Recently Uploaded Works

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 work, Lasveguix pays homage to Obey , an emblematic figure of global street art, by revisiting the iconic Marianne through his own aesthetic. On a piece of torn cardboard, with edges burned by time, the artist recreates the illusion of a fragment torn from an urban wall —a witness to a passage, a visual cry, a street memory. Layers of overlapping posters, graffiti marks, and paint chips blend chaos and harmony. The partially revealed face of Liberty emerges from the collage as a timeless symbol, both fragile and indestructible. The handwritten “Made in France” label acts as a clear signature: that of an artist who celebrates the French urban scene while engaging in dialogue with its international influences. Through Fragment of Freedom , Lasveguix questions the notion of trace and heritage. Each tear becomes the mark of a gesture, each piece of cardboard, a piece of wall that tells the story of freedom of expression. Framed size: 42 x 32 x 3 cm

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This work of Lasveguix perfectly embodies the tension between heritage and modernity. Against a minimalist black background stands a vibrant collage blending textures, poster fragments, and bursts of color. In the center, the iconic female face—inspired by the graphic codes of committed street art—symbolizes Freedom , a word partially revealed, as if torn from the wall of time. Around this figure, Lasveguix superimposes layers of torn paper, graffiti and paint in vivid shades, creating a composition that is both raw and poetic. The hand-painted inscription “Made in France” anchors the message: an affirmation of artistic and cultural identity, proudly rooted in the French urban scene. Between homage and diversion, this work celebrates the power of collage as an act of memory and resistance. Each tear becomes a gesture of freedom, each trace a street imprint. Framed size: 42 x 32 x 3 cm

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In this work, Lasveguix explores the technique of collage and torn posters to revisit a well-known graphic icon: the Marianne popularized by Shepard Fairey (Obey) . At the center, the stylized and ornamented face emerges through layers of colorful, typographic and handwritten posters, creating a game of progressive unveiling. The composition gives the impression of a fragment torn from an urban wall , like a section of visual palimpsest where successive layers of display tell a collective story. By mixing the visual universe of Obey — a symbol of resistance and counterculture — with his own visual language, Lasveguix composes a piece that is both raw and poetic. The tears, overlays, and textures echo the materiality of the street, where images crumble and reinvent themselves over time. The work thus questions the tension between icon and contemporary appropriation, between shared memory and personal expression. Framed size: 42 x 32 x 3 cm

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This polished metal sculpture is a contemporary reinterpretation of Iron Man's famous helmet. Mitch Richmond revisits the pop culture icon here, transforming it into a sculptural piece with clean lines and a mirrored surface, which reflects the surrounding space and highlights the precision of the craftsmanship. By isolating the object from its narrative context and fashioning it from shiny metal, the artist transforms it into a hybrid symbol: both futuristic armor and exhibition artifact. This approach highlights the collective fascination with technology and modern heroic figures, while questioning the boundary between entertainment object and work of art.

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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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The Bearbrick Marilyn 25 – Andy Warhol 100% & 400% is an exclusive edition paying homage to one of the most famous works of the pop art master, the portrait of Marilyn Monroe created in 1967. This box set brings together two figurines, a 7 cm 100% model and a 28 cm 400% model, entirely covered in Warhol's iconic motif in an explosion of bright colors mixing pink, yellow, blue and black. The artist's signature completes this vibrant design, transforming the object into a true collector's item. Between the timeless aura of Marilyn Monroe, the unique style of Andy Warhol and the creative universe of Medicom Toy, this Bearbrick is a must-have for lovers of contemporary art and design.

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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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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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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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Urban Girl is an ode to femininity amidst urban chaos. A young woman's face, with an almost photographic intensity, emerges from a swirl of color, torn posters, and ripped textures. The shreds of paper, in vivid shades of blue, pink, and gold, overlap like layers of the city's memory, creating a tension between fragility and power. The closed gaze and the expression of the figure suggest abandonment, a breath, as if she were offering herself a moment of intimacy in the tumult of the outside world. The background, marked by graffiti and scribbled words—“I love you”—inscribes this feminine presence in the raw energy of the street, somewhere between an intimate declaration and a public cry. With Urban Girl , Lasveguix captures the fleeting beauty hidden within the scoured walls and colorful ruins of our cities. The work thus becomes a portrait that is both poetic and wild, where the city and the intimate merge into a single vibration.

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