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

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

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

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

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

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This work of Lasveguix embraces a raw urban aesthetic, somewhere between collage, repurposing, and graffiti. The background is made up of successive layers of torn-off posters, typographic fragments, and advertising images reminiscent of the city's saturated walls, bearers of overlapping visual memories. In the center, a black and white visual takes up the iconography of the famous video game Space Invaders , accompanied by the word "LOST", reinforcing the idea of disappearance or wandering in the urban visual chaos. Above, a graffiti in thick and spontaneous black letters announces "INVADER WAS HERE", a direct nod to the street artist Invader and his practice of marking territory with his mosaics. A blue halo in the background highlights the inscription, as if to give it a particular aura, while the torn colors and textures of the posters contribute to the palimpsest effect. The work questions traces, memory, and ephemerality in public spaces: what is glued, covered, scratched, and then reappropriated. It creates tension between popular culture (video games, street art) and the poetic decomposition of city walls.

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

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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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At the heart of this abundant composition, the Mona Lisa stands out, revisited with the contemporary audacity characteristic of Wawapod . Reinterpreted as a constellation of white dots on a black background, it floats in the center of the canvas like a pixelated apparition, both recognizable and abstract. Its gaze, enigmatic as always, slips into the visual tumult orchestrated by Lasveguix , whose colorful and saturated collages evoke the raw energy of the city walls. Around the Mona Lisa, fragments of popular culture collide: a little girl blowing a bubble of gum, female icons from vintage magazines, typography ripped from the street, hip-hop figures, and fragments of comics. This carefully composed urban chaos powerfully highlights the serenity of the central face. The sticker “ Hello, my name is Amour Toujours, ” Wawapod’s leitmotif, punctuates the work like a declaration of tenderness addressed to Leonardo da Vinci’s icon—and, through her, to the entire history of art. Here, the Mona Lisa is no longer frozen in a museum: she lives, breathes, and evolves in a world of color, noise, and contradictory messages. She becomes a figure of gentle resistance in our image-saturated era.

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In this brilliant work, Willis revisits the ancient myth of Cupid , the god of love, by propelling it into a resolutely contemporary aesthetic. The winged child, bow drawn, prepares to shoot an arrow of love—a universal symbol of desire, passion, and human vulnerability. Against a vibrant yellow background , splashed with dynamic white projections, Cupid's silhouette stands out powerfully. The detailed and organic green wings contrast with the graphic black and white treatment of the body, offering a play of textures and materials. The suspended, almost choreographic posture freezes the movement in mid-flight, reinforcing the dramatic intensity of the gesture. The combined use of stencils , acrylic paint and spray paint reflects the artist's signature style: a confident urban style, a cross between classical and street art. The black "W" in the lower right corner affirms the work's identity. With The Flight of Love , Willis offers a bold reinterpretation of the mythological figure, mixing love, tension and urban energy in a picture that is as pop as it is poetic.

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In this powerful work, Willis , Street Artist, explores the theme of the duality of being through a face split into two contrasting halves. On one side, the character sports a disturbing clownish grin, referring to a chaotic and theatrical figure; on the other, a darker, more realistic face, expressing inner tension. This fusion clearly evokes the Joker from the Batman universe, and more specifically the intense and tormented interpretation by Joaquin Phoenix in the film Joker (2019), where the character oscillates between social marginalization, psychological suffering and an explosion of violence. The textured background in shades of gray and black, treated with a marbled effect, accentuates the latent violence of the composition and highlights the striking contrast of the central portrait. The artist skillfully plays with chiaroscuro , using the stencil as a tool of visual and symbolic impact. At the bottom right, the stenciled "W" print confirms the artist's identity while recalling the urban universe of his creations. With Duality , Willis questions the limits between character and person , between appearance and truth, in a society where masks are omnipresent.

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In this vibrant and poetic work, Jean-Philippe Ghiglione , renowned for his mastery of the poppy in painting, captures all the fragility and power of this iconic flower. Painted in oil with a knife, this 100 cm x 100 cm composition magnifies shapes and textures with an energetic and controlled gesture. The intense red of the petals contrasts with the white background, highlighting the delicate curves and the vitality of the flower. The slender, slightly golden stems evoke a fluid, almost dancing movement, while the budding buds add a touch of narrative: that of the cycle of life. The work demonstrates Ghiglione's characteristic style: an expressive painting, on the border between abstraction and figuration, where the poppy becomes a symbol of freedom, ephemeral beauty and sublime nature.

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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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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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