermès brands, and the words "SEX" and "Miss my drug" create a dialogue between sophistication, rebellion, and desire. The artist juxtaposes the codes of pop art and street art to create an electric urban scene, where every detail contributes to the overall energy of the work. Made on an aluminum support , the piece combines photo montage and high definition printing , enhanced by the delicate application of gold leaf , which brings shine and depth to the whole. An automotive quality varnish is then applied, offering remarkable shine and lasting protection , while accentuating the intensity of the colors and contrasts. Here, Boffa captures Jane Birkin's duality—between chic elegance and free spirit—in a raw, contemporary and intensely expressive aesthetic.

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In this explosive work, Bruno Boffa pays tribute to rock icon Mick Jagger through a composition blending pop art and street art. The black and white portrait of the Rolling Stones legend is set at the heart of a vibrant graphic universe, blending graffiti, paint splatters, striking typography, and references to popular culture. The inscriptions "Paris," "Berlin," "London," "Tokyo," and "Rock Me" evoke the universal and timeless energy of rock 'n' roll. Created on an aluminum support , the work combines photo montage and high definition printing , enhanced by the careful application of gold leaf , which brings depth and shine to the composition. An automotive-grade varnish is then applied, providing exceptional shine and lasting protection, while enhancing the intense colors and contrasts of the visual. Boffa captures the rebellious and magnetic essence of rock through a raw, free and intensely expressive aesthetic.

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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 work is born from the meeting of two complementary universes. In the background, Lasveguix creates a vibrant urban fresco: torn posters, fragments of typography, pop culture heroes and torn materials form a raw mosaic, like the walls of a city saturated with collective memory and popular imagination. Among these layers, we can guess the mythical figure of Goldorak , an intergenerational icon, emerging like a heroic totem in the midst of chaos. On the glass that protects the collage, Wawapod intervenes with its characteristic visual language: a grid of colored dots, almost pixelated, which acts as an optical filter and a contemporary reinterpretation. This graphic veil transforms the perception of the work, blurring it and revealing it at the same time, recalling the codes of both digital and screen printing. By combining their gestures, the two artists offer a dual interpretation: Lasveguix's nostalgic and urban memory interacts with Wawapod's rhythmic pop abstraction. The whole becomes a hybrid work, both a tribute to childhood and an aesthetic exploration of the contemporary gaze.

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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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