Yoshiko, 2025
Painting : mixed media · 26 x 18 x 4 cm 10.2 x 7.1 x 1.6 inch
€2,420
2 420 €
Delivered in time for Christmas
Shipping & delivery
Shipped from: Spain
Delivery to: Germany , € 150
Estimated delivery: Three to four weeks
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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, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
mixed media on board
Dimensions ( cm • inch )
26 x 18 x 4 cm 10.2 x 7.1 x 1.6 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2026
Description
The piece "Yoshiko" is situated squarely within the second phase of the exhibition's opening conceptual act: "Entrapment (The Resin)", set within the overarching framework of . In this work, the technical and thematic shift anticipated by the artist takes full effect: exquisite figurative painting collides head-on with explicit manga graphics, all submerged and sealed beneath a dense vitrified layer.
Poetic Leitmotif
The artist's original haiku captures the tension between the hypnotic stillness of the portrait, the graphic saturation of its ground, and the synthetic sheen that seals it:
Formal and Aesthetic Analysis
The Tondo Medallion and Pictorial Modeling: Anchoring the core of the composition is a circular set against a warm, amber-gold wash. Yoshiko's portrait is executed with remarkable graphic and painterly finesse: velvety skin with warm undertones, full lips in terracotta, an organically textured high updo, and, above all, a direct, unwavering gaze that confronts the viewer.
The Collage Substrate (The Comic Ground): Diverging from the silks and pastoral scenes of the opening pieces, the background collage is composed of printed Japanese manga panels. These vignettes portray two female figures rendered with heightened erotic tension, crowded by Japanese speech balloons, sound effects, and mass-market visual codes. Directly above the tondo, the name "YOSHIKO" is stamped in bold red lettering, functioning like a specimen tag or brand label.
Encapsulated in Epoxy Resin and Synthetic Shimmer: The entire composition is encased beneath a thick stratum of crystal-clear epoxy resin, accented along the edges with flecks of iridescent glitter and synthetic shimmer. Rather than functioning merely as a protective gloss, this industrial finish freezes the entire arrangement into an immutable, glass-like plane.
Placement Within the Exhibition Arc
In Eugenio Montoro Aybar's conceptual design, "Yoshiko" starkly illustrates the clash between pristine beauty and commodification:
The Resin as a Visual Trap: The luminous resin acts as the pivotal metaphor of the series: it immortalizes the subject's allure across time, yet traps her as an inescapable captive of her own spotless perfection.
Exposing Vulnerability: Stripping away the protective mask of classical tradition, the comic backdrop brings issues of bodily hypersexualization, media consumption, and the implicit aggression lurking behind Japanese pop aesthetics into clear focus.
Rebirth and Resilience: As captured in the closing line (), the figure's emergence does not occur within a pristine botanical haven, but amid the abrasive noise, ink strokes, and synthetic glitter of urban pop culture—serving as an immediate prologue to the unrestrained violence and nocturnal setting of Act II in Hanazono.
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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