Recently Uploaded Works

Collaborative work by Jérôme Mesnager and Lasveguix This collaborative work brings together two emblematic figures of Parisian street art: Jérôme Mesnager, creator of the mythical "Homme Blanc" (White Man) since 1983, and Lasveguix, an artist known for his poster and urban collage work. Their encounter gives birth to a hybrid piece where two distinct but complementary visual universes converse. Visual Description At the center of the composition emerges a stylized female portrait, a recognizable signature of Mesnager in his more recent vein: a refined face, rendered in black and white flat areas, framed by hair adorned with stylized blue foliage evoking a vegetal crown or a floral mantilla. The frontal and intense gaze immediately captures attention. The figure wears a black outfit with white graphic motifs, treated as a modern icon — somewhere between a Madonna, a Frida Kahlo, and a pop heroine. Around this portrait, Lasveguix deploys his language of decollage and tearing: layers of torn papers, superimposed poster fragments, shreds of typography ("LAS VE GUIX", "time", "he world", "OBEY"), bursts of vibrant colors (dominant solar yellow, blues, touches of red and green) that emerge through the tears. The background features a black and white typographic pattern reminiscent of Shepard Fairey's famous OBEY logo, reinterpreted here as a repetitive background motif. Interpretation of the Work The tension of the piece arises from the contrast between the figure and her environment: Mesnager's woman, serene and iconic, seems to emerge — or resist — the visual chaos of the street that surrounds her. Lasveguix's torn elements tell the story of the memory of the urban wall, those successive layers of posters, covered, torn, which constitute the wild archaeology of the city. The title "Obey" adds a critical dimension: reappropriating the iconic slogan of street culture, it questions submission and injunction here — who obeys? To what? The direct gaze of the female figure, far from being docile, seems instead to oppose an assertive presence to the typographic order that seeks to impose itself.

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In Angels' Queen, Margot Laffon celebrates the contemporary woman as a modern sovereign, halfway between a pop icon and a timeless figure. The intense and magnetic gaze immediately captures attention and asserts its presence: it is that of a queen aware of her strength, proud and untamed. The white crown, drawn with a swift gesture, evokes the heritage of street art and pays homage to the free spirit of great figures in urban painting. It doesn't weigh on the model's head; it elevates her. Around her, bursts of color — vibrant fuchsia pink, solar yellow, deep blues, touches of turquoise — energize the classic portrait to make it a pictorial manifesto. The drips, impasto, and paint splatters establish a dialogue between mastery and spontaneity, between figuration and abstraction. The face, delicately rendered in black and white, serves as an anchor for the chromatic tumult that surrounds it. The red lips, full and assertive, extend this tension between softness and character. On the cheeks, touches of color applied like war paint remind us that this queen is not merely contemplated: she fights, she lives, she asserts herself. The high collar with its graphic pattern, inspired by Japanese seigaiha waves, grounds the work in refined elegance and brings an almost sacred dimension, like ornamental armor. The magenta pink and gold backgrounds, worked in large textured flat areas, give the whole a royal and luminous, almost Byzantine aura. Angels' Queen is a vibrant tribute to modern femininity: free, multifaceted, sensitive, and powerful. Margot Laffon deploys her recognizable signature — a bold blend of classical portraiture, pop art, and urban expression — to offer a soulful work, where each brushstroke seems to crown both the observer and the observed.

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Collaborative work by Jérôme Mesnager and Lasveguix A mythical encounter revisited Basquiat x Warhol celebrates one of the most legendary collaborations in the history of contemporary art — the one that united, in the effervescent New York of the 1980s, Pop Art Pope Andy Warhol with neo-expressionist prodigy Jean-Michel Basquiat. Jérôme Mesnager and Lasveguix extend this mythical dialogue through their own artistic encounter, echoing the spirit of creative brotherhood that linked the two American icons. The art of the torn poster Lasveguix here deploys the full richness of his visual vocabulary, directly inherited from the poster artists — Villeglé, Hains, Rotella — who made urban tearing a fully-fledged artistic gesture. Layers of paper overlap, tear, and reveal themselves: a poster for Andy Warhol's Exploding Plastic Inevitable (the legendary Velvet Underground multimedia happening) sits at the top left, while iconic portraits of Warhol and Basquiat — taken from the famous photographs of their promotional boxing duo from 1985 — emerge from the colorful chaos. Pink splashes, yellow and red flat areas, and typographical fragments compose a visual symphony that evokes the murmur of New York walls, saturated with images and memories. Mesnager's luminous signature At the heart of the composition, Jérôme Mesnager's intervention is immediately recognizable: his Homme en blanc (Man in White), a universal and luminous silhouette created in 1983, asserts itself in a dynamic, almost moving posture. This emblematic character, whom the artist has scattered on walls all over the world — from Ménilmontant to the Great Wall of China — here becomes the link between the two American masters. A symbol of peace, strength, and light, the Man in White dialogues with the ghosts of Warhol and Basquiat, as if Paris were extending a hand to New York across the decades. A conversation between schools The work creates a fascinating double lineage: it inscribes French street art (Mesnager is one of its historical pioneers) in the continuity of the New York energy of the 80s, while reinterpreting the spirit of new realism through Lasveguix's contemporary approach. There are also nods to pop culture (a Darth Vader silhouette at the bottom left), the date "AUGUST 2023" which anchors the piece in its era, and the crossed signatures of the two artists that seal this collaboration. A vibrant homage Basquiat x Warhol is not a simple nostalgic citation: it is a mise en abyme of creative friendship, a bridge thrown between generations and continents. Mesnager and Lasveguix pay homage to two tutelary figures while asserting their own language — proof that urban art remains a living ground for dialogue, where icons are passed on like torches.

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Lithograph by Popléa — Limited edition of 12 copies An icon revealed by the line With Freddie, Popléa pays tribute to one of the most charismatic figures in rock history — Freddie Mercury — through a graphic process that is as refined as it is captivating. The portrait of Queen's legendary singer emerges from a score of vertical lines, as if his face were rising from between the strings of an instrument or the sound waves of a microphone. This treatment evokes both the vibration of a voice, the flickering of an old television image, and the retinal persistence of a myth that refuses to fade. A play on perception The artist masterfully plays with the viewer's perception: seen up close, the eye only catches an abstract pattern of vertical black lines on a white background; by stepping back, the iconic face reconstitutes itself with striking clarity. This technique, inherited from Vasarely's op art experiments and Youl's linear portraits, transforms the act of looking into an active experience. The viewer becomes an accomplice in the revelation — it is their gaze that composes the portrait. Composition and framing The tight framing, slightly plunging, isolates the face on an immaculate white background that accentuates the overall graphic power. One can discern the emblematic mustache, the strong features, the intense gaze turned towards the horizon — a posture both Christ-like and rock, that of an artist at the peak of his art. The chromatic minimalism — a deep black on a pure white — gives the work an almost sacred solemnity, that of Byzantine icons revisited by contemporary aesthetics. Signature In the lower right, the small red heart signed Popléa adds the tender and playful touch that characterizes the artist's approach: a sensitive counterpoint to the graphic rigor, like a declaration of love to the represented figure. This heart is Popléa's trademark, her way of signing her idol portraits with affection and simplicity. A collector's rarity Printed in only 12 copies, this lithograph is part of a precious confidential approach. Each print, numbered and signed, becomes a rare object, intended for discerning contemporary art lovers and rock music enthusiasts. Freddie is not just a portrait: it is a visual vibration, the graphic trace of a voice that continues to resonate through the decades.

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Sculpture by Sagrasse — Limited edition of 299 copies — Cast resin A fractured duality Mystica is a sculptural meditation on duality, inviting the viewer into a silent dialogue between the two halves of a single face. Sagrasse stages a striking encounter: a white, matte female face, pure and serene, split by a winding vertical line that reveals a second mirror-polished gold face. Two presences inhabit a single head — as if the sculpture captures the precise moment when the soul separates from its mask, or when the being reveals its inner light. Form and material The artist masterfully plays with the contrast between two finishes that converse through their very opposition. The immaculate white, smooth and velvety, evokes porcelain, purity, and the contemplative silence of classical busts. The brilliant, liquid, and reflective gold captures every ambient light and transforms the sculpture into a living object whose appearance changes depending on the viewing angle. The undulating boundary between the two materials — neither straight nor geometric — suggests the organic flow of a revelation, a tear in the veil of appearances. Mounted on a sober black base that anchors the composition, the piece asserts its quiet presence, like a contemporary reliquary. Symbolism Mystica draws from a rich iconographic tradition: the two-faced figure of Janus, theater masks — comedy and tragedy —, Jungian meditations on the persona and the self. But Sagrasse goes beyond these references by offering a profoundly contemporary reading: that of identity as luminous fracture, where the authentic self (gold, precious, radiant) is revealed through the fissures of the social self (white, polished, idealized). Gold does not hide; it illuminates. It does not mask; it affirms. A collector's item Produced in a limited edition of 299 numbered copies, Mystica is part of Sagrasse's signature practice, which explores the contemporary face through noble materials and meticulously mastered finishes. Cast in resin — a medium allowing both precision of detail and depth of chromatic effects — each sculpture carries the aura of a unique object while remaining accessible to a community of discerning collectors.

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Collaborative work by Lasveguix and Wawapod This mixed-media work on canvas embodies the explosive encounter between two complementary urban universes, celebrating the iconic figure of Frida Kahlo through the lens of street art and pop culture. Composition At the heart of the work, Frida Kahlo's portrait emerges from a pattern of white dots on a deep black background, reminiscent of pixel art aesthetics or Roy Lichtenstein's screen printing. This halftoning technique, a signature of Wawapod, transforms the face of the Mexican icon into an almost spectral apparition — one must step back for the enigmatic smile to fully reveal itself, playing with the viewer's perception. Golden cracks traverse this dark background, evoking the Japanese philosophy of kintsugi, where cracks become ornamentation. Collages and fragments The upper and lower parts unfold Lasveguix's characteristic universe: a profusion of torn collages with clean edges, layering vintage posters, retro advertisements ("Philips Autoradio", "Meet the Girls from the Bureau"), childhood figures, and pop culture references. The word "AMOUR" (LOVE) bursts forth on a "HELLO MY NAME IS" tag in the upper left, while the legendary logo of the band The Who stands out in the bottom center, a rock nod to the rebellious energy that inhabited Frida. Palette and gestures Purple splashes, pink and red drips, and the black stencil energize the whole and unify the two visual registers. This tension between typographic order and spontaneous gesture, between collective memory and intimate icon, constitutes the strength of the piece. Reading the artwork Smile of Frida dialogues with the legacy of Mimmo Rotella and poster artists, while aligning itself with the lineage of halftone portraits popularized by artists like Jef Aérosol or Dain. Frida's smile — this woman who painted pain with fierce joy — here becomes the vanishing point of a world saturated with images, slogans, and nostalgia. A vibrant tribute where two artists' signatures meet in the lower right to seal this collaboration.

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Urban Mona Lisa is a work on wood by the contemporary artist Lasveguix , created from a collage of torn posters and pictorial interventions inspired by urban aesthetics, revisits one of the most famous faces in art history by immersing it in the visual energy of the street. At the center of the composition appears the famous portrait of the Mona Lisa , whose calm gaze and enigmatic smile contrast with the graphic tumult that surrounds her. The classic image seems to emerge from a wall of torn posters, as if this timeless icon had been rediscovered beneath the successive layers of a constantly transforming city. Lasveguix constructs the work from layers of torn paper, typographic fragments, vibrant colors, and splashes of paint . The tears reveal different visual layers, evoking the urban palimpsests found on the billboards of major cities. This decoupage technique creates a relief and texture that reinforce the materiality of the work. The wooden support accentuates this physical dimension and gives the composition an almost sculptural presence. The traces of paint, scratches, and overlaps contribute to a raw aesthetic, directly inspired by the language of street art. With Urban Mona Lisa , Lasveguix creates a dialogue between art history and contemporary urban culture . By placing the Mona Lisa at the heart of a fragmented and colorful visual universe, the artist transforms this classical masterpiece into a reinvented icon, captured in the visual effervescence of the city.

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Gainsbourg Under Arrest is a work on wood by the contemporary artist Lasveguix , which falls within the tradition of urban Pop Art and the décollage inspired by the torn posters of major cities. At the heart of the composition appear two black and white portraits of Serge Gainsbourg , presented as police identification photographs. This visual device evokes an arrest warrant , reinforcing the provocative and rebellious image of the artist, a major figure in French culture known for his nonconformity and outspokenness. Around these portraits, Lasveguix constructs a dense visual universe composed of layers of torn posters, typographic fragments, splashes of paint, and colored textures . The tears reveal different graphic strata, like on an urban wall covered with successive posters, giving the work a raw and vibrant dimension. The presence of the word “FRAGILE” in the upper part of the composition creates an interesting contrast with Gainsbourg's image: both a provocative icon and a profoundly complex personality. This tension between fragility and insolence echoes the artist's public image. The wooden support accentuates the materiality of the work and highlights the thickness of the collage and the pictorial interventions. The paint splatters, scratches, and deliberately altered areas contribute to an aesthetic inspired by the street and the passage of time. With Gainsbourg Under Arrest , Lasveguix pays homage to a mythical figure of popular culture while reinterpreting him through the visual codes of urban art. The work transforms the icon into a fragment of cultural history , captured in an imaginary wall where memory, provocation, and artistic energy intertwine.

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Marilyn Playboy is a work on wood by the contemporary artist Lasveguix , who blends the codes of Pop Art , street art and urban collage . The artist reinterprets the timeless icon Marilyn Monroe through a dense visual collage, inspired by the billboards of major cities. At the center of the composition, Marilyn appears in an iconic, glamorous pose, clad in fishnet stockings and heels, seated with provocative elegance. The black-and-white image, directly inspired by the aesthetics of vintage magazines like Playboy , contrasts sharply with the colorful chaos that surrounds her. The work is constructed from layers of torn posters, fragmented typography, and paint drips . The tears reveal different graphic layers—vibrant colors, raw textures, and fragments of advertising visuals—evoking urban walls weathered by time. This technique gives the piece a highly tactile and almost archaeological dimension, as if several cultural eras were being revealed simultaneously. The wooden support reinforces this materiality and accentuates the relief effect of the collage. The splashes of paint, the flat areas of primary colors, and the fragments of words contribute to a deliberately raw and spontaneous aesthetic. With Marilyn Playboy , Lasveguix plays with the collective fascination for popular icons. The artist subverts glamorous imagery to plunge it back into the visual energy of the street, creating a dialogue between pop culture, advertising, sensuality and urban art . This work thus embodies a contemporary vision of the Marilyn myth: a figure that is simultaneously mythologized, fragmented and reinvented through the visual codes of the city.

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Urban Girl #2 fits into the raw and vibrant aesthetic of urban art. Made from torn and recomposed posters on a wooden support, the work superimposes typographic fragments, burst colors and traces of material to recreate the visual energy of the street. At the center of the composition appears a black and white portrait of a woman, captured in an expressive and almost cinematic pose. Her upturned gaze and jeweled hands lend the figure a sensual, mysterious, and iconic dimension. This contrast between the elegance of the portrait and the graphic chaos of the torn posters creates a strong visual tension. Around her, layers of urban posters—typography, fragments of concert announcements, and snippets of slogans—create a saturated visual landscape dominated by yellows, pinks, purples, and blacks. Tears and accumulations of paper reveal the texture of the collage and evoke the passage of time on city walls. With Urban Girl #2 , Lasveguix captures the very essence of street art: a meeting of popular culture, the punk aesthetic of torn posters, and contemporary female icons. The work transforms the visual language of the street into a powerful artistic composition, where beauty emerges from urban chaos.

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This work by Lacriss features a stylized portrait of Queen Elizabeth II , an iconic figure in contemporary history, immersed in a visual universe inspired by street art and urban culture. At the center of the composition appears the recognizable face of the sovereign, depicted in profile in a graphic style reminiscent of a stencil . The features are clean, almost monochromatic, which reinforces the iconic nature of the figure. The hair styled in a chignon and the elegant bearing of her head immediately evoke the official and timeless image associated with Elizabeth II. Around this portrait, Lacriss unfolds a vibrant chromatic chaos : bright yellow, electric blue, pink, red, and turquoise intertwine in a layering of painterly gestures. The drips, splashes, and raw textures recall urban walls marked by graffiti and successive posters. This accumulation of layers creates a powerful contrast between the classical dignity of the royal figure and the raw energy of the surrounding environment. The treatment of the material—between flat washes, brushstrokes, and splashes—imbues the whole with a sense of movement and spontaneity , typical of contemporary urban aesthetics. In places, abstract forms and graphic signs appear like fragments of writing or graffiti. Through this confrontation between a monarchical icon and the visual language of street art , Lacriss plays with the codes of popular culture. The work transforms a historical figure associated with tradition and stability into a pop and urban symbol , reinterpreted through the expressive freedom of contemporary art. The result is a visually intense piece, where royal heritage meets rebellious street energy , revealing urban art's ability to reinvent icons of our collective memory.

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In this hand-molded sculpture, Mitch Richmond revisits Darth Vader's iconic mask, imbuing it with an almost archaeological dimension. The patinated surface, with its verdigris hues and deliberate roughness, evokes ancient metal marked by time, as if the helmet had survived the battles of the saga before being rediscovered. Far from a smooth, industrial reproduction, the artist chooses a living, textured material, where irregularities and traces of wear fully contribute to the narrative. The mask appears almost damaged, fragile, reminiscent of moments when the character's armor cracks and reveals the vulnerability behind the icon. Presented on a simple, contemporary base, the artwork creates a striking contrast between mythical power and the ravages of time. Mitch Richmond thus transforms a major figure from the Star Wars universe into a sculptural relic, suspended between collective memory, popular culture, and minimalist aesthetics.

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This sculpture represents the iconic helmet of the Mandalorian, reimagined through a radically mineral approach. Made of hand-molded cement and concrete, the work appropriates a symbol of contemporary popular culture, imbuing it with a raw, almost archaic materiality. The smooth yet vibrant surface retains subtle traces of handwork, affirming the artist's hand. The matte gray of the concrete replaces the metallic sheen of the beskar and transforms the futuristic armor into a timeless relic, as if the object had been fossilized or unearthed from an archaeological site. This shift in materiality creates a striking contrast between galactic imagery and terrestrial gravity. By choosing industrial and sustainable materials, Mitch Richmond freezes a fictional figure in a dense and silent sculptural presence. The work oscillates between pop culture and contemporary minimalism, questioning the notions of icon, protection, and collective memory.

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With Woman's Dream , Willis explores a dreamlike imaginary world where the female figure seems suspended between reality and inner projection. The face, framed in close-up, is partially concealed behind large glasses with yellow-orange lenses, veritable emotional filters through which the world appears transformed. The gaze, invisible but omnipresent, invites the viewer to wonder: is she dreaming, observing, escaping? The slightly raised posture of the face suggests an aspiration, a drive towards elsewhere, reinforcing the idea of ​​a waking dream or an inner quest. The palette, dominated by intense blues, contrasts with deep blacks and bursts of orange, while splashes of white and colored paint disrupt the surface, like fragments of thoughts, memories, or emotions. This vibrant, almost chaotic material gives the work a raw energy, typical of Willis's urban language. Woman's Dream is a powerful and introspective work that evokes the freedom of the female imagination, the ability to protect oneself from reality while reinterpreting it. Between strength and vulnerability, dream and resistance, Willis offers an emblematic portrait, straddling the line between pop art and contemporary street art.

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With Liberta , Willis delivers a powerful and direct portrait, where the face becomes manifest. The female figure, painted in close-up, is vertically traversed by the colors blue, white, and red, an immediate reference to the French flag. This chromatic marking, almost brutal, transforms the face into a symbolic territory: that of identity, belonging, and freedom. The closed eyes suggest a calm, almost meditative introspection, while the bright orange lips—a strong visual signature—create an expressive tension, poised between sensuality and assertiveness. The contrast between the softness of the features and the vibrancy of the colors creates a subtle balance between emotion and assertiveness. The vibrant yellow background, saturated with projections, signs, and graffiti, firmly situates the work within an urban language. The inscriptions, traces, and drips evoke the tumult of the contemporary world, against which the figure seems to resist through silence and dignity. Liberta is a politically engaged work, both pop and political, in which Willis questions the notion of individual freedom in a society marked by symbols, borders, and collective injunctions. An iconic, vibrant portrait that captures the eye as much as it invites reflection.

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The artwork Trinity presents a stylized frontal portrait, rendered in black, white, and gray, against a dark background splashed with white projections reminiscent of a starry sky or cosmic matter. The face, closed off and determined, is partially masked by a kind of visor or futuristic glasses, reinforcing an impression of hybridity between human and cybernetic figure. Around the figure, vibrant fuchsia pink triangles radiate like bursts of light or fragments of a signal. Each is covered with graphic signs resembling abstract calligraphy or cryptic symbols, evoking language, codes, and the sacred. This geometry contrasts sharply with the deep black background and structures the composition like a contemporary icon. The contrast between the almost mechanical rigidity of the face, the chromatic violence of the pink and the controlled chaos of the splashes creates a strong tension between order and disorder, flesh and technology, identity and depersonalization. With Trinity , Willis seems to question the multiplicity of modern being – between body, machine and information – and to propose a figure that is at once protective, cold and transcendent, like an urban divinity born from street art.

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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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