Pop Art Paintings & Artwork

Cupid Valentine On Frame is an explosion of color and energy where classic iconography meets the fire of urban art. In the center, the figure of a Cupid, a timeless symbol of love, is represented in an almost photographic style, but crossed by drips, projections and colored superpositions which propel it into a contemporary and vibrant dimension. Created using mixed media— acrylic paint, spray paint, markers, pencil, and stencils —the work juxtaposes precision and spontaneity. The incandescent background, dominated by reds and oranges, radiates like a passionate aura, while splashes of pink, green, and blue fragment the image, creating a contrast between angelic sweetness and expressive power. The white frame sketched around the character acts as a symbolic opening: Cupid seems to emerge from it to project himself towards the viewer, reminding us that love, in all its intensity, transgresses limits and invades space. With Cupid Valentine On Frame , Mikko revisits the myth of Cupid to make it an urban icon, both tender and explosive, where love unfolds in the luminous chaos of modern cities.

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La Danse Amoureuse is a four-handed work that combines two distinct but complementary artistic worlds. On the left, Jérôme Mesnager unfolds his iconic white silhouette, a symbol of life, movement, and freedom. Two stylized bodies intertwine in a fluid dance, vibrant with energy, against a vibrant orange backdrop that intensifies the warmth and vitality of the scene. On the right, the universe of Lasveguix brings an urban and chaotic dimension. Collages, torn posters, popular icons, and fragments of faces compose a teeming mosaic, imbued with memory and street culture. Batman, punk slogans, anonymous portraits, and tags overlap, evoking the fragility of time and the expressive power of the city. The encounter between the two styles creates a poetic tension: Mesnager's timeless, amorous impulse engages with Lasveguix's visual and historical depth. This work thus becomes a metaphor for love at the heart of urban tumult—a light, universal dance that resists the noise and fragments of the contemporary world.

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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 La Bohème , Willis celebrates the passion, carefreeness, and freedom of love. Against a backdrop of explosive rays in vivid hues— fuchsia pink , electric blue , and pure white —two faces intertwine in a loving embrace, their eyes closed, lost in the moment. The composition evokes a raw emotional intensity, reinforced by black splashes and enigmatic symbols like hearts and a question mark. The artist draws on the aesthetics of street art to create a scene that is both intimate and graphic , where the geometric lines of the background contrast with the softness of human curves. This background, which almost evokes a shattered flag or a modern stained-glass window, perhaps symbolizes the social, cultural, or emotional structure within which love tries to fit—or escape. Willis's signature "W", placed at the bottom right, affirms the identity of this work: free, urban, alive. La Bohème is not simply a tribute to love: it is a declaration of freedom, an ode to passions without rules, to the beauty of the suspended moment.

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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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"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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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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In this striking work, Gunnar Zyl presents a poetic and urban scene where a child, a black stenciled silhouette, holds up a large red umbrella, emblematic of protection and vulnerability. The strong contrast between the bright red of the umbrella and the deconstructed background in gray, beige and black tones, saturated with graffiti and drips, embodies one of the markers of Zyl's style: the fusion of raw street art with tender or universal symbols . The anonymous figure of the child, imbued with gentleness and nostalgia, evokes innocence in the face of a chaotic world. The umbrella, while meant to protect, itself appears splattered and degraded, as if the protection were imperfect—a subtle metaphor for the challenges we all face as we grow up. The deliberately disordered background evokes a street wall where graffiti becomes memory, noise, or despair. Through this piece, Gunnar Zyl continues his reflection on the fragility of innocence in a saturated urban world , but also on resilience , the act of standing up with dignity in an unstable universe. The work, despite the tension of its contrasts, exudes an energy full of sensitivity and inner strength . It is a powerful canvas, as graphic as it is emotional, which fits perfectly into the artist's universe: at the crossroads of the intimate and the collective, of urban chaos and hope.

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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 striking work, Giorgio Stocco reinterprets the iconic Arc de Triomphe , placing it at the heart of a reinvented urban scene, on the border between realism and fantasy. Created digitally and then pasted onto canvas , the composition offers a contemporary interpretation of the Parisian monument , transformed here into a vertical playground. The Arc comes to life: dozens of figures—tiny but animated— climb its facades , cling to its sculptures, wander across the upper terrace, or shelter under a floating tricolor umbrella . The work introduces a fascinating play of scale , between architectural monumentality and human abundance. The background, discreet but present, is composed of printed pages , adding a cultural and textual texture that enriches the reading of the piece. With this offbeat scene, Giorgio Stocco questions the relationship between man and history , between the individual and symbols. He mixes humor, visual poetry and a remarkable technical mastery of digital imagery, served by a collage perfectly integrated into the canvas support , halfway between traditional painting and contemporary digital art.

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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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This work of EGHNĀ is a canvas painting that fuses the codes of street art with a popular culture icon, here provocatively reworked. It features a stylized and fragmented representation of Mickey Mouse, whose face is covered in graffiti, paint drips, and scribbled texts evoking the urban and rebellious world of graffiti. The color palette is dominated by black, white, gray, and red. The chaotic, saturated background combines mist effects, broad brushstrokes, splashes, and red drips, reminiscent of bloodstains. Inscriptions like "BRONX," "vandal," and illegible graffiti add a protest and underground dimension to the whole. The character's attitude, though humorously hinted at by his wide smile, seems almost menacing or cynical, reinforced by jarring elements like the white X-shaped stitching across his lower face. Hastily scribbled hearts sit alongside more aggressive messages, creating a contrast between the character's supposed innocence and the raw world around him. The work seems to question the place of mass culture in contemporary art, while paying homage to the aesthetic of New York graffiti of the 1980s and 1990s. It evokes a form of desacralization of the Disney myth in favor of a free, raw, almost anarchic expression.

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This work of Bruno Cantais , created in homage to Pierre Soulages , is part of the continuity of outrenoir , a movement initiated by Soulages where light is born from the interaction with dark matter. Here, the artist uses the texture of the paint to structure the surface, creating a subtle interplay between opacity and reflections. The dynamic, energetically drawn streaks evoke an almost organic movement, recalling the imprints of time or the traces of pouring rain frozen in the material. The exclusive use of black, far from being an absence of color, becomes an infinite source of luminous variations and depth. With this tribute, Bruno Cantais does not just quote Soulages, but also appropriates his visual language to offer a work that questions our perception of black and light, between rigor and raw emotion.

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This work of Lasveguix presents an urban and textured aesthetic, inspired by street art and collage. It juxtaposes iconic graphic elements, including a pixel art visual reminiscent of Space Invader creations, with the words "LOST" and "LOVE" . The word "LOVE" is partially tagged in yellow, transforming the message and creating a tension between loss and hope. The various layers of torn posters, graffiti, and colorful textures give the work an organic and spontaneous dimension, evoking the city walls marked by time and successive artistic interventions. Fragments of words and phrases ("luck," "TIME," "for ever for ever") also feature, adding a poetic and introspective character. Lasveguix 's work here seems to question collective memory, the degradation of time and the interaction between art and urban space.

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This work of Lasveguix is fully part of the world of street art by paying homage to the iconography of Invader. The two pixel art figures, inspired by the famous video game Space Invaders, emerge in the center of the composition, partially covered by layers of torn paper, graffiti and paint. The accumulation of these layers gives the impression of a living urban wall, witness to the passage of time and the interaction between the artist and the city. Inscriptions such as "INVADER WAS HERE" reinforce this direct reference to the French street artist known for disseminating his mosaics around the world. The pastel color palette, mixing blue, pink and beige, contrasts with the raw aspect of the tears and paint splashes, creating a balance between chaos and harmony. Through this work, Lasveguix captures the essence of an urban art in perpetual mutation, where each trace left by an artist becomes a new layer of history.

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