Chocolate Island, 2025
Painting : acrylic · 100 x 65 x 2 cm 39.4 x 25.6 x 0.8 inch · Ready to hang
$3,509
3 509 $US
Shipping & delivery
Shipped from: France
Delivery to: United States , $ 253
Estimated delivery: One to two 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
Painting : Unique artwork
Condition
Artwork sold in perfect condition, framed, ready to hang
with stretcher frame
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the artist
Signature
Hand-signed by artist
Dimensions ( cm • inch )
100 x 65 x 2 cm 39.4 x 25.6 x 0.8 inch Height x Width x Depth
Artwork dimensions including frame
107 x 72 x 3.5 cm 42.1 x 28.3 x 1.4 inch
Sold by
Independent artist
Credentials
Vetted seller since 2026
Description
This work gives the impression of a suspended micro-world, an autonomous island floating like a materialized childhood memory. Everything seems compact, dense, almost stacked like an overturned toy box where each element has come to life.
The architecture resembles objects more than buildings: simple, rounded volumes, naive proportions. They look like building blocks, candy dispensers, enlarged figurines. This ambiguity between building and toy immediately establishes a mental territory: that of the child's imagination, where scale no longer really matters.
The cat-headed building, with its open mouth from which an oversized tongue protrudes, acts as a gateway to this world. It is both playful and slightly unsettling—a surreal pop aesthetic that flirts with gentle grotesqueness. This tension is echoed in the chimney that belches out a bright flame: an industrial element transformed into an almost cartoonish symbol, like a three-dimensional pictogram.
The presence of the lighthouse-aquarium with its cute little skull is particularly interesting: a symbol of danger or death rendered harmless by its cute treatment. The skull becomes decorative, almost endearing. This is typical of a world where codes are remixed—pop culture, advertising imagery, mascots, video game icons.
King Kong, miniature and casually placed next to a banana advertisement, reinforces this logic of subversion. The monumental myth is reduced to a toy perched on a rooftop. He no longer threatens; he observes. The entire island functions as a showcase of references absorbed by childhood.
The paper airplanes and small floating blocks around the island reinforce the idea of a fragile, makeshift, almost modular world. Nothing is fixed: everything could be moved, rearranged, reinvented.
The vibrant palette—minty turquoise, candy pink, lemon yellow, cherry red—accentuates this feeling of artificial sweetness. The colors seem sugary, as if the island were made of candy. Yet, behind this seductive surface, there is a narrative density: accumulation, saturation, juxtaposition of heterogeneous objects.
It's a work that speaks of the collective imagination: advertising, mascots, geek culture, childhood memories, cinema, games. A miniature world where everything coexists without hierarchy, like in the head of a child — or in that of an adult who has never stopped playing.
We are clearly in a surreal pop universe, but with a palpable tenderness. It's not anxious chaos: it's joyful chaos, organized by visual pleasure and constant invention.
Presentation
In his paintings, Ben Labarthe explores sensitive territories where landscapes become veritable battlegrounds of emotion. He enjoys playing with composition and texture, his illustrative style lending his paintings a spontaneous and vibrant energy. Bold colors, poetic imagery: everything is designed to capture the dynamism of the moment. Nourished by urban culture and the world of manga, his work depicts memories or stories in the making.
For Ben, painting isn't just something to be looked at, it's something to be experienced. It invites you to immerse yourself in it, to let yourself be carried away, to invent your own interpretation, like a contemplative scene into which intention has been injected. Nothing is static, everything is in motion. And because he loves to surprise, the artist goes even further: in keeping with his canvases, he offers an immersive experience. Each artwork is accompanied by a QR code which, once scanned with a phone, reveals a surprise and creates a dialogue between the painting and the digital world. Another way to enter his universe, one augmented pixel at a time.
By integrating augmented reality into his canvases, like a hidden door, it is the viewer who reveals the artwork. By triggering the animation, they become an active participant, interacting with the work and bringing it to life in a new way. The image is no longer simply viewed, but experienced. This interaction questions our relationship to art: Where does the artwork begin and where does the viewer end? Here, the two meet and are transformed. It's not a gimmick, just a fun and engaging way to transcend the traditional frame and allow the artwork to live on a little longer.
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