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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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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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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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 "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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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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Spring Moon is an original and unique work by the artistMargot Laffon , now highly sought after by collectors and lovers of contemporary portraits. Hand-painted in acrylic, this exceptional piece embodies the artist's unique world: powerful, refined, and deeply expressive. The canvas depicts a hypnotic female portrait. The face—of an almost supernatural pallor—is contrasted with intense blue hair , piercing electric blue eyes , and deep red lips . The whole is framed by a stylized textile background , where floral patterns and an Art Nouveau atmosphere evoke a dreamlike, dense, and vibrant world. The garment, adorned with vibrant flowers and oriental details, draws inspiration from traditional textile cultures, offering a touch of ethnic elegance and great visual richness. The red flower in the hair accentuates the balance between sensuality, mystery, and inner strength.

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

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

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

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