Japanese I, 2025
Fine Art Drawings : pencil, ballpoint pen · 12.5 x 20 x 1 cm 4.9 x 7.9 x 0.4 inch
€960
960 €
Delivered in time for Christmas
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Shipped from: Spain
Delivery to: Germany , € 100
Estimated delivery: Three to four weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Fine Art Drawings : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
pencil , ballpoint pen on board
Dimensions ( cm • inch )
12.5 x 20 x 1 cm 4.9 x 7.9 x 0.4 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2026
Description
This piece inaugurates the exhibition's third movement: "Act III. The Code of the Ballpoint Drawings (The Secret Messages)". Here, the glossy permanence of resin gives way to an investigative visual casefile, an intimate dossier of survival and covert testimonies. Within the exhibition's overarching dramaturgy, the work embodies the core motif of "The Border Between Worlds and the Disappearance".
Compositional Analysis and Graphic Language
Dual Portrait: The Clash of Divergent Worlds: The visual dynamic rests on the confrontation of two youthful profiles, rendered with virtuoso precision in ballpoint pen and colored pencil: On the Left — The World of Silk and Geishas: A young woman with dark, neatly bound hair, porcelain skin, a delicate rose flush, and a wistful gaze angled away from the center. Hovering faintly above her is a white crane—a symbolic link to Act I, representing pristine tradition and vulnerable composure. On the Right — The Urban Underworld and the Yakuza: A young man with tousled copper-and-purple hair, full lips, an exhausted, heavy-lidded gaze, and visible weariness around the eyes. He stands as an emblem of Tokyo's criminal nightscape and street-level brutality.
The Ballpoint Pen Idiom: Replacing the weight of oils or acrylics with graphite and ballpoint ink endows the composition with raw documentary authenticity, resembling an investigator's sketch or an illicit diary entry. The vibrant, nervous line work exposes the stark vulnerability of the figures.
Calligraphy as an Impassable Barrier
The divide between the two figures is claimed by an assertive lattice of Japanese script inscribed in bright blue ink. The text forcefully cuts into the silhouettes of the subjects:
Conceptual Meaning: In accordance with the exhibition sheet, the script establishes an unbridgeable divide: the silk of the geisha versus the steel of the yakuza—two parallel realities destined never to converge. The text speaks of the fragile separation of paper, longing, and the distance carved between them by hues of blue and violet.
Visual Barrier: The characters function beyond mere language; they act as a physical screen or acoustic noise, severing the space between the figures and preventing their eyes from ever meeting.
Role in the Exhibition Narrative
Point of Collision: captures the precise friction where the pristine façade of traditional grace (Act I) clashes against the violent reality of the underworld (Act II).
Opening of the Casefile: The work provides the foundational cipher for the entire cycle. It invites the viewer into an unvarnished evidentiary journal, peeling back the romantic veneer to hint at impending abductions, disappearances within the labyrinth of the Tokyo subway, and the systemic violence laid bare in subsequent sheets.
Presentation
Eugenio Montoro Aybar (born 1974 in Granada, Spain, where he currently resides and works) is a distinguished visual artist, researcher, and educator holding a PhD in Fine Arts from the University of Granada, specializing in pictorial techniques and artistic procedures. Throughout his established career, he has combined rigorous academic research and fine art painting with the direction of monumental mural projects and heritage conservation initiatives on both national and international stages.
Among his prominent monumental achievements is the direction and coordination of the mural and decorative paintings for the full-scale replica of the Alhambra of Granada at the Al-Yamamah Royal Palace in Riyadh (Saudi Arabia), commissioned by King Fahd bin Abdulaziz. In Spain, he has led prestigious ecclesiastical restorations, including the monumental high altars of the Basilica of Saint Michael the Archangel and the Basilica of Saint Andrew in Granada, as well as the mural decorations of the Basilica of Lillo in Toledo.
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