Recently Uploaded Works

Made by the French artist Lasveguix , Guga is an explosive and expressive work celebrating Brazilian tennis legend Gustavo Kuerten. Printed in high quality on Dibond , a rigid aluminum support popular for contemporary works, this piece combines digital techniques, pop art aesthetics and visual collage. In the center, Guga's face in blue profile stands out against a vibrant background saturated with visual references to his career: Roland-Garros, Brazil, Florianópolis, Lacoste, and the great moments of joy that marked his career. Each detail tells a facet of the champion, between sporting power and cultural influence. Printed in just 8 copies , each hand-signed by Gustavo Kuerten himself, this rare work has already aroused the enthusiasm of collectors. The work is mounted on a black aluminum frame. It is a screen print of the original, which was sold on June 24th at the CŒUR CENTRAL gala at Roland Garros for €33,000.

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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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With Starboy , Mitch Richmond creates a sculptural tribute to the futuristic imagination and robotic aesthetic popularized by music and pop culture. Inspired by Daft Punk's iconic helmet, the artist offers a sleek version, frozen in a mirrored gold alloy that captures the surrounding space as much as it distorts it. The helmet's perfectly smooth, reflective surface evokes a presence that is both human and dehumanized—an androgynous, faceless figure suspended between machine and emotion. By using gold, Richmond imbues the object with a sacred, almost mythological dimension: the robot becomes an idol. Starboy embodies this tension between individuality and anonymity, between technology and identity. It's a portrait of the 21st century, where the ego fades behind shiny interfaces, where the artist fades behind the avatar.

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In this work, Mitch Richmond repurposes the iconic Stormtrooper helmet from the Star Wars universe to create a resolutely contemporary sculpture, as brilliant as it is introspective. Entirely covered in mirror chrome, the object becomes a reflective surface—both literally and figuratively. The mirror effect questions the individual's place in the systems they blindly serve, like the anonymous imperial soldiers. The work oscillates between pop culture and societal critique. By freezing this symbol of conformity and obedience in gleaming metal, Richmond transforms it into a luxurious and paradoxical totem. The viewer sees their own reflection, trapped in a helmet that seems to say, "Who are you behind the mask?" This piece questions identity, standardization, and the power of symbols in our collective imagination. Through this frozen armor, Mitch Richmond invites us to reflect on our own role in the narratives we consume and perpetuate.

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With Saber Lux , Mitch Richmond delivers a personal and poetic interpretation of Luke Skywalker's lightsaber. This patinated metal work doesn't seek to reproduce the object identically, but to capture its essence: that of a passage, a legacy, an object steeped in history as much as symbolism. The patinated bronze treatment, with its dark and deep accents, gives this sculpture the appearance of a sacred, almost mystical object. The lines are clean yet powerful, alternating between soft curves and industrial rigor. Each detail—the hexagonal wheel, the regular grooves, the sculpted finish—evokes the link between ancient and future, between craftsmanship and technology, between myth and material. By revisiting Luke's lightsaber, Richmond goes beyond a simple reference to Star Wars : he questions what it means to inherit, transmit, and transform a collective symbol into a unique, dense, and silent work.

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Mitch Richmond presents a striking sculpture that blends nostalgia and symbolic power. Inspired by science fiction iconography, this metal work immediately evokes the famous lightsaber from the Star Wars saga, revisited here as a timeless relic. The patinated bronze finish reinforces the effect of an ancient, almost archaeological object, as if this piece had survived the ages. The surface treatment, both raw and masterful, gives the object a visual and tactile density, encouraging the viewer to contemplate the artifact no longer as a futuristic weapon, but as a sculpture in its own right. With this gesture, Richmond transforms a symbol of popular culture into a contemporary work of art, playing with the notions of memory, heritage and the transformation of iconic objects.

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With "Urban Marianne" , Lasveguix reinterprets the French republican icon through the prism of pop culture and urban imagery. Marianne, a timeless symbol of freedom, fraternity, and resistance, sits at the center of the composition in an aesthetic reminiscent of vintage engravings, but transposed into a resolutely contemporary visual chaos. Around her, a mosaic of torn posters, graffiti, musical references—including the iconic "Oasis"—and female figures from another era. Words like "LOVE" and "FREEDOM" emerge from the layers of paper, like so many cries in the city. Lasveguix blends symbols and eras: from antique stamps to a punk aesthetic, including political and artistic slogans. This work embodies a gentle and aesthetic resistance , where today's Marianne does not wave a flag, but shines in the interstices of a fragmented world. "Urban Marianne" is a committed fresco, where women become the common thread of a collective narrative, reinvented on the walls of our cities.

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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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In this astonishing sculpture, Filippo Pietro Castrovinci reinterprets Spider-Man through a resolutely contemporary approach, using Corten steel as a medium of expression. Created by superimposing cut metal layers , the work forms a stylized silhouette of the head of the famous superhero, immediately recognizable by its dynamic and taut structure. The choice of Corten steel—a raw material that develops a patina over time—reinforces the idea of a hero anchored in reality , shaped by the layers of his history, his struggles, and his human duality. The sliced construction evokes a three-dimensional scan or a digital model stopped in its tracks, frozen in a post-industrial aesthetic . The piece dialogues between strength and fragility , matter and emptiness , mask and identity , offering a reading on several levels: Spider-Man becomes a symbol of resilience , but also of fragmentation - as if his figure itself were deconstructed by the weight of the modern world.

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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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With Banksy Bomb , Van Apple offers a sculpture as ironic as it is striking, merging the animal world with the military universe. Made of chrome resin , the turtle has a smooth and shiny body, contrasting with a shell transformed into a black tactical helmet , which becomes the heart of the artistic statement. On each side of the helmet, the artist has incorporated a reproduction of an iconic Banksy work, reinforcing the dialogue between street art, social satire and contemporary sculpture . These motifs, both critical and recognizable, inject a dose of rebellion and humor into the piece. The juxtaposition between the peaceful slowness of the turtle and the armed, technological and committed universe evoked by the helmet and Banksy's visuals, offers a reading on several levels: between resistance and absurdity , fragility and armor , long time and social urgency .

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In this striking work, Giorgio Stocco reinterprets the iconic Arc de Triomphe , placing it at the heart of a reinvented urban scene, on the border between realism and fantasy. Created digitally and then pasted onto canvas , the composition offers a contemporary interpretation of the Parisian monument , transformed here into a vertical playground. The Arc comes to life: dozens of figures—tiny but animated— climb its facades , cling to its sculptures, wander across the upper terrace, or shelter under a floating tricolor umbrella . The work introduces a fascinating play of scale , between architectural monumentality and human abundance. The background, discreet but present, is composed of printed pages , adding a cultural and textual texture that enriches the reading of the piece. With this offbeat scene, Giorgio Stocco questions the relationship between man and history , between the individual and symbols. He mixes humor, visual poetry and a remarkable technical mastery of digital imagery, served by a collage perfectly integrated into the canvas support , halfway between traditional painting and contemporary digital art.

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In this powerful work, Lasveguix pays homage to Jean-Michel Basquiat, an iconic figure in urban art and African-American culture. Basquiat's black and white face, dressed in a sober suit and tie, contrasts with the chaotic explosion of torn paper, layers of torn posters, colors, and graffiti surrounding him. The classic portrait is literally invaded by a living urban material, highlighting the tension between the frozen icon and the raw energy of the street. Lasveguix's approach consists of deconstructing the image in order to better recontextualize it, in a visual language made of superimposed layers, textures, and half-erased typography. We can distinguish fragments of words ("err," "live," "you"), bursts of pink, yellow, and black paint, as well as splashes that recall the spontaneous gesture of street art. The result is a portrait that is both reverential and organic, in which Basquiat's identity emerges through the visual tumult as a persistent, rebellious, and mythical presence.

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In this striking work, Giorgio Stocco composes a dance between image, text, and color. On a double-page spread from an old dictionary (printed and glued to the canvas), the artist paints a ballerina in full motion, smiling, embodying grace and lightness. The typographic background becomes both stage and decor, where each printed word seems to participate in the ballet. The dancer's dress, made up of red and turquoise diamond patterns, evokes a harlequin's costume, a symbol of elegance and playfulness. Around her, a shower of petals in red, turquoise, and black literally explodes onto the page, blending dynamism and poetry. This profusion of color breaks the rigidity of the printed text and evokes a joyful liberation of artistic expression. With this work, Stocco explores the contrast between structure (the dictionary, a tool of definition and framework) and freedom (movement, color, dance), thus giving a second life to a forgotten page by transforming it into a scene of emotion.

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This work is an energetic fusion of two emblematic artistic universes of Parisian street art: the white body in movement of Jérôme Mesnager and the colorful, pixelated and urban universe of Lasveguix , here inspired by the Invader Rubikcubist exhibition at the MIMA Museum (24.06.2022 – 08.01.2023). The background is composed of fragments of torn and superimposed posters, mixing Rubik's Cube motifs, figures by the artist Invader and pop elements such as hearts, numbers and scribbled labels. Mesnager's white figure visually traverses the work, like a free body in the urban chaos. It seems to emerge from the raw material, slipping between layers of torn posters. Lasveguix adds his touch by juxtaposing symbols of pop culture, digital technology, and urban love (roses, hearts, graffiti).

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This piece of Lasveguix presents an urban and contemporary reinterpretation of a global icon: Mickey Mouse. Against a bright blue background, the famous Disney character is depicted in a classic style with his red shorts and wide smile, but he is partly covered by a chaotic collage of torn paper, slashed posters, and layers of paint. The juxtaposition of the sharpness of the cartoon with the raw, fragmented look of the collage evokes a tension between nostalgia, popular culture, and the erasure of time. The bursts of vivid color (red, blue, black, yellow) combined with the torn materials bring a dynamism that seems to burst Mickey's image out of its original frame. At the bottom right, the signature "Lasveguix" anchors the work in the world of street art and pop art, faithful to the style of the artist who likes to mix popular references and street aesthetics.

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In Mickey Wall Fragment , Lasveguix revisits the timeless pop culture icon with his explosive urban style. On a reconstructed wall fragment, the artist depicts a joyful Mickey Mouse, surrounded by splashes of vibrant paint and graffiti patterns. The words "LOVE" appear in watermark, infusing a touch of softness into the colorful chaos surrounding the character. Through this vibrant collage, Lasveguix celebrates childhood, love, and the raw energy of street art, while paying homage to the world of cartoons and its universal power. Framed size: 42 x 32 x 3 cm

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This work of EGHNĀ is a canvas painting that fuses the codes of street art with a popular culture icon, here provocatively reworked. It features a stylized and fragmented representation of Mickey Mouse, whose face is covered in graffiti, paint drips, and scribbled texts evoking the urban and rebellious world of graffiti. The color palette is dominated by black, white, gray, and red. The chaotic, saturated background combines mist effects, broad brushstrokes, splashes, and red drips, reminiscent of bloodstains. Inscriptions like "BRONX," "vandal," and illegible graffiti add a protest and underground dimension to the whole. The character's attitude, though humorously hinted at by his wide smile, seems almost menacing or cynical, reinforced by jarring elements like the white X-shaped stitching across his lower face. Hastily scribbled hearts sit alongside more aggressive messages, creating a contrast between the character's supposed innocence and the raw world around him. The work seems to question the place of mass culture in contemporary art, while paying homage to the aesthetic of New York graffiti of the 1980s and 1990s. It evokes a form of desacralization of the Disney myth in favor of a free, raw, almost anarchic expression.

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In The Flowers Gun , Van Apple repurposes a universal symbol of violence—the revolver—to create a resolutely peaceful and poetic work. The sculpture, chrome-plated or gilded depending on the version, represents a firearm whose barrel releases a vibrant bouquet of flowers, in colored resin or metal, symbolizing beauty, life, and hope. True to his contemporary pop art style, Van Apple blends visual provocation with a committed message: here, the artist invites us to disarm the world through culture, love, and nature. The Flowers Gun is not just an aesthetic object; it is a manifesto against violence, a celebration of peace, and a call to wonder in a world too often dominated by brutality. With this strong and bold work, Van Apple continues his work on contrasts and the diversion of objects, offering a piece that leaves no one indifferent.

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