Japanese III, 2025
Eugenio Montoro Aybar  

Fine Art Drawings : pencil, ballpoint pen · 12.5 x 20 x 1 cm 4.9 x 7.9 x 0.4 inch

$1,150 1 150 $US

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Shipped from: Spain

Delivery to: United States , $ 166

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

Dimensions ( cm • inch )

12.5 x 20 x 1 cm 4.9 x 7.9 x 0.4 inch Height x Width x Depth

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Credentials

Vetted seller since 2026

Description

The piece "Japoneses III" advances the narrative of the exhibition's third movement: "Act III. The Code of the Ballpoint Drawings (The Secret Messages)". Within the conceptual structure of the project, it forms part of the works exploring "The Border Between Worlds and the Disappearance". Here, the artist introduces a pivotal material support—an authentic banknote—laying bare the commodification and transactional exploitation of the female body.

Material Ground: The Banknote as a Manifesto of Commodification

The core conceptual shift in is the use of a genuine 1 US Dollar bill () as the drawing surface:

The Traffic of Bodies: Drawing directly onto legal tender visually materializes the exhibition's focus on the commodification of the body () within metropolitan underworlds.

The Stamp of Value: The currency's engravings, serial numbers, and the prominent banner reading "THE UNITED STATES OF AMERICA" transform the depicted women into cataloged inventory. Classical silk and youthful innocence are subordinated to fiscal value, underscoring systemic trade and subjugation.

Compositional Analysis and Graphic Language

Dialogue Between Two Archetypes: The composition contrasts two female countenances outlined by a vibrant sky-blue contour, visually setting them apart from the printed substrate: On the Left — The Classical Geisha: A disciplined updo accented with white floral pins and a decorative comb, paired with a patterned violet kimono featuring a crimson undercollar. Her skin retains porcelain stillness, her cheeks are brushed with delicate rose, and her gaze is turned inward with quiet detachment. On the Right — The Contemporary Figure: Loose, dark hair captured with fine graphite strokes, bare shoulders, and an ethereal lace neckline rendered in delicate linework. Her wider eyes project vulnerability and unspoken distress.

Ballpoint Pen Execution: The fine cross-hatching in ballpoint pen and pencil layered over the engraved green treasury markings lends the piece the urgency of a field note, a private diary excerpt, or forensic evidence from an investigative casefile.

Green Calligraphy: Neon Lights and Parallel Worlds

The center between the portraits and the banknote's upper section are overlaid with expressive Japanese calligraphy in vibrant emerald green. Flowing across the official currency typography, the text functions as poetic testimony:

Textual Meaning: The inscription speaks of city streets trembling under neon lights, where one woman stands quiet like silk while the other is bound by shadows and oaths. It captures the fleeting instant when gazes align across two worlds forbidden to touch, yet burning with restrained fire.

Narrative Integration: The writing expands upon the unbridgeable divide introduced in (silk versus underworld steel) and reflects the atmospheric unease of Act II ().

Role Within the Exhibition Arc

De-exoticizing Tradition: strips romanticized nostalgia from the Eastern aesthetic, exposing the transactional reality beneath: the consumption of beauty, objectification, and the trafficking of lives.

Documentary Evidence: The artwork stands as tangible material proof in Montoro Aybar's investigative narrative, paving the way for the open manifestos against abuse and the reclamation of agency in subsequent works.

Portrait

figurative

Women

Geisha

Humans

Neo-Pop

Green

Eugenio Montoro Aybar, Japanese III
Spain ʉۢ 1974

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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