Bronze Sculpture for Sale
Japanese VI, 2025
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
Shipping & delivery
Shipped from: Spain
Delivery to: United States , $ 166
Estimated delivery: Three to four weeks
Free returns within 14 days, full refund
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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 artwork "Japoneses VI" stands at the conceptual core of the exhibition's resolution: "Act III. The Code of the Ballpoint Drawings (The Secret Messages)". Within the exhibition narrative, this drawing is the most direct manifestation of the thematic axis dedicated to "Explicit Violence and the Breaking of Silence", asserting individual sovereignty against domination. In this piece, the conflict between perpetrator and victim leaves behind all metaphorical ambiguity to stage an unmediated psychological confrontation.
Compositional Analysis and Character Tension
The Shaved Victim (Dispossession and Endured Pain): On the left, the female subject is shown with a shaved head, an act that in punitive and traumatic contexts signifies humiliation, the stripping away of traditional identity, and enforced punishment. Her face displays unmistakable marks of physical trauma: a purplish bruise around her left eye, tears brimming in her gaze, and clenched teeth locked in a grimace of agony, acute stress, and bodily endurance. A cerulean blue halo isolates her silhouette against the floral backdrop, emphasizing her psychological isolation within the trauma.
The Perpetrator's Countenance (Urban Menace and Domination): Anchoring the right is the male figure: dense hair styled upward with dark garnet highlights, an icy and piercing stare, furrowed brows, and a severe expression. Across his neck emerges a traditional Japanese tattoo () depicting a dragon's head, an unequivocal iconographic emblem of organized crime and the yakuza underworld. His posture and countenance project threatening authority, coercive control, and latent brutality.
Botanical Substrate and Ballpoint Draughtsmanship: Behind this human confrontation lie daisy motifs and traditional kimono floral patterns, whose ornamental innocence clashes starkly with the raw violence in the foreground. The analytical draughtsmanship in ballpoint pen and pencil operates with the precision of a forensic casefile, recording every contour, muscular tension, and injury with evidentiary rigor.
The Inscription in Magenta: An Explicit Declaration of Emancipation
Spanning across the central axis and traversing both faces, a bold handwritten text in magenta and red marker articulates the ethical manifesto of the project:
The Definitive Breaking of the Code: This English inscription decisively dismantles the cryptic veil of earlier Japanese ideograms. The message is no longer veiled behind calligraphic ambiguity; it is formulated as a direct, universal proclamation that names trauma and mistreatment explicitly (), transforming the drawing into an open banner of denunciation and emotional liberation.
Love versus Predation: The closing axiom——serves as the conceptual keystone of the entire series, contrasting the devoured, static beauty of the opening acts with the true liberation of a subject who dares to break the cycle of violence.
Role in the Conceptual Dramaturgy
Testimonial Climax of the Series: marks the definitive turning point where enforced silence transforms into self-sovereignty. There is no room for passive aesthetic contemplation: the work demands that the viewer confront the abuse of power, bodily vulnerability, and systemic coercion directly.
Resolution of the Enigma: By exposing the captor's face and rendering the scars of the victim alongside words of self-affirmation, the artist strips away the romantic myth of subservience, bringing the journey from the decorative mask of Act I to the ultimate triumph of life over terror to a close.
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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