Japanese IV, 2025
Fine Art Drawings : pencil, ballpoint pen · 12.5 x 20 x 1 cm 4.9 x 7.9 x 0.4 inch
€970
970 €
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
The drawing "Japoneses IV" holds a pivotal place in the unfolding of the third movement: "Act III. The Code of the Ballpoint Drawings (The Secret Messages)". Within the conceptual architecture of the exhibition, this artwork is anchored in the thematic section dedicated to "The Border Between Worlds and the Disappearance". Here, the investigative undercurrent of the project adopts a specific metropolitan geography, crystallizing into a visual casefile of disappearances within the subterranean transit maze of nocturnal Tokyo.
Compositional Analysis and Psychological Tension
Divergent Gazes: Detached Restraint vs. Sheer Panic: The composition is articulated through the juxtaposition of two portraits outlined by an electric cerulean contour that cuts them cleanly from the background: On the Left — The Underworld Archetype: A young man featuring a contemporary fade with copper and burgundy tones, a hoop earring, and an open neckline. His features maintain a façade of cold restraint, yet the focused stillness of his pale eyes reveals calculation, emotional detachment, and allegiance to the unforgiving codes of the street. On the Right — The Female Subject (Aiko): Dark hair falling loosely across her shoulders, her face captured with piercing emotional intensity. Widened, tearful eyes, contracted brows, and parted lips embody the frozen terror of a victim confronted by sudden menace.
The Ballpoint Pen as Forensic Record: The precise cross-hatching in ballpoint pen and colored pencil produces the visceral immediacy of a police field sketch or an illicit journal entry executed on site. In the distant background, faint traditional chrysanthemum motifs are virtually swallowed by the creeping urban dread.
Green Calligraphy: The Tokyo Subway Chronicle
The central area separating both figures is claimed by an assertive column of Japanese calligraphy rendered in bright emerald-green ink. Far from decorative styling, the writing operates as unvarnished documentary evidence:
The Case Testimony: The characters trace the explicit narrative embedded in the exhibition's conceptual dossier:
The Unmapped Platform: The script directly visualizes the curatorial motif of mysterious disappearances along abandoned lines and blind rail corridors, where all traces of the victims are erased.
Role Within the Exhibition Arc
From Subtle Tension to Active Casefile: While primarily mapped an emotional and cultural divide, propels the series into an explicit forensic thriller.
Bridge to the Hanazono Enigma: This artwork functions as a connective tissue linking the sealed, ornamental façade of Act I with the overt violence of Act II (). Aiko stands as the living embodiment of those lost souls whose fragile presence is systematically consumed by the city's predatory undercurrents.
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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