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DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 25 x 35 cm. ( 9.84 x 13.77 in. ) in a format of 32 x 42 cm. ( 12.59 x 16.53 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)

Log in to view pricesavailable1d 16h ago
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

Traducir texto al inglés

Log in to view pricesavailable1d 16h ago
METAL-PIEL IV
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on canvas.
In a format of 95 x 78 cm. ( 38.18 x 30.70 in. )
Year of realization 2008.
Published on the inside of the author's book Siameses, page 44.

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

Log in to view pricesavailable1d 16h ago
DARK ROOM SERIE
Luis Royo
DRAWING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 24 x 33 cm. ( 9.44 x 12.99 in. ) in a format of 33 x 42 cm. ( 12.99 x 16.53 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

According to exhibition curator, Jennifer Kabat, Vamps & Virgins exposed the secret history of the pin-up, which reflect the 20th century history and shows how the role of women has changed and their images have been employed for more than 100 years. “The development of the pin-up and its accompanying spread of scantily-clad ladies across American culture, from adverts and billboards to TV, is easily the most important event that impacted on women’s rights, the history of sexuality, and feminism over the last century,” Ms. Kabat said. “In this post-modern and post-Playboy world we are used to our models becoming self-aware, self-assured and as self-described feminists, but it wasn’t always the case.”
At its beginnings, erotic was far more explicit than contemporary images. Traded privately, these pictures have now a quaint feel with their couples (and threesomes, foursomes and more) sporting serious expressions and often matching outfits. Toned down as soon as the images spread to the population in postcards form, the model started to use the camp, shy expressions that are the genre’s hallmark, reaching her highpoint with Bettie Page. After Page, the style changed again, turning towards the explicit look of the contemporary centerfold.
Museum of Sex (New York)

Log in to view pricesavailable1d 16h ago
METAL PIEL VI
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on metacrylate backlighted frame.
In a format of 153 x 123 cm. ( 60.23 x 48.42 in. )
Year of realization 2008.
Signed on the bottom left of the piece.
Published on the inside of the author's book Siameses, page 10.

Made in 2008 for the Blackened Times exhibition and exhibited on XXV Bienal of Alejandria et Alejandria’s Museum.
The composition is bold. The technique used is innovative. Here Romulo uses translucent supports to give light to the painting from behind. The effects verge on three-dimensional and the character transports us to the future with the aid of her clothes. This work was exhibited at the On-Off collective exhibition at the Santa Monica Foundation in Barcelona. The galleries participating in the exhibition included ADN Galeria (Ulrich Vogl), Galeria Angels Barcelona (Peter Downsborough), MACBA Museum (Ángels Ribé), Galeria Joan Gaspar (Etienne Krähenbül), Galeria Marlborough (Pelayo Ortega), Galeria Trma (Javier Vázques), Kowasa Gallery (Juan Bufill), masArt Galeria (Joana Cera) and N2 Galeria (Rosó Cusó).
 
The Organizing Committee for the show: Anna Buscató (GGAC), Ana Mas (Abe), Laura Zubiaur (Art Catalunya), Miguel Ángel Sánchez (GIC) and Vicky Cortina (GGAC).
It is curious that the 18th century’s leading cultural movement should be called “la ilustración” and “la il-lustració” (“Illustration”) in Spanish and Catalan, while in English and French-speaking countries (truly illustrated cradles of culture) it is referred to as “Enlightenment” and “Lumières” (lights), respectively. The “ilustración” (Illustration) was assimilated by the “Siglo de las Luces” (Century of Lights), and this also caused an assimilation of its content: illuminating man, bringing him out of the dark ages, which was the movement’s true project, involves enlightening him, in other words instructing him and helping him to understand the world. In both senses, as both illumination and illustration, underlying the individual’s quest for emancipation there is the intention to develop a programme in which the education and training of people is of prime importance. In fact, illustrate and illuminate can have similar meanings, but illustrate also refers to the act of decorating or exemplifying a story or an idea, in principal, with pictures. Both senses of the word “illustration” are very closely bound to one other: an illustration of a text throws light on what is written, just as writing can cast light on a picture. The knot that binds them in any case is one of the bases of the Enlightenment’s project: knowledge.
Extract from the text, Prologue: To illuminate or to illustrate, by David G. Torres.

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

Log in to view pricesavailable1d 16h ago
METAL PIEL VIII
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on canvas.
Size 55 x 46 cm. ( 21.65 x 18.11 in. )
Year of realization 2010.

This work belongs to the series Metal-Skin. Cold metal adorns these angelical faces and in this case the eyes are daringly scratched out, creating and contributing to the character’s mystery. The critic Fernando Castro of the Advisory Board at the Reina Sofia Museum of Contemporary Art, wrote the following about Romulo Royo’s work:
Lucid blindness.
I have the impression that Rómulo Royo has known how to direct the inward gaze and even has materialized a certain sense of blindness. Some of the eyes on his faces are crossed out, thus denying any relationship with the outside world. What would the truth be, asks Bataille, if we did not see what exceeds the possibility of being seen? Blindness is the story of abandonment. That which is most beautiful ends up sinking into the depths of memory. However, it is not solely sin and pain that flourishes in this impossibility to see, as blindness can be a gift. The destiny of a mirror rests in the transformation of the impotence of one’s eyes to the condition of blindness. Perhaps blindness, as Paul de Man would purport, is a form of lucidity and darkness can provide fertile ground for a gaze inward. Painting or art in general is always found at the edge; it is what can barely be touched or, better yet, that which marks out a distance by delivering itself to a pure vision. It may be that we must close our eyes in order to truly see. This would assume that in fact what we need is our sense of touch in order to determine the real, whether it is to confirm that a wall lay in front of us or, in other words, to see the void which gazes at us. We must be aware, according to Lacan, that in a painting an absence can always be noted: what is found in the center, where the eye’s resolution exerts the maximum force over vision. All in all, it can only be absent and replaced by a hole which, in certain measure, is the reflection of the pupil. Consequently, and in the measure in which a relationship is established with desire, the spot of the central screen in the painting will always be marked, which in turn, the observer facing the work is elided as the subject from the geometrical plane. When Lacan denotes that “what one contemplates is that which can’t be seen,” he alludes to the search of the lost object, to the optical circuit and the drive which are conditioned by the mirror through which the desire to see makes everything materialize.
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

Log in to view pricesavailable1d 16h ago
METAL PIEL VII
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on metacrylate backlighted frame.
In a format of 153 x 123 cm. ( 60.23 x 48.42 in. )
Year of realization 2009.

Made in 2008 for the Blackened Times exhibition and exhibited on XXV Bienal of Alejandria et Alejandria’s Museum.
The composition is bold. The technique used is innovative. Here Romulo uses translucent supports to give light to the painting from behind. The effects verge on three-dimensional and the character transports us to the future with the aid of her clothes. This work was exhibited at the On-Off collective exhibition at the Santa Monica Foundation in Barcelona. The galleries participating in the exhibition included ADN Galeria (Ulrich Vogl), Galeria Angels Barcelona (Peter Downsborough), MACBA Museum (Ángels Ribé), Galeria Joan Gaspar (Etienne Krähenbül), Galeria Marlborough (Pelayo Ortega), Galeria Trma (Javier Vázques), Kowasa Gallery (Juan Bufill), masArt Galeria (Joana Cera) and N2 Galeria (Rosó Cusó).
 
The Organizing Committee for the show: Anna Buscató (GGAC), Ana Mas (Abe), Laura Zubiaur (Art Catalunya), Miguel Ángel Sánchez (GIC) and Vicky Cortina (GGAC).
It is curious that the 18th century’s leading cultural movement should be called “la ilustración” and “la il-lustració” (“Illustration”) in Spanish and Catalan, while in English and French-speaking countries (truly illustrated cradles of culture) it is referred to as “Enlightenment” and “Lumières” (lights), respectively. The “ilustración” (Illustration) was assimilated by the “Siglo de las Luces” (Century of Lights), and this also caused an assimilation of its content: illuminating man, bringing him out of the dark ages, which was the movement’s true project, involves enlightening him, in other words instructing him and helping him to understand the world. In both senses, as both illumination and illustration, underlying the individual’s quest for emancipation there is the intention to develop a programme in which the education and training of people is of prime importance. In fact, illustrate and illuminate can have similar meanings, but illustrate also refers to the act of decorating or exemplifying a story or an idea, in principal, with pictures. Both senses of the word “illustration” are very closely bound to one other: an illustration of a text throws light on what is written, just as writing can cast light on a picture. The knot that binds them in any case is one of the bases of the Enlightenment’s project: knowledge.
Extract from the text, Prologue: To illuminate or to illustrate, by David G. Torres.

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

Log in to view pricesavailable1d 16h ago
DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 25 x 35 cm. ( 9.84 x 13.77 in. ) in a format of 32 x 42 cm. ( 12.59 x 16.53 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)


Log in to view pricesavailable1d 16h ago
DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 24 x 35 cm. ( 9.44 x 13.77 in. ) in a format of 31 x 42 cm. ( 12.20 x 16.53 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)


Log in to view pricesavailable1d 16h ago
DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 22.5 x 32.5 cm. ( 8.85 x 12.79 in. ) in a format of 29 x 42 cm. ( 11.41 x 16.53 in. )
Year of realization 2018.
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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DARK ROOM 15
Luis Royo
COLOR DRAWING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 20 x 30 cm. ( 7.87 x 11.81 in. ) in a format of 28 x 38 cm. ( 11.02 x 14.96 in. )
Year of realization 2018.
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)

Log in to view pricesavailable1d 16h ago
DARK ROOM 16
Luis Royo
COLOR DRAWING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 20 x 31 cm. ( 7.87 x 12.20 in. ) in a format of 28 x 38 cm. ( 11.02 x 14.96 in. )
Year of realization 2018.
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)

Log in to view pricesavailable1d 16h ago
DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 25 x 35 cm. ( 9.84 x 13.77 in. ) in a format of 32 x 42 cm. ( 12.59 x 16.53 in. )
Year of realization 2017 - 2018.
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

In our modern Internet age, with thousands of explicit images available at the click of a button, the terms “hardcore” and “pornography” have become nearly synonymous. But while it is easy to imagine that “hardcore” is an invention of the 21st century, the desire of sexually break the boundaries of physical and social modesty has long revealed itself throughout history. Despite repeated attempts to censure, kidnap or “demonize” this sexual past, artifacts left from previous generations prove our ancestors were not as asexual as an expurgated version of history would like us to believe. Though much has been lost or discarded, many private collections were kept hidden and secretly traded.
Museum of Sex (New York)

Log in to view pricesavailable1d 16h ago
DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 25 x 35 cm. ( 9.84 x 13.77 in. ) in a format of 32 x 42 cm. ( 12.59 x 16.53 in. )
Year of realization 2017 - 2018.
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

In our modern Internet age, with thousands of explicit images available at the click of a button, the terms “hardcore” and “pornography” have become nearly synonymous. But while it is easy to imagine that “hardcore” is an invention of the 21st century, the desire of sexually break the boundaries of physical and social modesty has long revealed itself throughout history. Despite repeated attempts to censure, kidnap or “demonize” this sexual past, artifacts left from previous generations prove our ancestors were not as asexual as an expurgated version of history would like us to believe. Though much has been lost or discarded, many private collections were kept hidden and secretly traded.
Museum of Sex (New York)

Log in to view pricesavailable1d 16h ago
DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 25 x 35 cm. ( 9.84 x 13.77 in. ) in a format of 32 x 42 cm. ( 12.59 x 16.53 in. )
Year of realization 2017 - 2018.
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

In Japan, artists have created erotic art for thousands of years, but nothing competes against the creative explosion of erotic images created during the Edo period (1603-1868). From inexpensive brothel guide books which explicitly pictured the pleasures awaiting paying customers to the most elegant images of courtesans, Japanese prints from this period celebrated the unbridled pursuit of pleasure that defined Japan’s new and flourishing urban centers. In the city of Edo, now Tokyo, the “floating world” of brothels and theatres were at the center of this new popular culture. Particularly, Edo’s licensed brothel district, the Yoshiwara, it was a place of real and imaginary debauchery. Untold sums of money exchanged hands on a nightly basis in this pleasure quarter and the thousands of beauties located behind its walls provided artistic inspiration to printmakers for over two hundred and fifty years.
Museum of Sex (New York)


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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


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SIAMESE II
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on 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 Videncia, velamiento, ceguera, 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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DARK ROOM 12
Luis Royo
COLOR DRAWING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 20 x 26 cm. ( 7.87 x 10.23 in. ) in a format of 28 x 38 cm. ( 11.02 x 14.96 in. )
Year of realization 2018.
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

According to exhibition curator, Jennifer Kabat, Vamps & Virgins exposed the secret history of the pin-up, which reflect the 20th century history and shows how the role of women has changed and their images have been employed for more than 100 years. “The development of the pin-up and its accompanying spread of scantily-clad ladies across American culture, from adverts and billboards to TV, is easily the most important event that impacted on women’s rights, the history of sexuality, and feminism over the last century,” Ms. Kabat said. “In this post-modern and post-Playboy world we are used to our models becoming self-aware, self-assured and as self-described feminists, but it wasn’t always the case.”
At its beginnings, erotic was far more explicit than contemporary images. Traded privately, these pictures have now a quaint feel with their couples (and threesomes, foursomes and more) sporting serious expressions and often matching outfits. Toned down as soon as the images spread to the population in postcards form, the model started to use the camp, shy expressions that are the genre’s hallmark, reaching her highpoint with Bettie Page. After Page, the style changed again, turning towards the explicit look of the contemporary centerfold.
Museum of Sex (New York)

Log in to view pricesavailable1d 16h ago
THE LETTER
Luis Royo
PAINTING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 40 x 60 cm. ( 15.74 x 23.62 in. ) in a format of 50 x 70 cm. ( 19.68 x 27.55 in. )
Year of realization 2018.
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)

Log in to view pricesavailable1d 16h ago
DANCE NIGHT
Luis Royo
PAINTING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 63 x 42 cm. ( 24.80 x 16.53 in. ) in a format of 76 x 56 cm. ( 29.92 x 22.04 in. )
Year of realization 2018.
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)

Log in to view pricesavailable1d 16h ago
DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 25 x 35 cm. ( 9.84 x 13.77 in. ) in a format of 32 x 42 cm. ( 12.59 x 16.53 in. )
Year of realization 2017 - 2018.
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)


Log in to view pricesavailable1d 16h ago
DARK ROOM - EL CENTRO DEL UNIVERSO
Luis Royo
PAINTING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 63 x 41 cm. ( 24.80 x 16.14 in. ) in a format of 76.5 x 56 cm. ( 30.11 x 22.04 in. )
Year of realization 2018.
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

In our modern Internet age, with thousands of explicit images available at the click of a button, the terms “hardcore” and “pornography” have become nearly synonymous. But while it is easy to imagine that “hardcore” is an invention of the 21st century, the desire of sexually break the boundaries of physical and social modesty has long revealed itself throughout history. Despite repeated attempts to censure, kidnap or “demonize” this sexual past, artifacts left from previous generations prove our ancestors were not as asexual as an expurgated version of history would like us to believe. Though much has been lost or discarded, many private collections were kept hidden and secretly traded.
Museum of Sex (New York)

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DARK ROOM 7
Luis Royo
COLOR DRAWING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 20 x 27 cm. ( 7.87 x 10.62 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)

Log in to view pricesavailable1d 16h ago
DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 25 x 35 cm. ( 9.84 x 13.77 in. ) in a format of 32 x 42 cm. ( 12.59 x 16.53 in. )
Year of realization 2017 - 2018.
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

According to exhibition curator, Jennifer Kabat, Vamps & Virgins exposed the secret history of the pin-up, which reflect the 20th century history and shows how the role of women has changed and their images have been employed for more than 100 years. “The development of the pin-up and its accompanying spread of scantily-clad ladies across American culture, from adverts and billboards to TV, is easily the most important event that impacted on women’s rights, the history of sexuality, and feminism over the last century,” Ms. Kabat said. “In this post-modern and post-Playboy world we are used to our models becoming self-aware, self-assured and as self-described feminists, but it wasn’t always the case.”
At its beginnings, erotic was far more explicit than contemporary images. Traded privately, these pictures have now a quaint feel with their couples (and threesomes, foursomes and more) sporting serious expressions and often matching outfits. Toned down as soon as the images spread to the population in postcards form, the model started to use the camp, shy expressions that are the genre’s hallmark, reaching her highpoint with Bettie Page. After Page, the style changed again, turning towards the explicit look of the contemporary centerfold.
Museum of Sex (New York)

Log in to view pricesavailable1d 16h ago
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


Log in to view pricesavailable1d 16h ago
DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 23 x 30 cm. ( 9.05 x 11.81 in. ) in a format of 28 x 42 cm. ( 11.02 x 16.53 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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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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DARK ROOM SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 25 x 35 cm. ( 9.84 x 13.77 in. ) in a format of 32 x 42 cm. ( 12.59 x 16.53 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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DREAMS WHITE - BLACK
Luis Royo
COLOR DRAWING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 65 x 95 cm. ( 25.59 x 37.40 in. ) in a format of 70 x 100 cm. ( 27.55 x 39.37 in. )
Year of realization 2016.
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

In Japan, artists have created erotic art for thousands of years, but nothing competes against the creative explosion of erotic images created during the Edo period (1603-1868). From inexpensive brothel guide books which explicitly pictured the pleasures awaiting paying customers to the most elegant images of courtesans, Japanese prints from this period celebrated the unbridled pursuit of pleasure that defined Japan’s new and flourishing urban centers. In the city of Edo, now Tokyo, the “floating world” of brothels and theatres were at the center of this new popular culture. Particularly, Edo’s licensed brothel district, the Yoshiwara, it was a place of real and imaginary debauchery. Untold sums of money exchanged hands on a nightly basis in this pleasure quarter and the thousands of beauties located behind its walls provided artistic inspiration to printmakers for over two hundred and fifty years.
Museum of Sex (New York)

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DARK ROOM 6
Luis Royo
COLOR DRAWING
Graphite, watercolor and acrylic with airbrush on paper.
Painted surface 21 x 30 cm. ( 8.26 x 11.81 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

In our modern Internet age, with thousands of explicit images available at the click of a button, the terms “hardcore” and “pornography” have become nearly synonymous. But while it is easy to imagine that “hardcore” is an invention of the 21st century, the desire of sexually break the boundaries of physical and social modesty has long revealed itself throughout history. Despite repeated attempts to censure, kidnap or “demonize” this sexual past, artifacts left from previous generations prove our ancestors were not as asexual as an expurgated version of history would like us to believe. Though much has been lost or discarded, many private collections were kept hidden and secretly traded.
Museum of Sex (New York)

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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. )
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)
 

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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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REQUIEM - DREAMING IN THE LABYRINTH
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper "Schoellershammer".
Size 60 x 85 cm.
Year of realization 2017
Signed in the bottom-right of the piece.
Irreverent, provocative, obscene. This is one of the pieces of Luis Royo that summarizes in a single image all his career in one of his fields, such as eroticism. Wrapped the work in a soft harmony of tones and a delicate composition, plays in this case with the evidence rather than the insinuation (as it could do in other of his works of erotic theme).
Within all the wide enveloping composition, he has chosen a single focused and challenging point where he teaches us that politically incorrect message. A protected place that prompts you to enter its dark world. A piece recovered for Gray Labyrinth that represents and synthesizes like few others, one of the currents for which this author is so published internationally.
 
All works selected for the special "Dreaming in the Labyrinth" have in common that they belong to the most personal works of the authors. 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.
 
Fantastic art, also known as imaginative realism, distinguishes itself from other art forms by portraying ancient myths and legends, modern day fantasies in the form of misterious interventions, the imagination, the dream state, the grotesque, visions, and the “uncanny” as common everyday elements. While the widespread prevalence of imaginative realism is relatively recent in popular culture, this genre is a staple in art history, beginning with the rise of romanticism in the second half of the eighteenth century as artists began to present imaginative imagery for narrative and emotional impact, rather than allegorical or historical meaning. At the Edge is the first exhibition to place this genre in its correct art-historical context as an evolution of the great realist painters of the past.
The Allentown Art Museum

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UNREACHABLE GOLD - DREAMING IN THE LABYRINTH
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on handmade paper.
Painted surface 66.5 x 96 cm. ( 26.18 x 37.79 in. ) in a format of 70 x 100 cm. ( 27.55 x 39.37 in. )
Year of realization 2016.
Signed on the bottom right of the piece.
Among the most well-known works by Luis Royo, one can observe this constant of confronting monstrosity and rot with the ideal of beauty and harmony. A beauty that for nothing is "at the service of" but provocative and dominant challenges unattainable to the Universe.
This is one of his few paintings in which he uses a higher format than usual, as if he wanted that ladder to be offered heavier and harder to our eyes. The use of gold on the skin, the treatment of extremely dead colors (almost asphyxiating fantasy) and the format of the piece, make it a clearly emblematic work.
Perhaps all its clear symbolism and the details mentioned have been the reason why this work has been darkly kept until now.
 
All works selected for the special "Dreaming in the Labyrinth" have in common that they belong to the most personal works of the authors. 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.
 
Fantastic art, also known as imaginative realism, distinguishes itself from other art forms by portraying ancient myths and legends, modern day fantasies in the form of misterious interventions, the imagination, the dream state, the grotesque, visions, and the “uncanny” as common everyday elements. While the widespread prevalence of imaginative realism is relatively recent in popular culture, this genre is a staple in art history, beginning with the rise of romanticism in the second half of the eighteenth century as artists began to present imaginative imagery for narrative and emotional impact, rather than allegorical or historical meaning. At the Edge is the first exhibition to place this genre in its correct art-historical context as an evolution of the great realist painters of the past.
The Allentown Art Museum

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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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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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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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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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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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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
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
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
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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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
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
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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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 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
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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THE WINGS OF SHAMASH
Luis Royo
PAINTING
Acrylic and oil on handmade paper
Size 141 x 90 cm (55.51 x 35.43 in)
Published in the book Malefic Time Apocalypse, page 49
Year of realization 2010


"The followers of Shamash, the refining general of the hosts in the cathedral, were moving around the temple taking positions. That solar lord had deals long ago with the pastor, and his subjects were using Saint Patrick as headquarters"



2018-04-27: price changed from 750.00€ to 12000€

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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
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
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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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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BRUCE LEE
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper.
Painted surface 51 x 35 cm (20.07 x 13.77 in) .in a format of 64 x 48 cm. (25.19 x 18.89 in) 
Year of realization 1991
Cover for "Bruce Lee" video tape published in Germany.




2017-11-22: price changed from 1500.00€ to 1200€
2017-11-28: price changed from 1200.00€ to 1500€

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STAR CRASH
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on Cardboard
Painted 29.5 x 44.5 cm. (11.61 x 17.51 in) in a format of 34.5 x 49 cm. (13.58 x 19.29 in)
Year of realization 1983
Cover of the video tape "Star Crash". Published by IN VIDEO (Germany)




2017-11-22: price changed from 2800.00€ to 2240€
2017-11-28: price changed from 2240.00€ to 2800€

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