PUERTA CON ESPEJO 

Art has the power to transform the everyday into something extraordinary. Such is the case with “Puerta con Espejo” (Door with Mirror), a unique piece that takes a simple wooden door and elevates it into a striking street art sculpture. Priced at 1.500,00 €, this artwork captures the raw and experimental spirit of contemporary urban creativity, while also offering a functional element: a mirror embedded within the door’s painted surface.

A Painted Wooden Door with a Mirror

The concept of using a door as a canvas is itself a statement. Doors represent boundaries, transitions, and thresholds—places of both entry and exit. By painting on a wooden door, the artist reframes its utilitarian role into one of aesthetic and symbolic depth. The mirror introduces another layer: reflection, self-perception, and the blending of art with everyday life. Viewers are not only invited to look at the artwork but also to see themselves within it, becoming part of the piece.

Street Art Meets Sculpture

This work embodies the ethos of street art—taking what exists in the urban environment and reimagining it as an object of meaning. Much like graffiti on walls or murals on abandoned buildings, Puerta con Espejo gives a second life to discarded or overlooked materials. The wooden surface bears brushstrokes, color, and textures that remind us of the raw, unpolished energy of the streets, while the mirror adds a sculptural, interactive quality.

Collecting a Piece of Urban Culture

Priced at 1.500,00 €, Puerta con Espejo is more than an artwork—it is a collector’s item. Street art has moved from temporary public interventions to coveted works that find homes in galleries, private collections, and design-forward spaces. Owning this piece means preserving a fragment of urban culture, a testament to the creativity that thrives outside conventional studio settings.

Symbolism and Artistic Vision

The combination of door and mirror speaks to ideas of identity, passage, and transformation. A door opens to new spaces; a mirror reflects what is already present. Together, they symbolize the dual nature of change: the potential to move forward while remaining conscious of who we are. The painted surface enhances this narrative, layering abstraction and color as an invitation to interpret the work on both personal and universal levels.

A Statement Piece for Interiors

Beyond its artistic value, Puerta con Espejo serves as a bold interior element. Whether displayed in a gallery-like home, an eclectic loft, or a contemporary office, it challenges viewers to see art in unexpected forms. Unlike traditional paintings, this piece merges functionality with expression—turning a simple object into a profound statement.

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👉 “Puerta con Espejo” (Painted Wooden Door with Mirror) is currently available for 1.500,00 €. For art lovers and collectors, it is a rare opportunity to bring an authentic piece of street-inspired creativity into their space—a reminder that art can be found in the most ordinary of objects, transformed by vision and imagination.

The Boy Sitting on a Chair

 

A Street Art Sculpture by Art Is Trash

In the dynamic landscape of urban creativity, where city walls and abandoned objects become canvases, few artists manage to blur the line between painting, performance, and sculpture as effectively as Francisco de Pájaro, known internationally as Art Is Trash (Arte Es Basura). His piece Boy Sitting on a Chair stands as a striking example of how discarded objects can be reimagined, reshaped, and transformed into thought-provoking artworks.

Transformation of the Everyday

This sculpture features a boy seated on a chair, crafted not from marble or bronze, but from recycled, forgotten, or broken materials found on the streets. By elevating trash into art, De Pájaro forces the viewer to question the boundary between what society values and what it throws away. The boy’s posture—simple, almost ordinary—captures a universal human moment: resting, waiting, or perhaps reflecting. Yet, the fact that this everyday act is immortalized through discarded matter gives it an ironic poignancy.

From the Street to the Collector’s World

Originally, Boy Sitting on a Chair was created as a piece of street art sculpture, freely visible to anyone who crossed its path in the city. Like much of De Pájaro’s work, it belonged to the street, temporary and raw, exposed to weather, decay, or removal. But unlike many of his ephemeral creations, this particular sculpture has now been preserved and is offered for sale, bridging the gap between the fleeting nature of street art and the permanence of collectible art objects.

A Dialogue Between Innocence and Waste

The symbolism of a child crafted from trash is impossible to ignore. Children represent purity, hope, and the future, while the materials forming this sculpture signify neglect, consumption, and societal waste. This juxtaposition creates tension: are we, as a society, building the future on foundations of wastefulness? Or is there redemption in our ability to transform and renew?

Art Is Trash’s Radical Philosophy

Francisco de Pájaro’s artistic philosophy is rooted in rebellion against elitist structures of the art world. His work critiques galleries that separate art from everyday life, replacing exclusivity with inclusivity. By making sculptures from waste, he not only democratizes art but also embeds social commentary into the material itself. Boy Sitting on a Chair echoes his wider practice: mischievous, satirical, yet profoundly humane.

For Collectors of Street Culture

Today, Boy Sitting on a Chair is no longer just a fleeting urban encounter. It has been preserved as a unique collector’s piece, available directly from Art Is Trash. This transformation from a street-corner creation into a collectible artwork offers collectors a rare opportunity: to own a piece of street art history, a sculpture that carries with it the spirit of rebellion, humor, and irony that defines De Pájaro’s practice.

Conclusion: A Child of the Streets

Boy Sitting on a Chair captures the essence of Art Is Trash: playful, subversive, and deeply rooted in social observation. It is both fragile and powerful, transient and timeless. More than just an assemblage of materials, it is a mirror to society, reflecting both our capacity to waste and our potential to transform.

What began as a temporary street intervention is now a work preserved for collectors, showing that even trash, once transformed by art, can become timeless.

 Urban Art Sculptures

TOILET – An Original Artwork Blending the Everyday with the Extraordinary

In 2023, Barcelona once again proved its role as a hub of avant-garde creativity with the presentation of TOILET, an original work that challenges our perceptions of art and daily life. Available at the prestigious Artevistas Gallery in Barcelona, this piece embodies the gallery’s mission of showcasing contemporary works that provoke thought, emotion, and conversation.

The Artwork in Detail

TOILET is not just an object but a deliberate artistic statement. Created using acrylic and toilette on wood, the sculpture measures 107 x 57 x 43 cm (42.1 x 22.4 x 16.9 inches). The materials chosen reflect both fragility and permanence, a contrast that is characteristic of modern urban art. By taking an everyday element—one so functional and often overlooked—and elevating it into an art object, the artist prompts viewers to reconsider notions of beauty, utility, and waste.

This duality is emphasized through the vibrant use of acrylic paint layered across the surface, transforming the toilet into a striking visual centerpiece. The medium bridges the line between painting and sculpture, giving the work depth and intensity.

Price and Accessibility

Priced at 1.800,00 €, the artwork is positioned within reach of serious collectors as well as enthusiasts seeking to invest in contemporary art. The gallery also offers a flexible payment option: three installments of 600,00 € at 0% interest (0% TAE). This makes the acquisition process more accessible and underlines Artevistas Gallery’s commitment to encouraging new collectors to participate in the art world.

It is important to note that shipping costs are not included in the listed price. Each work is handled with professional care to ensure safe delivery, maintaining the integrity of the original piece.

Artistic and Cultural Context

Barcelona has long been known for its vibrant street art and experimental art scenes. From the legacy of Antoni Gaudí to contemporary disruptors like Art Is Trash (Francisco de Pájaro), the city has nurtured creatives who challenge cultural norms. TOILET emerges in this lineage as a statement piece that blurs the line between fine art and the mundane.

To place a toilet at the center of an artistic composition is to question conventions and hierarchies within art. What is worthy of display in a gallery? Can utility be redefined as aesthetic? The artwork recalls Marcel Duchamp’s Fountain from 1917, a seminal piece in art history that redefined the boundaries of what could be considered art. Yet TOILET is more than a nod to Duchamp; it carries its own personality, infused with bold colors and the energy of contemporary Barcelona.

The Role of Artevistas Gallery

Situated in the heart of Barcelona’s Gothic Quarter, Artevistas Gallery has established itself as a home for contemporary artists working in painting, photography, and sculpture. With a collection that emphasizes originality and accessibility, the gallery provides a platform where local and international audiences can discover and purchase works that push creative boundaries.

By presenting TOILET, Artevistas continues its tradition of giving space to artworks that provoke dialogue and engage with modern realities. The gallery frames this piece not simply as décor but as a conversation starter, a cultural symbol, and an investment in the future of contemporary art.

A Reflection on Material and Message

The choice of wood as a base further enriches the sculpture. Wood carries connotations of warmth and tradition, while the toilet element introduces coldness and function. Acrylic paint bridges the two, injecting energy and contemporary flair. Together, these contrasts reflect the tensions of modern life: comfort versus necessity, permanence versus waste, beauty versus the banal.

Collectors’ Perspective

For collectors, TOILET represents more than an artwork—it is a chance to own a statement piece rooted in Barcelona’s creative pulse. Its manageable size allows for display in both private and public spaces, while its originality ensures long-term value in a contemporary art collection.

With an edition unique to 2023, this sculpture also serves as a timestamp in the evolving narrative of art in Barcelona. It encapsulates a year marked by experimentation and the growing international recognition of Spanish urban and contemporary artists.

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Specifications Recap

• Title: TOILET

• Medium: Acrylic and toilette on wood

• Dimensions: 107 x 57 x 43 cm / 42.1 x 22.4 x 16.9 in

• Location: Barcelona, 2023

• Price: 1.800,00 € (shipping not included)

• Payment Plan: 3 installments of 600,00 €, 0% TAE

• Available at: Artevistas Gallery – Barcelona

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TOILET invites us to pause and look again at the everyday. In its transformation from utility into art, it carries a playful yet critical commentary on modern life, and it firmly positions itself as one of the intriguing highlights of Artevistas Gallery’s 2023 collection.

The history of contemporary art

 

Can We Compare Arman with Art Is Trash Sculptures?

The history of contemporary art is filled with figures who transform ordinary objects into extraordinary statements. Two names that often spark curiosity in this context are Arman (1928–2005), the French-born American artist associated with Nouveau Réalisme, and Francisco de Pájaro, better known as Art Is Trash, the Spanish street artist from Zafra who works mainly in Barcelona. While they are separated by decades, geography, and artistic circles, the question arises: can we meaningfully compare Arman’s sculptures with the ephemeral interventions of Art Is Trash?

Arman’s Sculptural Language

Arman, whose real name was Armand Pierre Fernandez, developed a career that blurred the line between object and artwork. His most iconic series are accumulations (collections of identical or similar objects presented in transparent cases) and poubelles (works made from discarded, broken, or destroyed items). His practice often revolved around consumer culture, industrial repetition, and the destruction of objects to reveal new meanings.

Sculptures such as Long Term Parking (a towering arrangement of cars encased in concrete) or his “colères” (objects deliberately smashed and presented as art) capture the essence of Arman’s challenge: confronting society with the waste, abundance, and violence hidden in everyday consumption.

Art Is Trash: Street Sculptures and Ephemeral Life

Francisco de Pájaro, under the pseudonym Art Is Trash, works in a radically different context. His art emerges directly from the streets of Barcelona, London, Miami, or any city he passes through. Instead of marble, bronze, or transparent Plexiglas, his materials are discarded sofas, broken furniture, cardboard boxes, old mattresses, and trash bags. With spray paint, tape, or quick brushstrokes, he animates these abandoned objects into grotesque, humorous, or tragic figures that comment on poverty, consumerism, and the fragile state of human existence.

Unlike Arman, Art Is Trash rarely preserves his sculptures in galleries or museums. Their life is ephemeral: they might last a few hours or days before the garbage truck clears them away. This fleeting presence makes them simultaneously powerful and vulnerable, reminding viewers that art itself—like life—is temporary.

Points of Comparison

1. Materiality
   Both artists share a fascination with discarded or everyday objects. Arman collected and multiplied them in systematic ways, while Art Is Trash reanimates them in situ. In both cases, the artwork emerges from what society rejects.

2. Destruction and Transformation
   Arman’s “colères” involved smashing violins, chairs, or pianos—acts of destruction that created a new sculptural presence. Art Is Trash, too, uses destruction as a base but transforms it with humor, anthropomorphism, and irony.

3. Critique of Consumer Society
   Arman came from the post-war boom, when mass production was reshaping lifestyles. His work was a response to abundance and overconsumption. Art Is Trash addresses a similar critique but in the context of 21st-century neoliberalism, inequality, and the mountains of waste left by global capitalism.

4. Ephemerality vs. Monumentality
   Perhaps the biggest difference lies here: Arman’s works often sought permanence, ending up in collections, galleries, and even monumental public spaces. Art Is Trash thrives on impermanence—the sculptures exist on the street, exposed to decay, rain, and removal. This divergence in intent makes direct comparison complex.

Can We Compare Them?

Yes, but with caution.

• Conceptually, both are deeply rooted in objecthood, waste, and transformation. They share a lineage of Dada, Duchamp’s readymades, and the critique of consumerism.

• Aesthetically and institutionally, they diverge: Arman operated within the art market, exhibiting in prestigious galleries, while Art Is Trash embraces the raw, anarchic spirit of street art, rejecting the commodification of his street interventions.

In other words, comparing Arman and Art Is Trash reveals a dialogue across generations about society’s relationship with objects, consumption, and waste. Yet, one sculpts for posterity, while the other sculpts for the present moment.

Final Reflection

If Arman turned the trash of industrial society into monumental memory, Art Is Trash turns the trash of urban life into temporary poetry. Both artists hold a mirror to humanity’s excesses, though one places the mirror in the museum and the other in the street corner.

The comparison is less about sameness and more about continuity: the artistic impulse to reclaim, reframe, and reimagine what others throw away.