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MUSARDU - GODDESSES OF NIBIRU
Romulo Royo
PAINTING
Acrylic and oil on canvas.
Measure of 116 x 89 cm. (45.66 x 35.03 in).
Year of realization 2015.
Signed in the bottom right of the piece.
 
This important painting is a clear demonstration within the series, of the different techniques used to achieve delicacy, lightness and an antagonistic transparency at the very moment in time that warns us that something might happen. It is undoubtedly one of the important pieces in the Goddesses series, in terms of both its size and the treatment of the picture.
In the series, Goddesses of Nibiru, he reflects the play on myth and reality. Delicacy and strength are represented by the female figure. He captures beautiful, enigmatic and sometimes almost veiled features, as if in a dream or an illusion. The garments and ornaments that he adorns them with are timeless, objects that may conjure up ancient civilizations, such as feathers and metallic ornaments in contrast with futuristic elements, like strange headdresses and, in certain pictures, beams of light shining out from inside the strange characters’ necks.
Royo brings his own brand of aesthetics, centred on the goddesses that inhabit the planet called Nibiru, following texts from Mesopotamia and Babylon. According to these texts, it is a planet in the solar system that orbits around our star every 3,600 years. Nibiru is the home of the goddesses, of the Annunaki, or in other words, winged creatures.
It is curious that in Mesopotamic mythology a division can be made between Sumerian and Semitic divinities. First came the Sumerian gods, to be later adapted by the Akkadians, Babylonians, Assyrians, Arameans and Chaldeans (all Semitic peoples), only to then go on to become sources for Christian and Hebrew religions to draw on. And they adapted gods like Enki, Enlil, An and Inanna, among others. In some cases, they have similar attributes in the latter religions as in the ancient texts, though adapted and differently named.
 

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THE FLIGHT OF THE SPELLS 2
Romulo Royo
PAINTING
Emulsion, acrylic with airbrush and oil on paper.
Size of 56 x 38 cm. ( 22.04 x 14.96 in. ).
Year of realization 2010.
Published on the inside of the authors' book Malefic Time, Apocalypse, page 92. Edited in different languages and distributed internationally.
 
Not only that she was enigmatically beautiful. There was something in her solitude, in her anguish, all that seemed to haunt and torture her. At first, the young woman with almost albino mane only seemed like a survivor.
Malefic Time, Apocalypse

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MALEFIC TIME APOCALYPSE, SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Size 28 x 33 cm (11.02 x 12.99 in)
Year of realization 2010
Signed in the bottom right of the piece.
Graphite of the Malefic Time series, Luz and Baal.

 
"Luz had the soul so far away that her instincts had fallen asleep. Dreams that seem reality and reality that takes the form of dream."
Malefic Time, Apocalypse 

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NINSHUBUR - GODDESSES OF NIBIRU
Romulo Royo
PAINTING
Acrylic and oil on canvas.
Measure of 116 x 89 cm. ( 45.66 x 35.03 in. )
Year of realization 2015.
Signed in the bottom right of the piece.
 
This important painting is a clear demonstration within the series, of the different techniques used to achieve delicacy, lightness and an antagonistic transparency at the very moment in time that warns us that something might happen. It is undoubtedly one of the important pieces in the Goddesses series, in terms of both its size and the treatment of the picture.
In the series, Goddesses of Nibiru, he reflects the play on myth and reality. Delicacy and strength are represented by the female figure. He captures beautiful, enigmatic and sometimes almost veiled features, as if in a dream or an illusion. The garments and ornaments that he adorns them with are timeless, objects that may conjure up ancient civilizations, such as feathers and metallic ornaments in contrast with futuristic elements, like strange headdresses and, in certain pictures, beams of light shining out from inside the strange characters’ necks.
Royo brings his own brand of aesthetics, centred on the goddesses that inhabit the planet called Nibiru, following texts from Mesopotamia and Babylon. According to these texts, it is a planet in the solar system that orbits around our star every 3,600 years. Nibiru is the home of the goddesses, of the Annunaki, or in other words, winged creatures.
It is curious that in Mesopotamic mythology a division can be made between Sumerian and Semitic divinities. First came the Sumerian gods, to be later adapted by the Akkadians, Babylonians, Assyrians, Arameans and Chaldeans (all Semitic peoples), only to then go on to become sources for Christian and Hebrew religions to draw on. And they adapted gods like Enki, Enlil, An and Inanna, among others. In some cases, they have similar attributes in the latter religions as in the ancient texts, though adapted and differently named.
 
Figurative painting, it seems, is destined to be contemporary art’s perennial sidepiece: always available for a fling, never for very long. The last time one could admit to a passion for it without committing social suicide in the art world was probably around 2003, when the painter John Currin had his midcareer survey at the Whitney Museum of American Art, in New York. Currin, known for injecting new ideas into age-old images of the body, was handsome, successful, and youthful. His peers were also of the moment: Elizabeth Peyton palled around with Marc Jacobs, and George Condo bedeviled collectors with lewd portraiture. The year before Currin’s retrospective, an exhibition curated by Alison Gingeras at the Centre Pompidou, in Paris, “Dear Painter, Paint Me…Painting the Figure Since Late Picabia,” had opened to acclaim. As the critic Roberta Smith observed in TheNew York Times, “reports of painting’s death have been exaggerated for about 30 years.”
“The body in crisis is increasingly present in our daily lives,” notes MoMA PS1 curator and associate director Peter Eleey, who headed up the “Greater New York” 2015 curatorial team. “Whether it’s in reference to the refugee situation”—he didn’t specify which one, but there are plenty—“or the way the media is processing Black Lives Matter, abstraction has been comfortable—for us. But it doesn’t give shape to the discomforts and questions that I think a lot of us are grappling with.” Deitch seconds that, adding, “This is not a time when a ponderous Mark Rothko painting about myth is relevant.” He ventures that figurative painting allows for more-diverse cultural content—clothing, skin color, setting—than abstraction ever can.
W - Fan Zhong

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MALEFIC TIME, CODEX APOCALYPSE
Luis Royo
COLOR DRAWING
Graphite and oil on tracing paper.
Size 35 x 46 cm (13.77 x 18.11 in)
Year of realization 2012
Published in the novel Malefic Time, Codex Apocalypse, page 94.

 
"The last rays of a dying sun filtered through the open gaps in the gigantic silhouette of Columbus Circle Hostel. Their profiles raise to the heavens ochres as a bastion of memory."
Malefic Time, Codex Apocalypse

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SOUM DANCE 9 SERIE
Luis Royo
COLOR DRAWING
Graphite and watercolor on paper.
Measure 38 x 57 cm (14.96 x 22.44 in)
Year of realization 2011
Signed in the bottom-right of the piece.
It belongs to the Soum serie and published in the interior pages of the authors' book , Malefic Time: Apocalypse, page 19. Edited in diferent languages and distributed internationally.

"Soum outstanded for her skills and speed since she joined the brotherhood"
Malefic Time, Apocalypse

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FANTASY POOL CLUES
Luis Royo
PAINTING
Watercolor and acrylic with airbrush on paper.
Painted surface 10 x 39 cm. ( 3.93 x 15.35 in. ) on a format 24.5 x 51 cm. ( 9.64 x 20.07 in. )
Year of realization 2001.
Signed on the bottom left of the piece.
Illustration made for billiard sticks commissioned by Pool Dawg House (USA).

According to Cornelius Agrippa, stone is" the first matter of creation, the purest medicine for our restoration and conservation. He affirms that the four simple elements, water, air, earth and fire, are followed by those that are composed of from them: stone, metal, plant and animal.
Visions

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JUMPING OFF THE PLANET
Luis Royo
PAINTING
Watercolor, acrylic using airbrush and oil on paper.
Painted surface 53 x 35.8 cm ( 20.86 x 14.09 in) in a format of 67 x 49.8 cm. ( 26.37 x 19.60 in. )
Year of realization 1999
Signed on bottom right of the piece.

Cover of the novel "Jumping Off the Planet" By David Gerrold, published by Tor. It was also published on the inside of the author's book Evolution, page 19. Edited in diferent langauges and distributed internationally.
  
As you get closer, the lower part of the Stem begins to grow on the horizon like a large white mountain. It extends up and up and it takes a long time to reach it. The upper part of the cone-shaped part is almost ten kilometers high. Above, there is a ring that surrounds the Line, an observation tower from where you can see the surrounding landscape. If you get closer you can see large holes in the bottom of the cone, as if it were a very small tent for the ropes.
Evolution

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EXPENDABLE
Luis Royo
PAINTING
Watercolor, ink with airbrush and oil on paper.
Painted surface 27 x 42 cm ( 10.62 x 16.53 in) in a format of 43 x 58 cm. ( 16.92 x 22.83 in. )
Year of realization 1997
Signed on bottom right of the piece.
  
Cover of the novel Freitag by Robert A. Heinlein . It was also published on the indisde of the author's book Dreams, page 51. Edited in diferent langauges and distributed internationally.

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CHANGING VISION 5
Luis Royo
PRELIMINARY 5
Watercolor and acrylic with airbrush on paper.
Painted surface 24 x 17.5 cm ( 9.44 x 6.88 in) in a format of 36.5 x 27.5 cm ( 14.37 x 10.82 in).
Year of realization 2000.
Previous work made for the cover of the novel Changing Vision by the writer Julie E. Czerneda, edited by Daw Books (USA)
The final painting is published on the inside of the author's book Evolution, page 18.
  
The first book in Julie Czerneda's acclaimed Web Shifters series made the Nebula preliminary nomination list in 1998. Changing Vision continues the story of Esen, the last survivor of an alien race with the ability to assume the form of any creature.
Changing Vision

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AS TIME GOES
Luis Royo
PAINTING
Watercolor, ink with airbrush and oil on paper.
Painted surface 30.5 x 37 cm ( 12.00 x 14.56 in) in a format of 44.5 x 51 cm. ( 17.51 x 20.07 in. )
Year of realization 1988
Signed on bottom right of the piece.
 
Cover of the video tape "As Time Goes By" by Joe Bogart Raumschiff. It was also published on the inside of the author's book Dreams, page 46. Edited in diferent langauges and distributed internationally.

Or the genre of humor, a slippery terrain. Get a few cheerful color filters, place them in front of your eyes, and with your feet tightly locked together look through them and imagine a beautiful world. I try this difficult execise without much success. Of course, there is always the narrow and attractive path of irony.
Dreams

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OTHER
Luis Royo
PAINTING
Watercolor, ink with airbrush and oil on paper.
Painted surface 52 x 36 cm ( 20.47 x 14.17 in) in a format of 63.8 x 46 cm. ( 25.11 x 18.11 in. )
Year of realization 1994.
Signed on bottom right of the piece.
  
Cover of the novel Other by Gordon R.Dickson published in the USA by Tor books. It was also published on the inside of the author's book Evolution, page 10. Edited in different languages and distributed internationally.
  
The Sun with its light, heat and life. With the eighth letter of the Hebrew alphabet, symbol of existence and the foundation. The labyrinth where everything that is malicious is locked up and lost. And the regenerating fire in every way. All this engraved on the skin and, on top of it, the four properties: heat, cold humidity and drought. In short, the accuracy with the brightness of the metal.
Evolution

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CAPTAIN POWER 2
Luis Royo
PAINTING
Acrylic using airbrush on paper.
Painted surface 46.5 x 33.5 cm (18.30 x 13.18 in) in a format 58.5 x 45.5 cm (23.03 x 17.91 in)
Year of realization 1988
Signed in the bottom of the piece.
Illustration published in the collection of trading cards "Forbidden Universe: Royo 2" Comic Images.
Published on the inside of the author's book Evolution, page 36. Edited in different languages and distributed internationally.
 
"In the 22nd century after the Metal Wars, a cybernetic revolt that resulted in the subjugation of the human race by intelligent machines. Captain Jonathan Power and a small group of guerrilla fighters, called 'The Soldiers Of The Future' oppose the machine forces that dominate Earth."

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PILGRAM WAYFARERS
Luis Royo
PRELIMINARY
Acrylic using airbrush and oil on paper.
Painted surface 26.4 x 17.4 cm. ( 10.39 x 6.85 in) in a format of 33 x 23 cm. (12.99 x 9.05  in).
Year of realization 2005.
Signed on the bottom right of the piece.
Cover of the novel Pilgrim by Sara Douglass published by Tor Books.
 
The Star Gate is destroyed and the Star Dance is dead. Icarii Enchanters, gods, and humans alike are helpless as the TimeKeeper Demons lay waste to Tencendor. There must be hope left, but no one knows where to find it. Death lurks in every twist of the Maze, but only those who have the courage to endure death can learn the secrets of the ancient enemy.
Pilgrim

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EL DESCENSO DE LA CUARTA LUNA
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 30 x 42.5 cm. ( 11.81 x 16.73 in. ) in a format of 50 x 70 cm. ( 19.68 x 27.55 in. )
Year of realization 2007
Signed on the bottom right of the piece.
Published on the inside of the author's book Dead Moon, page 11. Edited in several languages and distributed internationally.
  
An ancient oriental legend tells how the moon visits a crystal clear lake where it recreates contemplating her own image every night, while in the mornings, on its banks, warriors fight battle after battle until the waters are dyed in red.
Dead Moon

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PASEO FINAL
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 54 x 39 cm. ( 21.25 x 15.35 in. ) in a format of 70 x 57 cm. ( 27.55 x 22.44 in ).
Year of realization 2008
Signed on the bottom right of the piece.
Published on the inside of the author's book Dead Moon, page 28-29. Edited in several languages and distributed internationally.
  
An ancient oriental legend tells how the moon visits a crystal clear lake where it recreates contemplating her own image every night, while in the mornings, on its banks, warriors fight battle after battle until the waters are dyed in red.
Dead Moon

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NARCO POLICE
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 35 x 40 cm (13.77 x 15.74 in) in a format of 47 x 53 cm (18.50 x 20.86 in)
Year of realization 1990
Signed in the bottom of the piece.
Cover of the video game "Narco Police" by Dinamic. Illustration published among the collection of trading cards "Forbidden Universe: Royo 2" by Comic Images, 1994. Fragment of the illustration is also published on the inside of the author's book Dreams, page 62. Edited in different languages and distributed internationally.
 
"From another galaxy the colors can be infinite, the palette of a rainbow. Science fiction is an ideal place to ramble, to imagine different worlds to yours"

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DYNAMIX, BIODERM & DIAMOND SWORD
Luis Royo
PAINTING
Watercolor, acrylic using airbrush and oil on paper.
Painted surface 37 x 25 cm (14.56 x 9.84 in) in a format of 53 x 41 cm (20.86 x 16.14 in).
Year of realization 1999
Signed in the bottom right of the piece.
Illustration for the video game manual Tribes by Dynamix(USA).
Also published on the inside of the author's book Evolution, page 11. Edited in different languages and distributed internationally.
 
"As genetically engineered lifeforms, BioDerms served for centuries as warriors for the Empire and its corporations. Originally created to fight the Cybrids, they continued to see combat in various internal conflicts. In 3734, the mighty Gir Draxon led the rebellion that freed the BioDerms and set them on a crusade to claim Earth for their own."

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DRUSS THE LEGEND
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 54 x 39 cm (21.25 x 15.35 in) in a format of 66 x 51 cm (25.98 x 20.07 in)
Year of realization 1998
Signed in the bottom right of the piece.
Cover of the novel "The First Chronicles of Druss the Legend" writer David Gemmell. Edited by Ballantine Books (USA).
Also published on the inside of the author's book Evolution, page 48. Edited in different languages and distributed internationally.
  
"He was known as Druss, The Deathwalker. Though the blood of merciless butchers coursed through his veins, he had found a fragile peace through his love for beautiful, mystical Rowena."

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SKETCH FAKK 2
Luis Royo
SKETCH
Graphite on traicing paper.
Painted surface 15 x 20.5 cm. ( 5.90 x 8.07 in. ) in a format of 18 x 25 cm. ( 7.08 x 9.84 in. )
Year of realization 1999
Signed on the bottom right of the piece.
Previous work made for the Heavy Metal video game box F.A.K.K. 2. Edited by Ritual Entertainment (USA).
Published on the inside of the author's book Evolution, page 26.
 
It's a sequel to the animated movie Heavy Metal 2000, which tells the adventures of Julie in her quest to save her planet from an evil entity called Gith that is trying to conquer the universe. Using a wide variety of weapons, Julie must combat the forces of Gith and at the same time discover the secret of her planet.
Wikipedia



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CHANGING VISION
Luis Royo
PAINTING
Watercolor, acrylic using airbrush and oil on paper.
Painted surface of 41 x 28 cm. ( 16.14 x 11.02 in. ) in a format of 61 x 48 cm. ( 24.01 x 18.89 in. )
Year of realization 2000
Signed on the bottom right of the piece.
Cover of the novel Changing Vision by the writer Julie E. Czerneda, edited by Science Fiction Daw (USA)
Published on the inside of the author's book Evolution, page 18. Edited in different languages and distributed internationally.
 
Esen-alit-Quar had violated the First Rule of her species when she revealed her existence to a human named Paul Ragem. And though both Paul and Esen had survived, others of Esen's Web had not been so fortunate.
Changing Vision
 

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ENSIGN FLANDRY
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper.
Painted surface 32 x 45.8 cm. ( 12.59 x 18.03 in. ) in a format of 47.8 x 62 cm. ( 18.81 x 24.4 in. )
Year of realization 2000
Signed on the bottom left of the piece.
Cover of the novel The Imperial Stars by the writer Poul Anderson, edited by Doubleday (USA)
Published on the inside of the author's book Evolution, page 10. Edited in different languages and distributed internationally.
 
Hidden in the fog of loneliness, he let his knights depart in search of the Holy Grail in metal horses of noisy engines.
The Imperial Stars
 

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LA PRINCESA
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 34 x 53 cm. ( 13.38 x 20.86 in. ) in a format of 50 x 70 cm. ( 19.68 x 27.55 in. )
Year of realization 2007
Signed on the bottom right of the piece.
This painting is part of the 64 hexagrams from the deck I Ching Dead Moon, edited in Spain by Naipes Heraclio Fournier and Norma Editorial (deluxe edition)
Published on the inside of the author's book Dead Moon, page 8. Edited in several languages and distributed internationally.
 
An ancient oriental legend tells how the moon visits a crystal clear lake where it recreates contemplating her own image every night, while in the mornings, on its banks, warriors fight battle after battle until the waters are dyed in red.
Dead Moon

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SKETCH FAKK 2
Luis Royo
SKETCH
Graphite on traicing paper.
Painted surface 14.3 x 15 cm. ( 5.62 x 5.90 in. ) in a format of 17 x 18.5 cm. ( 6.69 x 7.28 in. )
Year of realization 1999
Signed on the bottom right of the piece.
Previous work made for the Heavy Metal video game box F.A.K.K. 2. Edited by Ritual Entertainment (USA).
Published on the inside of the author's book Evolution, page 26.
 
It's a sequel to the animated movie Heavy Metal 2000, which tells the adventures of Julie in her quest to save her planet from an evil entity called Gith that is trying to conquer the universe. Using a wide variety of weapons, Julie must combat the forces of Gith and at the same time discover the secret of her planet.
Wikipedia


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SOUZANG
Luis Royo
COLOR DRAWING
Acrylic and oil on paper.
Painted surface 15 x 23 cm. ( 5.90 x 9.05 in. ) in a format of 35 x 50 cm. ( 13.77 x 19.68 in. )
Year of realization 2008
Signed on the bottom right of the piece.
Published on the inside of the author's book Dead Moon, page 19. Edited in different languages and distributed internationally.
 
The You had always been in contact with the esoteric forces, and in their chapels the spells resounded and the air smelled of cinnabar and oils.
Dead Moon

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WAYFARERS REDEMPTION
Luis Royo
PRELIMINARY 1
Watercolor and acrylic using airbrush on paper.
Painted surface 25 x 18 cm. ( 9.84 x 7.08 in. ) in a format of 36.5 x 28 cm. ( 14.37 x 11.02 in. )
Year of realization 2000.
Previous work made for the cover of the novel The Wayfarer Redemption by the writer Sara Douglass, edited by Tor Books (USA)
 
This grand and heroic story tells the tale of one woman's struggle to learn the truth of her people and change their hearts and their minds forever. She fights against oppresive forces to share this reality and will not desist until everyone knows ... the truth of the Star Gate.
The Wayfarer Redemption

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PROHIBITED SKETCHES SERIE
Luis Royo
DRAWING
Graphite on  tracing paper.
Painted surface 25.5 x 35 cm (10.03 x 13.77 in) in a format of 36.5 x 51 cm (14.37 x 20,07 in)
Year of realization 2004
Signed on the bottom right of the piece.
Published on the inside of the author's book Prohibited Sketchbook, page 43. Edited in different languages and distributed internationally.

 
"Before beginning sorting and distributing them on these pages, they were all over the floor of the studio trying to decide their places, and looking back at them a little shiver crossed me from head to toe ..."
Prohibited Sketchbook

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REAP THE WILD WIND
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 52 x 35 cm (20.47 X 13.77 in) in a format of 67 x 49 cm (26.37 x 19.29 in)
Year of realization 2007
Signed in the bottom of the piece.
Cover made for the novel Reap the Wild Wind by writer Julie E. Czerneda. Edited by Daw editorial, USA publisher.
   
"Aliens begin exploring the Clan's home planet, upsetting the delicate balance between the three intelligent races. It is a time, too, when one young woman is on the verge of mastering the forbidden power of the M'hir-a power that could prove to be the salvation or ruin of her entire specie"
REAP THE WILD WIND

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THE CROSS OF PLEASURE
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 19.5 x 34 cm (7.67 x 13.38 in) in a format of 35.5 x 50 cm (13.97 x 19.68 in)
Year of realization 2009
Signed on the bottom right of the piece.
 
Illustration part of the Prohibited trilogy. Published on the inside of the author's book Prohibited II, page 11. And also in the book Prohibited New Remastered Edition, page 62. Edited in different languages and distributed internationally.
  
"The sense of martyr. This state that makes us levitating beings without anything other than the absence can be accommodated within, without anything other than the pain of absence may enter into us. That pleasure caused, cultivated in private because it is the "Great Desire", because it is the ecstasy"
Luis Royo

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GOTAS DE LOUYANG
Luis Royo
PAINTING
Oil on paper.
Painted surface 22 x 22 cm (8.66 x 8.66 in) in a format of 35 x 43 cm (13.77 x 16.92 in)
Year of realization 2008
Signed on the bottom right of the piece.
Published on the inside of the author's book Dead Moon, page 23. Edited in different languages and distributed internationally.
  
"Word has it that it was a place, a world, a great city with hundreds of narrow streets, palaces and shrines honoring a wide array of gods; its districts full of artisans and traders, with visitors from many distant lands".
Luis Royo

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LAS DOS CARAS
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 26.5 x 42.5 cm (10.43 x 16.73 in) in a format of 49.5 x 66 cm (19.48 x 25.98 in)
Year of realization 2007
Signed on the bottom right of the piece.
Published on the inside of the author's book Malefic New Remastered, page 78. Edited in different languages and distributed internationally.
  
"The whole universe of an illustration in one point, a dominant color, a drop of blood that takes a look in our own eyes".
Luis Royo

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LIZZY STRAINS BLUE DREAM
Luis Royo
PAINTING
Acrylic with airbrush and oil on paper.
Painted surface 32 x 41 cm (12.59 x 16.14 in) in a format of 50 x 64 cm (19.68 x 25.19 in)
Year of realization 2005
Signed in the bottom-right of the piece.
Work made for Lizzy Strains. Published in the inside pages for the author's book Subversive Beauty, page 49. Edited in different languages and distributed internationally.
   
"At dawn, the girl woke up exhausted, believing that another nightmare had haunted her that night, but as she set foot on the ground she saw the body of the repulsive beast."
Subversive Beauty
 
LIZZY STRAIN'S BLUE DREAM
  
Since she was a little girl, the monster visited her every night, and she curled up between the sheets, and covered her head until the beast disappeared at dawn with hysterical and humiliating guffaws.
That terrible Orc gave off a nauseating smell which would be with her all day long, for she was unable to erase it from her memory.
One night, when she had become a young woman, exhausted by the horrible and constant visits, she fell sound asleep. She travelled to the Valhalla, like in the stories she had read, and there the Valkyries, in one sole night, taught her fencing, marked her skin with the lines of the bramble of life, and made her a pair of large wings of seagull feathers. Turned into a beautiful Valkyrie, she came down to Earth again and, in her bedroom, found the abominable Orc, who, dribbling with open fauces, and stalking her, approached the bed. When he moved the sheets away, instead of a frightened girl, he found a fearsome Valkyrie who cut his head right off with her sword.
At dawn, the girl woke up exhausted, thinking another nightmare had hunted her that night, but on putting a foot on the ground, she found the repulsive beast's lifeless body with the head severed.

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SANGRE O VINO
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 26 x 42 cm (10.23 x 16.53 in) in a format of 50 x 70 cm (19.68 x 27.55 in)
Year of realization 2008
Signed on the bottom right of the piece.
Published on the inside of the author's book Dead Moon, page 18. Edited in different languages and distributed internationally.
 
"The carved silver cup rolled on the floor spreading wine, the hand followed it and after the athletic body of the man who fell forward and extended grotesquely on a messy tangle of carpets, bedding and cushions, the face dulled by Alcohol was lost in the confusion"
Luis Royo

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IVORY MARFIL
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper.
Painted surface 42.5 x 32.5 cm. (16.73 x 12.79 in) in format of 58.5 x 48.3 cm. (23.03 x 19.01 in).
Signed in the bottom-right of the piece.
Year realization 1989

Work published for the Laciostory Magazine (Italy).
 
"The adventure can afford to have tiny feet and, as a consequence, stealthy walking, it can be ugly and cause panic, and even smell its breath, but in no case can the lungs be small, because the adventurer can be good or evil, brave or cowardly but always will be forced to run forward or backward but always run. "
Luis Royo

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SECRETS OF THE MORNING
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper.
Painted surface 22.5 x 34 cm. (8.85 x 13.38 in) in a format of 34.5 x 46.3 cm. (13.58 x 18.22 in)
Year of realization 1993
Signed in the right of the piece.
Cover of the novel "Secrets of the Morning" by the writer V.C. Andrews.
 
"Dawn Cutler is arriving in New York City after leaving her family’s hotel, Cutler's Cove, located in Virginia. Her family is filled with untrustworthy liars who only care for themselves. When Dawn arrives at the boarding house, she meets the owner, Agnes - an aging actress who remains obsessed with the stage. Agnes is already prejudiced against Dawn due to a letter from Grandmother Cutler, who calls Dawn 'promiscuous and spoiled' after years of having her way at the hotel. After much effort, Dawn earns Agnes's trust. Dawn forms a strong bond of friendship with her roommate, a dancer named Trisha. Dawn and Trisha both attend a performing arts school, Bernhardt School For The Arts."
Wikipedia

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AGONY RAILS
Romulo Royo
PAINTING
Ink, acrylic and oil on handmade paper.
Size 65 x 50 cm. (25.59 x 19.68 in)
Year of realization 2011
Work published in the inside pages of the book Malefic Time: Apocalypse, page 78-79. Edited in different languages.

"Memories that come and go before his unexpected return, memories that day after day did not get erased from his mind during these years of solitude ..... The plane took land, they gathered their little luggage, the Master grabbed his hand , always protective, always distant, penetrating and powerful look, skin wrinkled and tanned like parchment, fibrous, with thin muscles tense like guitar strings.
Deserted streets, scattered people, suburbs in the subway tunnels, fear in every corner. "" Repent, repent. The end is near "
Malefic Time, Apocalypse

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PROHIBITED SKETCHES SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 9 x 29 cm (3.54 x 11.41 in) in a format of 16.5 x 39 cm (6.49 x 15.35 in)
Year of realization 2004
Signed on the bottom right of the piece.
Published on the inside of the author's book Prohibited Sketchbook, page 41. Edited in different languages and distributed internationally.

 
"It is a privilege to turn dreams into drawn papers. After they appear, its them who speak to you, they are much clearer than the mirrors and can go much further".
Prohibited Sketchbook

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QUEST FOR LOST HEROES
Luis Royo
PAINTING
Acrylic with airbrush and oil on paper.
Painted surface 32 x 41 cm. (12.20 x 16.14 in) in a format of 48.5 x 58 cm. (19.09 x 22.83 in)
Year of realization 1994
Signed in the bottom-right of the piece near the sword.
Cover of the novel "Quest for Lost Heroes" from the writer David Gemmel, published in USA by the Market Paperback Editorial and also published in the inside pages of the author's book Secrets, page 15. Edited in different languages and distributed internationally.
 
"Capturing the world of our irrational years, those years in which the Universe revolved without order and it was impossible to see the future".
Luis Royo

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PRIVATE ROAD NO TRESPASSING
Luis Royo
PAINTING
Watercolor, ink with airbrush and oil on paper.
Painted surface 31 x 39 cm. ( 12.20 x 15.35 in. ) in a format of 41 x 51 cm. ( 16.14 x 20.07 in. ) 
Year of realization 1988.
Signed on the bottom right of the piece.
Cover for the video tape Private Road (german version), edited by VPS Video.
 
Stock car racer Brad Carlton (Greg Evigan) throws the Mishaw family into a tailspin the night heiress Helen Mishaw slams her car into his motorcycle. He gets romantically involved with Helen Milshaw (Mitzi Kapture), and helps multi-million dollar Milshaw Industries win a valuable government military contract. However, when Brad becomes the victim of sabotage and strange accidents, he realizes someone want to stop him cold – dead cold!
Private Road

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RUN ANGEL RUN
Luis Royo
PAINTING
Watercolor, ink with airbrush and oil on paper.
Painted surface 62 x 45 cm. ( 24.40 x 17.71 in. ) in a format of 78 x 61.2 cm. ( 30.70 x 24.09 in. ) 
Year of realization 1987.
Signed on the bottom right of the piece.
Cover for the video tape Mad Bikers: Les Machines du Diable (french version) and Run Angel Run (english version)
 
In the midst of the Vietnam War, a band of Hells Angels is sent by the US military to recover a military advisor who fell to the Vietcongs.
Mad Bikers

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FIRE, EARTH, WATER AND AIR II
Romulo Royo
PAINTING
Transfered ink, acrylic and oil on panel.
Size of 35 x 25 cm. ( 13.77 x 9.84 in. )
Year of realization 2000
Signed on the bottom right of the piece.
 
Romulo Royo rediscovers us a delicate and daring figuration which adapts and makes its way between folds and masses of purely abstract composition.
 

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FLOWERS AND THORNS 4
Romulo Royo
COLOR DRAWING
Graphite and watercolor on handmade paper.
Painted surface 38 x 53 cm. ( 14.96 x 20.86 in. ) in a format of 38.5 x 56 cm. ( 15.15 x 22.04 in. )
Year of realization 2018.
Signed on the bottom right of the piece.
 
This work belongs to the most personal work of the author. They are that type of work that is created without the specific objective of reaching an exhibition or a book. Those pieces that the artist makes to reaffirm an idea, the beginning of a project or find a plastic solution. These are works in which his original motivation is the intimate and private dialogue with the author himself. And before the intention of that work belongs to a plan, we have considered in Laberinto Gris that showing a grouped part of these works would be an attractive challenge for us. A privilege to be the first to show them to the light.
 
Figurative painting, it seems, is destined to be contemporary art’s perennial sidepiece: always available for a fling, never for very long. The last time one could admit to a passion for it without committing social suicide in the art world was probably around 2003, when the painter John Currin had his midcareer survey at the Whitney Museum of American Art, in New York. Currin, known for injecting new ideas into age-old images of the body, was handsome, successful, and youthful. His peers were also of the moment: Elizabeth Peyton palled around with Marc Jacobs, and George Condo bedeviled collectors with lewd portraiture. The year before Currin’s retrospective, an exhibition curated by Alison Gingeras at the Centre Pompidou, in Paris, “Dear Painter, Paint Me…Painting the Figure Since Late Picabia,” had opened to acclaim. As the critic Roberta Smith observed in TheNew York Times, “reports of painting’s death have been exaggerated for about 30 years.”
“The body in crisis is increasingly present in our daily lives,” notes MoMA PS1 curator and associate director Peter Eleey, who headed up the “Greater New York” 2015 curatorial team. “Whether it’s in reference to the refugee situation”—he didn’t specify which one, but there are plenty—“or the way the media is processing Black Lives Matter, abstraction has been comfortable—for us. But it doesn’t give shape to the discomforts and questions that I think a lot of us are grappling with.” Deitch seconds that, adding, “This is not a time when a ponderous Mark Rothko painting about myth is relevant.” He ventures that figurative painting allows for more-diverse cultural content—clothing, skin color, setting—than abstraction ever can.
W - Fan Zhong
 

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METALICOS Y MISERABLES 1
Luis Royo
COMIC
Watercolor, ink with airbrush and oil on cardboard paper.
Painted surface 38 x 28.5 cm. ( 14.96 x 11.22 in. )  in a format of 34.4 x 49 cm. ( 13.54 x 19.29 in. ) 
Year of realization 1982.
Published on the inside of the author's comic Antología Luis Royo Comics 1981-1983 Vol. 2 of 4 edited by Norma Editorial, page 33.
 
Distributed in 4 volumes, it collect the short stories that Luis Royo made on at the end of the 70's and the beginning of the 80's, in full effervescence of the comic magazines on a time of great cultural changes.
Antologia Luis Royo

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VIDEO RUN AWAY
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper.
Painted surface 38 x 47 cm. ( 14.96 x 18.50 in. ) in a format of 49.9 x 59 cm. ( 19.64 x 23.22 in. ) 
Year of realization 2000.
Signed on the bottom right of the piece.
Cover for the pc-game RunAway, edited by Dinamic Multimedia (Spain)
 
Brian Basco sets off from New York City to California, but plans to make a quick stop on his way there to pick up a book at a bookstore. On the way there, he just avoids running over a fleeing girl who then blacks out. Brian takes her to the hospital and finds out that her name is Gina Timmins and that she witnessed a Mafia murder. He saves her from the killers, but now he also has to run away.
Wikipedia


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THE HORSECLANS IX
Luis Royo
PAINTING
Watercolor, ink with airbrush and oil on cardboard paper.
Painted surface 29 x 48 cm. ( 11.41 x 18.89 in. ) in a format of 36.4 x 50.9 cm. ( 14.33 x 20.03 in. ) 
Year of realization 1984.
Signed on the bottom right of the piece.
Cover for the novel The Witch Goddess ( Horseclans #9 ) by the writer Robert Adams, edited by the editorial Futura Publitacions (England)
 
Can Bili's warriors stand alone against the deadly menace of the Witchmen and the mountain savages? Which is mightier--science or the sword? Stranded in a land peopled by wild cannibal tribes and monstrous half-humans, Bili of Morguhn and his small band of warriors have sworn to aid the mysterious Prince Byruhn of Kuhmbuhluhn in his war against these savages. But even as they train for battle, another force is on the move--the Witchmen, evil scientists led by Dr. Erica Arenstein and armed with weapons far more lethal than any known to the men of the Horseclans. Bent on recovering a twentieth-century technological treasure trove, the Witchmen will destroy anything that stands between them and their goal. And, if Dr. Arenstein can join the power of the Witchmen with fighting prowess of the cannibalistic Ganik tribes, even Bili's proven warriors may not long survive...
The Witch Goddess 

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METALICOS Y MISERABLES 2
Luis Royo
COMIC
Watercolor, ink with airbrush and oil on cardboard paper.
Painted surface 38 x 28.5 cm. ( 14.96 x 11.22 in. )  in a format of 34.4 x 49 cm. ( 13.54 x 19.29 in. ) 
Year of realization 1982.
Published on the inside of the author's comic Antología Luis Royo Comics 1981-1983 Vol. 2 of 4 edited by Norma Editorial, page 34.
 
Distributed in 4 volumes, it collect the short stories that Luis Royo made on at the end of the 70's and the beginning of the 80's, in full effervescence of the comic magazines on a time of great cultural changes.
Antologia Luis Royo

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ANTU - GODDESSES OF NIBIRU SERIE
Romulo Royo
PAINTING
Ink, acrylic and oil on cloth mounted on backligthed methacrylate.
Size 153 x 123 x7 cm. ( 60.23 x 48.42 x 2.75 in. )
Year of realization 2014.
Signed at the back of the piece.
  
Figurative painting, it seems, is destined to be contemporary art’s perennial sidepiece: always available for a fling, never for very long. The last time one could admit to a passion for it without committing social suicide in the art world was probably around 2003, when the painter John Currin had his midcareer survey at the Whitney Museum of American Art, in New York. Currin, known for injecting new ideas into age-old images of the body, was handsome, successful, and youthful. His peers were also of the moment: Elizabeth Peyton palled around with Marc Jacobs, and George Condo bedeviled collectors with lewd portraiture. The year before Currin’s retrospective, an exhibition curated by Alison Gingeras at the Centre Pompidou, in Paris, “Dear Painter, Paint Me…Painting the Figure Since Late Picabia,” had opened to acclaim. As the critic Roberta Smith observed in TheNew York Times, “reports of painting’s death have been exaggerated for about 30 years.”
 
“The body in crisis is increasingly present in our daily lives,” notes MoMA PS1 curator and associate director Peter Eleey, who headed up the “Greater New York” 2015 curatorial team. “Whether it’s in reference to the refugee situation”—he didn’t specify which one, but there are plenty—“or the way the media is processing Black Lives Matter, abstraction has been comfortable—for us. But it doesn’t give shape to the discomforts and questions that I think a lot of us are grappling with.” Deitch seconds that, adding, “This is not a time when a ponderous Mark Rothko painting about myth is relevant.” He ventures that figurative painting allows for more-diverse cultural content—clothing, skin color, setting—than abstraction ever can.
W - Fan Zhong
 
In Akkadian mythology, Antu or Antum is a Babylonian goddess. She was the first consort of Anu, and the pair were the parents of the Anunnaki and the Utukki. Antu was a dominant feature of the Babylonian akit festival until as recently as 200 BC, her later pre-eminence possibly attributable to identification with the Greek goddess Hera. Antu was replaced as consort by Ishtar or Inanna, who may also be a daughter of Anu and Antu. She is similar to Anat.
Wikipedia

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MYSTERIES
Luis Royo
PAINTING
Watercolor, ink with airbrush and oil on paper.
Painted surface 21 x 41 cm. ( 10.62 x 16.14 in. ) in a format of 47 x 61 cm. ( 18.50 x 24.01 in. ) 
Year of realization 1984.
Signed on the bottom right of the piece.
Work made for the cover of the video tape Mysteries (Norway)
 
Misterious things were already happening before the stranger arrived in the small coastal town. No one knew where he came from, but he would soon deeply affect the many lives of the townspeople - From the eccentric dwarf... to the elegant parson's daughter! ... A star-studded cast  headed by Rutger Hauer, Sylvia Kristel, David Rappaport, Rita Tushingham ... A haunting film in the tradition of "The French Lieutentant's Woman"
Mysteries  
 

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COVER HEAVY METAL
Luis Royo
PAINTING
Acrylic with airbrush and oil on cardboard.
Painted surface 34.5 x 48 cm. ( 13.58 x 18.89 in. ) in a format 35.8 x 49.7 cm. ( 14.09 x 19.56 in. )
Year of realization 1989.
Signed on the bottom right of the piece.
Cover of Heavy Metal magazine, edited in March 1989 (USA)
 
In the future, we are on the other side of electronics, fiber optics, genetic mutation or the black hole. It is already within the impossible. That is why beauty produces chills and fear is beautiful.
Luis Royo
 

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THE NIGHT
Romulo Royo
PAINTING
Transfered ink, acrylic and oil on table.
Size of 35 x 25 cm. ( 13.77 x 9.84 in. )
Year of realization 2000.
Signed on the bottom right of the piece.
 
Rómulo Royo rediscovers us a delicate and daring figuration which adapts and makes its way between folds and masses of purely abstract composition.
 

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THE CREATOR HORN
Romulo Royo
PAINTING
Acrylic and oil on canvas.
Size 230 x 185 cm. ( 90.55 x 72.83 in. )
Year of realization 2015. 
Signed on the bottom right of the piece.
 
This work belongs to the most personal work of the author. They are that type of work that is created without the specific objective of reaching an exhibition or a book. Those pieces that the artist makes to reaffirm an idea, the beginning of a project or find a plastic solution. These are works in which his original motivation is the intimate and private dialogue with the author himself. And before the intention of that work belongs to a plan, we have considered in Laberinto Gris that showing a grouped part of these works would be an attractive challenge for us. A privilege to be the first to show them to the light.
 
Figurative painting, it seems, is destined to be contemporary art’s perennial sidepiece: always available for a fling, never for very long. The last time one could admit to a passion for it without committing social suicide in the art world was probably around 2003, when the painter John Currin had his midcareer survey at the Whitney Museum of American Art, in New York. Currin, known for injecting new ideas into age-old images of the body, was handsome, successful, and youthful. His peers were also of the moment: Elizabeth Peyton palled around with Marc Jacobs, and George Condo bedeviled collectors with lewd portraiture. The year before Currin’s retrospective, an exhibition curated by Alison Gingeras at the Centre Pompidou, in Paris, “Dear Painter, Paint Me…Painting the Figure Since Late Picabia,” had opened to acclaim. As the critic Roberta Smith observed in TheNew York Times, “reports of painting’s death have been exaggerated for about 30 years.”
“The body in crisis is increasingly present in our daily lives,” notes MoMA PS1 curator and associate director Peter Eleey, who headed up the “Greater New York” 2015 curatorial team. “Whether it’s in reference to the refugee situation”—he didn’t specify which one, but there are plenty—“or the way the media is processing Black Lives Matter, abstraction has been comfortable—for us. But it doesn’t give shape to the discomforts and questions that I think a lot of us are grappling with.” Deitch seconds that, adding, “This is not a time when a ponderous Mark Rothko painting about myth is relevant.” He ventures that figurative painting allows for more-diverse cultural content—clothing, skin color, setting—than abstraction ever can.
W - Fan Zhong

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SIAMESE
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on translucent paper with frame.
Size 100 x 70 cm. ( 39.37 x 27.55 in. )
Measures with frame 118 x 88 cm. ( 46.45 x 34.64 in. )
Year of realization 2008.
Signed in the bottom left of the piece.
Published on the inside of the author's book Siameses, page 28.

Inside the Siameses and Metal-Piel serie, beats a certain eroticism I dare to term “sadomasochistic”. Straps, clamps, leather, these anomalous masks deem pleasure to be within the limits of pain. Although anything strictly sensual or even pornographic lies plainly out of bounds, ultimately what we see is disturbing, as if we were about to open the door onto our darkest desires.
By Fernando Castro Florez. Art critic and member of the Advisory Board, Reina Sofia Contemporary Art Museum.

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo

Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena

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METAL PIEL III
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on canvas.
Size 162 x 130 cm. ( 63.77 x 51.18 in. )
Year of realization 2010.

From the series, Metal-Piel, painted between 2008 and 2009, which has been exhibited at venues such as the National Museum of Contemporary Art Metelkova in Slovenia, Can Framis Museum and Moscow’s 4th Biennale of Contemporary Art.
Cold metal adorns the girl’s angelical face, which is a whirlpool of contradictory emotions, innocence, sensuality and enigma, in which we are used to in many of his works.
Eroticism of the transgressor.

Bataille considers that the dialectic of transgression and prohibition is the condition and even the essence of eroticism. A field of violence, what occurs in eroticism is dissolution or the destruction of the enclosed being: the normal state of a player in the game.
Videncia, Velamiento y Ceguera by Fernando Castro Florez of the Advisory Board, Reina Sofia Museum of Contemporary Art

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo

Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena


Traducir texto al inglés

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SIAMESE VI
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on translucent paper with a frame.
Size 153 x 120 cm. ( 60.23 x 47.24 in. )
Size with frame 171 x 141 x 6 cm.  ( 67.32 x 55.51 x 2.36 in. )
Year of realization 2006.
Published on the inside of the author's book Siameses, page 12.

In this painting like in some pieces, from the serie Siameses various races appear in the same face. Traces of blacks, whites, Asians, are melded together to interpret the many races, cultures and societies; at times these heads are joined to form an egg whose lyrical significance alludes to the planet Earth as an egg in a symbol of birth, a destination marked by an ever more global society where the individuality of different cultures is being lost. There is ambiguity, playing with everyday materials such as leather, shiny objects, light and futuristic aspects whose images recall the most ancient cultures of the African continent.

The force of identity, friction, the danger in the shadows, yet with the need to traverse them, as occurs in much of his work, is exactly where this multiplicity of races unites into a single face, as Royo thought precisely in the traits of Siamese twins which bring together the need to share even though there may be friction between them. And, to conclude, I would say that Ryszard Kapuscinski has already advised us that the Other world be a principal cause of reflection in the 21st century.
Glòria Bosch. Art Director of the Vila Casas Foundation of book On resistance and Siamese… by Romulo Royo

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo
 
Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena




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SIAMESE IX
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on canvas.
In a format of 100 x 81 cm. ( 39.37 x 31.88 in. )
Year of realization 2007.
Signed on the bottom right of the piece.
Published on the inside of the aouthor's book Siameses, page 37.
Published on the inside of the author's book Videncia, velamiento, ceguera, page 33.

From the serie Metal-Piel made between 2008 and 2009 they have been exposed on spaces as the Metelkova Museum, Can Framis Museum, La 4ª Bienal de Arte Contemporáneo de Moscú, National Museum of Slovenia, Fran Daurel...

The face and the otherness.
A face is an invaluable part of any portrait, an epiphany which can never be embraced. Variations and small differences evoke a certain repetitive desorption where one discovers the power of simulation, which is, together with the efficiency of displacement, where one’s appearance fades into in the disguise. It may in fact be that a face is nothing more than a backdrop for a scene that does not develop, except in the intermission. It is as if there is a permanent metamorphosis, yet dismantling the face is by no means simple, as Deleuze reminds us, one can easily slip into madness. It is not by chance that the schizophrenic simultaneously loses the sense of his face, both his own and those of others, or the sense of his surroundings, his language and its predominant meanings. “Dismantling one’s face – as he affirms in A Thousand Plateaus – is the same as climbing over the wall of meaning and climbing out of the black hole of subjectivity”. We also know that fantasy governs reality and a mask can never be lifted without taking a bit of flesh along with it. The Other can have the features of an abyss, in the same way that symbolic order is found to be hidden by the fascinating presence of the object of fantasy “We experience it every time we look into the eyes of another person and feel the depth of their gaze”. It is prudent to remember that when the subject gets too close to fantasy, (self)nullification occurs. The art is left as aphanisis. Medusa’s gaze joins together dreams and death definitively. There is no question that the altered face is crucial to the work of Rómulo Royo, who paints as if he aims to evoke the idea, to quote Valery, that what is deepest is in fact the skin.
By Fernando Castro Florez. Art critic and member of the Advisory Board, Reina Sofia Contemporary Art Museum

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo

Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena


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DARK ROOM 5
Luis Royo
COLOR DRAWING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 22 x 32 cm. ( 8.66 x 12.59 in. ) in a format of 28 x 38 cm. ( 11.02 x 14.96 in. )
Year of realization 2017.
Signed on the bottom right of the piece.
Work made for the collection Dark Room.
  
Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo
  
Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena
  
From simple titillation to hardcore representations, erotic have a long history of incorporating scandal, fantasy, provocation and fun in sex.
In recent years, the erotic theme has grown into a potent, dynamic and, sometimes, subversive form of art, worthy of academic investigation. Sexual encounters, acts and characters that cannot exist on reality and are constrained only by the illustrator’s imagination. For some, even the creation of erotic work is an experience sexually charged, particularly if the sexual fantasy is in some way inaccessible on reality. As Tom from Finland famously said, “If I don’t have an erection when I’m doing a drawing, I know it’s no good.” Whether mass-produced or created as individual works of art, erotic images are a reflection of society and unabashed sexual fantasy, where every sexual act ever performed or imagined exists.
Museum of Sex (New York)

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DAMKINA - GODDESSES OF NIBIRU
Romulo Royo
PAINTING
Acrylic and oil on paper.
Measure of 100 x 70 cm. ( 39.37 x 27.55 in. ) in lacquered frame with passepartout.
Year of realization 2015.
Signed in the bottom right of the piece.
 
It belongs to the series Goddesses of Nibiru, reflects the game of the myth and reality. The delicacy and strength represented by the female figure. Captures beautiful, enigmatic and sometimes veiled factions, as if it were a dream or illusion.
 
The tones are clear and contrasted, going from a light skin and background to shades almost of black, producing a highly-balanced contrast. The brushwork is expressive without affecting the pearly skin and serene posture. This fluency in his strokes is reminiscent of abstract art, in contrast with a totally figurative, delicate style of painting. Once again, Romulo gives us a piece in which we can appreciate matter, glazing and fluent brushwork, at the same time as there is a definition and representation of beauty. It is not at all easy to be able to find all these elements together.
  
Painting has always seemed torn between an inward and an outward gaze: between vision and perception, between our dreams and the concrete, highly politicized conditions framing our comprehension of the world and what it might become. Today is no different. After a period in which the medium has been dominated by process-based abstraction, the figure – and representation with it – is ascendant again. But, if the 1990s and 2000s saw artists such as John Currin distorting classical form while others, following Gerhard Richter, mimicked photography, today’s figuration displays a distinctly different character. Gone, for the most part, are the echoes of old masters; gone, too, are the blurs of photorealism. What takes their place, instead, is a highly idiosyncratic approach filtered through pronounced affect, comic-book and sci-fi aesthetics, dreamy narratives and an eagerness to engage with our political moment without forfeiting the sensuousness of the medium.
David Geers (Sotheby's)
 



2018-07-29: price changed from 6800.00€ to 8000€

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BAU - GODDESSES OF NIBIRU SERIE
Romulo Royo
PAINTING
Acrylic and oil on canvas.
Size 46 x 38 cm. ( 18.11 x 14.96 in. )
Year of realization 2015.
Signed in the bottom right of the piece.

This picture conveys power at the same time as transmitting serenity. Its colours and symbols like tattoos are a mixture of oriental and ethnic. They situate us are in the Goddesses series.
In the series, Goddesses of Nibiru, he reflects the play on myth and reality. Delicacy and strength are represented by the female figure. He captures beautiful, enigmatic and sometimes almost veiled features, as if in a dream or an illusion. The garments and ornaments that he adorns them with are timeless, objects that may conjure up ancient civilizations, such as feathers and metallic ornaments in contrast with futuristic elements, like strange headdresses and, in certain pictures, beams of light shining out from inside the strange characters’ necks.
Romulo Royo brings his own brand of aesthetics, centred on the goddesses that inhabit the planet called Nibiru, following texts from Mesopotamia and Babylon. According to these texts, it is a planet in the solar system that orbits around our star every 3,600 years. Nibiru is the home of the goddesses, of the Annunaki, or in other words, winged creatures.
It is curious that in Mesopotamic mythology a division can be made between Sumerian and Semitic divinities. First came the Sumerian gods, to be later adapted by the Akkadians, Babylonians, Assyrians, Arameans and Chaldeans (all Semitic peoples), only to then go on to become sources for Christian and Hebrew religions to draw on. And they adapted gods like Enki, Enlil, An and Inanna, among others. In some cases, they have similar attributes in the latter religions as in the ancient texts, though adapted and differently named.
 
Figurative painting, it seems, is destined to be contemporary art’s perennial sidepiece: always available for a fling, never for very long. The last time one could admit to a passion for it without committing social suicide in the art world was probably around 2003, when the painter John Currin had his midcareer survey at the Whitney Museum of American Art, in New York. Currin, known for injecting new ideas into age-old images of the body, was handsome, successful, and youthful. His peers were also of the moment: Elizabeth Peyton palled around with Marc Jacobs, and George Condo bedeviled collectors with lewd portraiture. The year before Currin’s retrospective, an exhibition curated by Alison Gingeras at the Centre Pompidou, in Paris, “Dear Painter, Paint Me…Painting the Figure Since Late Picabia,” had opened to acclaim. As the critic Roberta Smith observed in TheNew York Times, “reports of painting’s death have been exaggerated for about 30 years.”
  
"The body in crisis is increasingly present in our daily lives,” notes MoMA PS1 curator and associate director Peter Eleey, who headed up the “Greater New York” 2015 curatorial team. “Whether it’s in reference to the refugee situation"—he didn’t specify which one, but there are plenty—“or the way the media is processing Black Lives Matter, abstraction has been comfortable—for us. But it doesn’t give shape to the discomforts and questions that I think a lot of us are grappling with.” Deitch seconds that, adding, “This is not a time when a ponderous Mark Rothko painting about myth is relevant.” He ventures that figurative painting allows for more-diverse cultural content—clothing, skin color, setting—than abstraction ever can.
W - Fan Zhong

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NEBAT - GODDESSES OF NIBIRU SERIE
Romulo Royo
PAINTING
Ink, acrylic and oil on canvas.
Size 92 x 73 cm. ( 36.22 x 28.74 in. )
Year of realization 2014.
Signed in the bottom right of the piece.

This picture belonging to the Goddesses of Nibiru series reflects the play on myth and reality, the delicacy and the strength of the female figure. The series has been exhibited at the most important contemporary art shows including ARCO Madrid, Art Miami, GIGE Beijing China, Istanbul’s Art International and FIAC.
Romulo’s work has been auctioned at such exclusive auctioneers as Christie’s, Ketterer Kunst, Munich, Galartis Switzerland and the auction organized by The Womanity Foundation, with the participation of the famous actor Simon de Pury and such prestigious galleries as Gagosian, Miguel Marcos and Aquavella.

QUEENS
Although they appear to be the shadow of the King, as mere decorative elements, Queens exercise great influence. Because of this, Queens usually acquire more relevance than their husbands because while kings have power, Queens have many Powers. In front of power, the world obeys, but in front of the many Powers, the world is transformed.
There is a queen of love and another of panic. There are queens of unfulfilled desires and forgotten caresses, of impossible projects, lost glances, remembered dreams, of secret pain, and of the baited breath. There is also a queen who dies with the full moon and is reborn on the fourth waning of the moon.
There are discreet queens, small queens, and those without crowns. All are extraordinarily influential. There are queens of the common life and daily routines. There are queens of lost socks, queens of blunders, queens of broken nails, and queens of chipped plates, empty trays, disorganized drawers, and a queen of sad smiles. There is even a queen without powers that only serves to console the unsuccessful.
The queen’s crown is not made of gold or precious jewels, but with a touch of night and a few drops of silver. On the feminine heads, black crowns with eyes can be found, with sharpened points of hair, shark bones, scarab wings, and water that springs from a fountain of red lips.
There exists a damned queen, banished from all other kingdoms. Outlawed since the beginning of time, she has grown in solitude and has made herself as high as the flight of an eagle and as scarce as the flapping of a vulture. She moves through all pathways, wrapped in her black robes, confident that one day she will conquer the world. This is her majesty Death.
Fantastic Art

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THE GLEAM OF VEELA
Romulo Royo
PAINTING
Ink, acrylic and oil on canvas.
Size 162 x 130 cm.
Year of realization 2014
The Gleam of Veela is a majestic painting in terms of composition, treatment and evolution. It is a picture of large dimensions which has been transferred to many different media, including Malefic Time Akelarre, role-playing books, limited editions and tarot cards.
It belongs to the series Goddesses of Nibiru, reflects the game of the myth and reality. The delicacy and strength represented by the female figure. Captures beautiful, enigmatic and sometimes veiled factions, as if it were a dream or illusion.

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KISHARGAL - GODDESSES OF NIBIRU SERIE
Romulo Royo
PAINTING
Ink, acrylic and oil on canvas.
Size 162 x 130 cm. ( 63.77 x 51.18 in. )
Year of realization 2015. 

This important painting is a clear demonstration within the series, of the different techniques used to achieve delicacy, lightness and an antagonistic transparency at the very moment in time that warns us that something might happen. It is undoubtedly one of the important pieces in the Goddesses series, in terms of both its size and the treatment of the picture.
In the series, Goddesses of Nibiru, he reflects the play on myth and reality. Delicacy and strength are represented by the female figure. He captures beautiful, enigmatic and sometimes almost veiled features, as if in a dream or an illusion. The garments and ornaments that he adorns them with are timeless, objects that may conjure up ancient civilizations, such as feathers and metallic ornaments in contrast with futuristic elements, like strange headdresses and, in certain pictures, beams of light shining out from inside the strange characters’ necks.
Royo brings his own brand of aesthetics, centred on the goddesses that inhabit the planet called Nibiru, following texts from Mesopotamia and Babylon. According to these texts, it is a planet in the solar system that orbits around our star every 3,600 years. Nibiru is the home of the goddesses, of the Annunaki, or in other words, winged creatures.
It is curious that in Mesopotamic mythology a division can be made between Sumerian and Semitic divinities. First came the Sumerian gods, to be later adapted by the Akkadians, Babylonians, Assyrians, Arameans and Chaldeans (all Semitic peoples), only to then go on to become sources for Christian and Hebrew religions to draw on. And they adapted gods like Enki, Enlil, An and Inanna, among others. In some cases, they have similar attributes in the latter religions as in the ancient texts, though adapted and differently named.

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METAL-PIEL
Romulo Royo
SCULPTURE
Aluminum sculpture 3/5

Size 51 x 62 x 64 cm.
Year of realization 2007
Work published inside the author's book Siameses, pages 24-25.
An aluminium sculpture, the man coming out of the wall, belonging to the Metal-Skin series. One of the five existing sculptures was modified for the gardens of the Alcort Foundation when it was bought and it was published in Romulo Royo’s book “Videncia, Velamiento, Ceguera”, pages 34-35.

Width : 12

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GODDESSES OF NIBIRU I
Romulo Royo
PAINTING
Ink, acrylic and oil on canvas.
Size 162 x 130 cm. ( 63.77 x 51.18 in. )
Year of realization 2014.

This picture is the first that the artist painted for the Goddesses of Nibiru series and those familiar with his work can see that it is a transition from the series Tomoe Gozen to Goddesses, which makes it a singular piece. The treatment of the skin is of superb realism. The pearly skin achieved with layers of oil paint, give it a special gleam and realism. The background is very fluid and contributes a fresh image to the picture in spite of its realism. Romulo points our attention in the direction that he wants, the face reveals eyes watching us mysteriously from behind the mask.
This picture is an unquestionably good work in terms of both the quality of painting and the period that it belongs to and symbolizes, as the first picture in the Goddesses series.
In the series Goddesses of Nibiru, reflects the game of the myth and reality. The delicacy and strength represented by the female figure. Captures beautiful, enigmatic and sometimes veiled factions, as if it were a dream or illusion. The costumes and ornaments he decorate them with are timeless, objects that can remember us ancient civilizations, such as feathers, dressings with metal pieces.
Royo brings its own aesthetic, centered on the gods who inhabit this planet called Nibiru, basing on Mesopotamian and Babylonian texts. According to these texts it is a planet in our solar system that orbits our star every 3600 years. Nibiru is the home of the gods, of the Anunnaki, or what is the same, winged beings.

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CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 19.5 x 25 cm (7.67 x 9.84 in) in a format of 25.5 x 36.5 cm (10.03 x 14.37 in)
Year of realization 2003
One of the previous versions to the final illustration Winter Warriors. Published inside the author's book Conceptions II, page 19. Edited in diferent languages.

"These pages are intended to collect notes of distant adventures, to immerse themselves in times of magic and ancient warriors".

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CONCEPTIONS II SERIE
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 17.5 x 25 cm (6.88 x 9.84 in) in a format of 25.5 x 35.5 cm (10.03 x 13.97 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 58. Edited in diferent languages.

"We could use the previous pages; The wind that brings enchanted stories"

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PROHIBITED SKETCHBOOK SERIE
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 9 x 29 cm (3.54 x 11.41 in) in a format of 16.5 x 39 cm (6.49 x 15.35 in)
Year of realization 2004
Work published inside the author's book Prohibited Sketchbook, page 41. Edited in diferent languages.


"And when this cluster of ideas comes together, they fit together like a puzzle, you raise your eyelids and you feel good between them".

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CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 15 x 20.5 cm (5.90 x 8.07 in) in a format of 18 x 25.3 cm (7.08 x 9.96 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 49. Edited in diferent languages.

"Another port that attracts the pencil is the serenity, rummage through the mystery reflect the moment before ..."

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CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 13.7 x 20.8 cm (5.39 x 8.18 in) in a format of 18.5 x 25 cm (7.28 x 9.84 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 22. Edited in diferent languages.


"These pages are intended to collect notes of distant adventures, to immerse themselves in times of magic and ancient warriors".

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CONCEPTIONS I SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 20.5 x 25 cm (8.07 x 9.84 in) in a format of 25.5 x 36.5 cm (10.03 x 14.37 in)
Year of realization 2002
Work published inside the author's book Conceptions I, page 49. Edited in diferent languages.

"Some drawings take shape indefinitely and the wrapping of their world is also veiled".

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CONCEPTIONS II SERIE
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 17 x 19 cm (6.69 x 7.48 in) in a format of 18.5 x 25.5 cm (7.28 x 10.03 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 21. Edited in diferent languages.

"These pages are intended to collect notes of distant adventures, to immerse themselves in times of magic and ancient warriors".

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CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 17.5 x 25 cm (6.88 x 9.84 in) in a format of 25.5 x 36 cm (10.03 x 14.17 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 61. Edited in diferent languages.

"Another port that attracts the pencil is the serenity, rummage through the mystery, reflect the moment before ..."

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CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on paper.
Painted surface 16 x 25.5 cm (6.29 x 10.03 in) in a format of 23 x 32.5 cm (9.05 x 12.79 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 52. Edited in diferent languages.

 
"The fund as an element of claim. The figures remain at the intersection of the two eyes, the skylight of the ship and the viewer himself".

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CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 18.3 x 25 cm (7.20 x 9.84 in) in a format of 25.5 x 36.5 cm (10.03 x 14.37 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 22. Edited in diferent languages.

"These pages are intended to collect notes of distant adventures, to immerse themselves in times of magic and ancient warriors".

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CONCEPTIONS II SERIE
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 16.5 x 16 cm (6.49 x 6.29 in) in a format of 21 x 21 cm (8.26 x 8.26 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 64. Edited in diferent languages.

"The movement allows playing with the perspectives and dedramatizing the image. That works with own characters and with others already created".

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CONCEPTIONS II SERIE
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 33.6 x 24 cm (13.22 x 9.44 in) in a format of 36.4 x 30 cm (14.33 x 11.81 in)
Year of realization 2003
One of the versions made for the videogame Tribes of Dynamix (USA). Published inside the author's book Conceptions II, page 70.71. Edited in diferent languages.


"The pencils reflect the tension of the battle and at the same time conform to the measures of the final reproduction".

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CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 12.5 x 35 cm (4.92 x 13.77 in) in a format of 20 x 51 cm (7.87 x 20.07 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 30. Edited in diferent languages.


"There are works that after the first pencils, they go to the definitive illustration and nevertheless, never come to be realized, for several reasons".

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CONCEPTIONS I SERIE
Luis Royo
SKETCH 3
Graphite on tracing paper.
Painted surface 21 x 27.3 cm (8.26 x 10.74 in) in a format of 25.5 x 36.5 cm (10.03 x 14.37 in)
Year of realization 2002
Drawing for the final illustration Playstation Magazine. Published inside the author's book Conceptions I, on page 62. Edited in diferent languages.

"The main element around which an illustration will turn is a good starting point. Everything begins to make sense from its appearance on paper."

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CAPTAIN POWER 1
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper.
Painted surface 58 x 42 cm. (22,83 x 16,53 in) in a format of 67 x 50 cm. (26,37 x 19,68 in)
Year of realization 1988
Cover of the videogame "Captain Power 1" published by MobyGames, based in a science fiction TV show. Published in the book Evolution, page 36.

 
"Captain Power and a small group of guerrillas called" The Soldiers of the Future "oppose the force of the machines that dominate the Earth"



2017-11-22: price changed from 7000.00€ to 5600€
2017-11-28: price changed from 5600.00€ to 7000€

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RHAPSODY
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper.
Painted surface 48 x 35 cm. ( 18.89 x 13.77 in. ) in a format of 63 x 50 cm. ( 24.80 x 19.68 in. )
Year of realization 1998
Signed on the bottom right of the piece.
Cover of the novel Rhapsody from the writer Elizabeth Haydon, edited by the Tor Fantasy Editorial (USA)
Published on the inside of the author's book Dreams, page 58-59.
  
These companions may be destined to fulfill The Prophecy of the Three, but their time is running short. They must find their elusive enemy before his darkness consumes them all.
Rhapsody



2017-11-22: price changed from 14000.00€ to 11200€
2017-11-28: price changed from 11200.00€ to 14000€

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THE THIRTEEN MOONS SECT
Luis Royo
PAINTING
Acrylic and oil on paper.
Painted surface 39.5 x 18 cm. ( 15.55 x 7.05 in. ) in a format of 70 x 46 cm. ( 27.55 x 18.11 in. )
Year of realization 2011.
Published on the inside of the author's book Malefic Time, Apocalypse, page 19. Edited in different languages and distributed internationally.
 
She soon went from being a simple maid to one of the Eight Elect Katanas, the elite body of the Orden. Thanks to that, she was honored with the destiny to travel to New York and find the Thirteenth Incarnation of the Moon.
Malefic Time, Apocalypse



2017-11-22: price changed from 7000.00€ to 5600€
2017-11-28: price changed from 5600.00€ to 7000€
2018-06-03: price changed from 7000.00€ to 7500€

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5TH APOCALYPSE
Romulo Royo
PAINTING
Ink, acrylic and oil on handmade paper.
Measure 140 x 160 cm (55.11 x 62.99 in)
Year of realization 2011
Published on the inside of the authors' book Malefic Time, Apocalypse, page 46. Edited in different languages and distributed internationally.

 
"She had barelly crossed a third of the avenue, a barricade of piled vehicles stopped her advance. It was too obvious that those piles of dented metal were not placed there by chance, so when from that metal trench were allowed to see half a dozen silhouettes, Luz had already picked up her cloak to the sides and her hands glittered the blade of her austere katana"
Malefic Time, Apocalypse



2017-11-22: price changed from 8500.00€ to 2000€
2017-11-28: price changed from 2000.00€ to 2500€
2018-02-06: price changed from 2500.00€ to 14000€
2018-07-29: price changed from 14000.00€ to 1200€

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SKETCH FAKK. 2
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 21 x 27.7 cm. ( 8.26 x 10.90 in. ) in a format of 25 x 36 cm. ( 9.84 x 14.17 in. )
Year of realization 2000
Signed on the bottom right of the piece.
One of the previous works made for the Heavy Metal videogame F.A.K.K. 2, edited by Ritual Entertainment (USA)
Published on the inside of the author's book Evolution, page 26.
 
It is a sequel to the animated film Heavy Metal 2000, which tells the adventures of Julie in her quest to save her planet from an evil entity called Gith trying to conquer the universe. Using a wide variety of weapons, Julie must combat the forces of Gith and at the same time discover the secret of her planet.
Wikipedia



2017-11-22: price changed from 650.00€ to 520€
2017-11-28: price changed from 520.00€ to 650€

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DARKLOOM
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper.
Painted surface of 31 x 49 cm. ( 12.20 x 19.29 in. ) in a format of 47.2 x 64.5 cm. ( 18.58 x 25.39 in. )
Year of realization 1998
Signed on the bottom right of the piece.
Cover of the novel Darkloom by the writer Cary Osborne, edited by Mass Market Paperback editorial (USA)
Published on the inside of the author's book Dreams, page 57. Edited in different languages and distributed internationally.
  
As one of the elite imperial guards, Arden Grenfell is pledged to defend the royal house of Glory--and her personal charge, the Empress Jessa--to the death. But now, with Jessa about to be married, a dark cloud looms over her kingdom. And Arden will have to use all of her talents--for combat and for seeing the future--to keep her charge on the throne... Darkloom
 
In the box of science fiction, everythins is possible and impossible. The bullets are faster and leave behind a halo of light, like artificial light.
Dreams



2017-11-22: price changed from 9500.00€ to 7600€
2017-11-28: price changed from 7600.00€ to 9500€

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SPINNERET
Luis Royo
PRELIMINARY 1
Acrylic with airbrush on paper.
Painted surface 27.5 x 20 cm. (10.82 x 7.87 in.) in a format of 33.5 x 24.5 cm. (13.18 x 9.64 in.)
Year of realization 1987.
One of the previous work made for the cover of the novel Spinneret by the writer Timothy Zahn.
 
Playful needles have traveled to times where worlds, planets and beings are different, have become great friends of the eyes, also tired of looking at the streets and the same people everyday.
Spinneret



2017-11-22: price changed from 1200.00€ to 960€
2017-11-28: price changed from 960.00€ to 1200€
2018-07-21: price changed from 1200.00€ to 550€

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SKETCH FAKK. 2
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 16.7 x 21 cm. ( 6.57 x 8.26 in. ) in a format of 22 x 32 cm. ( 8.66 x 12.59 in. )
Year of realization 2000
Signed on the bottom right of the piece.
One of the previous work made for the Heavy Metal videogame F.A.K.K. 2, edited by Ritual Entertainment (USA)
Published on the inside of the author's book Evolution, page 26.
 
It is a sequel to the animated film Heavy Metal 2000, which tells the adventures of Julie in her quest to save her planet from an evil entity called Gith trying to conquer the universe. Using a wide variety of weapons, Julie must combat the forces of Gith and at the same time discover the secret of her planet.
Wikipedia




2017-11-22: price changed from 650.00€ to 520€
2017-11-28: price changed from 520.00€ to 650€
2018-07-21: price changed from 650.00€ to 550€

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BLOODSTONE
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper.
Painted surface of 28.5 x 49 cm. ( 11.22 x 19.29 in. ) in a format of 43.5 x 64 cm. ( 17.12 x 25.19 in. )
Year of realization 1997
Signed on the bottom right of the piece.
Cover of the novel Bloodstone (The Stones of Power) by the writer David Gemmell, edited by the editorial Paperback (USA)
Published on the inside of the author's book Dreams, page 56. Edited in different languages and distributed internationally.
  
After 20 years, Jon Shannow, the legendary Jerusalem Man, returns for a deadly showdown with the fiendish Deacon, the vicious Jerusalem Riders, and a monstrous god that feeds on souls.
Bloodstone





2017-11-22: price changed from 4500.00€ to 3600€
2017-11-28: price changed from 3600.00€ to 4500€

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A THOUSAND DOVES IN DREAMS
Luis Royo
PAINTING
Watercolor, airbrush acrylic and oil on paper.
Painted surface 25.5 x 38 cm (10.03 x 14.96 in) in a format of 39 x 51 cm (15.35 x 20.07 in)
Year of realization 2000
Signed in the bottom right of the piece.

Cover for publisher Eura, Italy. And published on the inside of the book Evolution, page 7. Edited in different languages and distributed internationally.
"The papers and canvases on my drawing table were overjoyed - they could open up those invisible windows that every blank surface contains and let in the multicolored worlds that were hidden there."



2017-11-22: price changed from 8000.00€ to 6400€
2017-11-28: price changed from 6400.00€ to 8000€

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