Pop Art Paintings & Artwork

Urban Wall Basquiat is a powerful collaborative work signed by Jérôme Mesnage and Lasveguix , who pays homage to the legacy of Jean-Michel Basquiat while asserting a style deeply rooted in contemporary urban aesthetics. The composition evokes a city wall marked by time, torn posters, and successive layers of visual interventions. Fragments of posters in shades of yellow, pink, and black, partially ripped, interact with dark areas, tags, and bursts of color, creating a dense, vibrant, and chaotic surface, true to the raw energy of the street. At the heart of the artwork appears the famous white body of Jérôme Mesnager, an emblematic figure of street art, captured in an upward and expressive movement. This luminous figure contrasts with the visual violence of the background and embodies a form of momentum, resistance, and freedom, like a human presence seeking to emerge from the urban tumult. Lasveguix's intervention reinforces the graphic and textural dimension of the whole, through a process of collage, tearing, and layering that echoes Basquiat's radical aesthetic: an instinctive, political, and profoundly vibrant style of painting. The work thus plays on the collective memory of street art, somewhere between homage, reinterpretation, and contemporary reappropriation. Urban Wall Basquiat presents itself as an urban palimpsest, where the history of graffiti, the mythology of modern art, and the raw reality of the street intersect. A committed, vibrant, and resolutely contemporary work, it celebrates the expressive power of urban art as a universal language.

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With Urban Malabar , Lasveguix subverts the codes of advertising and popular imagery to reveal their mechanisms and excesses. The central figure, a smiling, retro-style character, seems to emerge from a pile of torn posters and graphic fragments. His deceptively reassuring expression, combined with the raised thumbs-up gesture, evokes a promise of standardized happiness, instantly recognizable yet profoundly ironic. The word "MALABAR," imposing and colorful, stands out like an advertising slogan torn from its original context. Around it, layers of torn paper, splashes of pink paint, and abraded areas convey the visual violence of urban space and the constant saturation of commercial messages. Here, collage becomes a battleground between graphic seduction and the erosion of reality. The chromatic contrasts—bright yellows, deep blacks, off-whites, and touches of pink—reinforce the immediate impact of the work while underscoring its critical nature. Behind the playful, pop aesthetic lies a reflection on consumerism, the repetition of images, and the superficiality of advertising. With this work, Lasveguix situates his art within a direct lineage of street art and pop art, transforming a familiar icon into an ambiguous symbol. Malabar acts as a jarring mirror to our image-driven society, where outward enthusiasm often masks a more fragmented and chaotic reality.

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With Pop Skull , Lasveguix revisits the universal iconography of the skull through a resolutely pop and urban language. At the center of the composition emerges a stylized skull, rendered in black and white, almost screen-printed, which stands out as a figure both familiar and unsettling. Its fixed smile oscillates between irony and provocation, recalling the tenuous boundary between popular culture and contemporary memento mori. The artwork is constructed from a dense collage of torn posters, fragmented typography, logos, and media references. The vivid colors—saturated yellows, electric blues, pinks, and blacks—create a striking contrast with the monochrome skull, accentuating its visual impact. This chaotic layering evokes urban walls covered with advertisements, slogans, and ephemeral messages. The tears, torn layers, and abraded areas are integral to the narrative of the work. They reflect the wear and tear of time, the saturation of the image, and the visual violence of our contemporary environment. The skull, a timeless symbol of death, is thus confronted with the excess of signs and consumerism, becoming a pop icon emptied of its original gravity, but imbued with a new critical irony. With Pop Skull , Lasveguix offers a striking work at the crossroads of street art and pop art, where the seductive aesthetic masks a deeper reflection on mass culture, the repetition of images, and the trivialization of symbols. The work stands as a jarring mirror of our times, at once playful, violent, and profoundly contemporary.

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With Le Mans , Lasveguix pays homage to an icon of cinema and automotive culture by merging street art aesthetics, urban collage, and collective memory. At the center of the composition appears the intense face of Steve McQueen, the mythical figure from the film Le Mans (1971), embodying speed, control, and a form of raw freedom associated with motor racing. The artwork is constructed from fragments of torn posters, ripped-off typography, and superimposed visual layers, evoking city walls marked by time. The tears, cracks, and erased areas create a tension between appearance and disappearance, like a memory reconstructed from traces. The race number, graphic references, and textual elements reinforce the historical and symbolic grounding of the work. The contrast between the black and white portrait and the bursts of vibrant colors—yellows, blues, greens, and reds—energizes the composition and conveys the energy of the race, the noise, the speed, and the adrenaline of the circuit. This chromatic opposition also underscores the dialogue between past and present, between a timeless icon and contemporary visual language. Through Le Mans , Lasveguix does more than simply represent a cult figure: he reinserts it into the urban space, confronting it with the ravages of time and the visual violence of the street. The work thus becomes a manifesto that is both nostalgic and modern, celebrating the legend, the mechanics, and the collective imagination linked to the mythology of speed.

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On this authentic road sign, Lasveguix presents a new variation on his signature urban aesthetic. At the center, a female figure inspired by Obey's iconography emerges from a dense collage of poster fragments, shattered typography, and vibrant colors. The portrait's deep blue contrasts with the layers of torn paper surrounding it, evoking the ephemeral and dynamic nature of city walls. The reflective texture of the panel, still visible beneath the collage, creates a subtle interplay of light and reinforces the contrast between the rigidity of street furniture and the expressive freedom of street art. The panel's red borders frame the composition, a reminder of its functional origins, now repurposed as an artistic medium. The superimposed layers of paper, sometimes worn, sometimes vibrant, give the whole an almost sculptural depth. One perceives the accumulation of time, the traces of passages, the visual narratives that overlap to form a fragment of the city frozen in a moment. With this work, Lasveguix blurs the lines between symbol, raw material, and urban aesthetics. He transforms a utilitarian object into a medium imbued with visual poetry, where the icon is reborn in the heart of urban chaos, between collective memory and artistic reinvention.

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On this genuine, repurposed road sign, Lasveguix deploys one of his signature artistic techniques: a vibrant collage, saturated with fragments of posters, shattered typography, and urban textures that seem torn from the city walls. At the heart of this composition emerges the figure of Marianne, inspired by Obey's aesthetic, a symbol of freedom and civic engagement. Marianne's silhouette emerges like a revelation amidst a controlled visual chaos. The torn layers, vibrant colors, and overlapping paper create a sense of depth reminiscent of the natural erosion of urban walls, where posters follow one another, overlap, and ultimately tell a collective story. The reflective background of the sign, partially visible beneath the artistic interventions, creates a striking contrast between the rigidity of the traffic code and the free-spirited energy of street art. The splashes of pink paint, the graffiti, and the artist's signature reinforce the impression of an object taken from public space and transformed into a unique work of art. With this piece, Lasveguix plays on boundaries: those between republican symbol and pop culture, between regulated space and personal expression, between erasure and revelation. The work becomes a fragment of the city, frozen in time, where Marianne is reborn in the heart of urban chaos.

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In this unique work, Lasveguix repurposes a real road sign, transforming it into an artistic medium rich in meaning and contrasts. At the heart of the sign, a fragmented collage reveals an iconic image of Charlot, the legendary character portrayed by Charlie Chaplin, sitting with a small dog. This emblematic figure of silent cinema emerges through layers of torn posters, partially legible typography, and overlapping urban motifs. The reflective background of the sign, still visible in places, creates a striking dialogue between the regulated world of road signs and the raw energy of street art. The blackened edges, scratches, and tags added by the artist reinforce the impression of an object taken from the street and reinvented. The layering of textures—torn paper, traces of glue, natural wear and tear, and painted interventions—lends the piece an almost archaeological dimension. Like a fragment of the urban landscape frozen in time, the panel tells the story of the street while paying homage to Chaplin, a timeless symbol of humanity, poetry, and melancholy. By using a medium as codified and functional as the traffic sign, Lasveguix blurs the lines between art, street furniture, and poetic subversion. The work then becomes a hybrid object, both familiar and subversive, where iconic tradition and urban chaos meet to form a piece with a powerful and evocative aesthetic.

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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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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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