Ready to drop a freshly baked open edition!!!.

Untitled.80 x 70 x 3 cm

Gm, here’s a new painting: “The silenus Marsyas” . The silenus Marsyas, with his face covered in red. He was flayed alive after challenging the god Apollo and losing. A powerful allegory of Hybris, of arrogance. Increasingly relevant in modern times, though.

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RT @jayprasuhn: Will never stop accruing @_dotpigeon work. Glad to transact with @NTORIUS on the iconic “Hey Alexa, tell everyone to go fuc….

Wip gm 👹

"Green man".The Green Man felt good as the first painting of this new series since it represents the death and rebirth. Archetype of the unconscious, symbol of the wild inner self and natural instincts. Acrylic and mural paint on cotton canvas.90 x 115 x 3 cm

9. In the end, they are still demons meant to be chased away, kept at bay and exorcised. The first photo is the lion I saw on my way to the café and the last one is a grotesque face from Nero’s palace.

8. Soon after, the grotesque went viral all across Europe. Incredible. After working for years with the character in the balaclava, I feel the need to explore different kind of masks and the grotesque fits perfectly to me.

7. They were so struck by what they saw that some of them carved their names into the walls to prove they had been there (basically Renaissance graffiti). Then they started bringing the grotesque into their work, giving it new life and adapting its symbols to their time.

6. That’s where the word grotesque comes from. From those “grotto”. Everything inside had been perfectly preserved, and the discovery caused such a stir that artists like Raphael and Michelangelo wasted no time and immediately climbed down to see the frescoes with their own eyes.

5. If someone 600 years ago hadn’t randomly stumbled into a crack in the ground, we probably wouldn’t be talking about this today. Some workers who were working on a hill accidentally entered a few underground chambers and found themselves inside what used to be Nero’s palace.

4. Their apotropaic meaning, their symbolism, their monstrous shapes immediately captivated me. And even the story of how they were born, or rather, reborn, is incredible.

3. So I started looking into it. What were they? Who made them? What did they represent? And from there, I started to get more and more obsessed. I discovered the “grotesque”, and more specifically, the “grotesque mascheroni”.

2. And now that I think about it, I had seen other beasts and figures (some human, some not) scattered throughout the city. I just never stopped to wonder why a building’s gate was guarded by a Medusa, or a face with goat horns, or some aquatic monster.

1. A few weeks ago I was walking to my usual café for breakfast. I looked up from my phone and couldn’t help but notice the stone face of a lion staring back at me. It was a flash. That lion had always been there, but I had never really paid attention to it.

RT @jedi6900: Overdid the shitposting last night, crashed out, woke up to my portfolio dipping (no sweat, long game vibes). Peeked in my wa….

The copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy of the copy.

RT @UnknownCo123: Claire’s feelings are valid. And so are the feelings of every artist in this space, also the ones who aren’t selling, who….

Lindemann shuts down over “entrenched dealer-collector dynamics” and “the exhausting politics of art fairs.”. I feel you but hey, at least you never had to deal with the Sergitos 😂