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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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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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Discover a bold reinterpretation of the famous Mona Lisa in a unique street art style by the artist Quinoa+ (Quinoa Ribes) . Set against a golden background, this painting fuses the timeless elegance of the Renaissance icon with the raw energy of urban graffiti. The symbolic white halo brings a touch of celestial irony, while the colorful lettering and tags, including the words "SEND YOUR CHILD TO ART SCHOOL" and "QUEEN," inject a vibrant and committed modernity. Every detail, from dynamic drips to multi-colored bombs, reveals the duality between tradition and artistic rebellion, making this piece a must-have for lovers of contemporary art and urban culture. Add this iconic work to your collection and give your space a touch of boldness, history and urban creativity.

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This work by the artist Quinoa+ (Quinoa Ribes), made in a street art style, is inspired by a classic painting while revisiting it in a modern and bold way. It represents a draped female figure reminiscent of Vermeer's paintings (The Milkmaid), particularly in her contemplative posture and the light that seems to fall on her face. The background is a soothing blue that contrasts with the vibrant superimposed elements. The figure is surrounded by colorful graffiti, tags, and abstract elements that partially cover the scene, infusing energy and movement. There are words such as "FUN" and various patterns in yellow, pink, blue, and green that recall urban art. These additions illustrate a collision between classical art and contemporary urban culture, symbolizing both modernity and the legacy of the past. A humorous inscription "Send Your Child to Art School" also appears, adding a note of satire.

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This unique work of art reinterprets the famous painting “Girl with a Pearl Earring” through the vibrant and bold prism of Pop Art. Made with mixed techniques of archival pigments on 240 g acid-free cotton paper, this piece combines tradition and modernity. Every detail of the artwork is embellished by hand, adding a personal and dynamic touch through the use of acrylic paint, paint markers and colored pencils. These varied techniques create the rich texture and striking burst of color characteristic of the Pop Art movement. The work is hand-signed by Cross Magri , guaranteeing its authenticity and uniqueness. In addition, it is authenticated by an engraving stamp from the artist, adding a distinctive and undeniable mark of its origin. To reinforce the value of this piece, a certificate of authenticity with the artist's stamp accompanies the work, assuring collectors and art lovers of its provenance and original character. This creation embodies a perfect fusion between classic artistic heritage and contemporary energy, making “Girl with a Pearl Earring” a must-see piece for any lover of Pop Art and modern reinterpretations of historical masterpieces.

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Very beautiful lithograph by Ronald Chapeau , traditional professional screen printer. Here he gives us a very beautiful vision of women's freedom that is at once Pop Art, surrealism, figurative and populist.

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Offset lithograph after Andy Warhol . Reproduction of the work "Marilyn Monroe", screen print produced by Warhol in 1964. This proof is published by TeNeues Publishing Company, New York. Print authorized by the "Andy Warhol Foundation" in the Netherlands, with the Foundation's copyright stamp and legal serial number in the lower right corner.

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