Jinks Kunst - La cène - Fromat 65 X 65 cm

This striking and paradoxical work subverts a "No Entry" sign to incorporate a stencil representation of Leonardo da Vinci's "The Last Supper." Produced on a large circular panel measuring 65 cm in diameter, it creates a powerful visual and conceptual contrast between the authority of the ban and the iconic religious scene.

The background of the work is a round traffic sign, dominated by a large red circle crossed by a white horizontal bar. This universal symbol of prohibition forms the unexpected backdrop to the religious scene.
The panel's own characteristics (reflective material, possible scratches or signs of wear) contribute to the raw and urban appearance of the work, contrasting with the classical nature of the representation.

The famous fresco is transposed into a monochrome stencil image, probably black or dark in tone, superimposed on the white bar of the panel.
Despite the simplification inherent in the stencil technique, we recognize the figures of Jesus in the center, surrounded by his disciples arranged on either side of the long table.
The artist probably selected the most recognizable elements of the composition to make the work identifiable despite the stylization. The attitudes and groupings of the figures can be suggested by the contours and flat areas of the stencil.
The contrast between the solemnity of the religious scene and the imperative of the prohibition creates an intriguing narrative tension. One might ask what is "forbidden" here: access, participation, understanding?

The precision of the contours of the figures and the table demonstrates the artist's mastery of the stencil technique. The artist has succeeded in translating a complex work into a stylized yet recognizable form.

The imposing size of the panel reinforces the visual impact of the diversion, making the juxtaposition of the prohibition and the religious scene all the more striking.

The work exudes an atmosphere that is both surprising and contemplative. The contrast between the profane (the road sign) and the sacred (The Last Supper) invites unexpected reflection. The prohibition, a symbol of restriction and limitation, is paired with a scene of sharing and the last meal. This juxtaposition can raise questions about authority, faith, exclusion, and inclusion. The work, through its bold reinterpretation, forces the viewer to a new reading of familiar symbols and a possible subversive interpretation.
For this diversion, Jinks used a French sign.

Each work is signed, dated 2025, and provided with a certificate of authenticity, ensuring its provenance and authenticity.

Don't miss this opportunity to acquire a unique piece!

You can find my creations on the streets of over 30 countries (Mali, Turkey, Morocco, Thailand, Iraq, Nepal...).

Artist listed on Artsper and Artprice.

You can discover on my Facebook page a map that geolocates my creations in over 30 countries.

I particularly love the work of Jef Aérosol, Fin Dac, Invader, Goin, Icy & Sot, Miss Van, Fafi, Logan Hicks, Speedy Graphito, Dan Kitchener, JonOne, Kaws, Blek the Rat, Shepard Fairey / Obey, Dran, Trust.Icon, Dondi, Basquiat...

IMPORTANT: The items are shipped carefully, with insurance. Upon receiving the package, please check if everything is intact. If not, refuse the package. Otherwise, I will not be able to process the insurance. If you do not, there is a risk that I will not be able to do anything in case of a dispute. It will be your responsibility.

Biography
Jinks Kunst is a French-Swiss urban artist born in 1976. He lives and works in Nantes.

His adolescence was marked by hip-hop culture and skateboarding. Magazines, fanzines, and record covers led him to discover graffiti and illustrations by artists like Lazoo and Mode 2.

He first experimented with graffiti lettering, then in 2006, he ventured into stenciling. It was a true revelation and a consuming passion that never left him. All these works are handmade. Armed with a cutter, he meticulously carves out life-sized pieces for hours.

In January 2008, he began diverting traffic signs in Nantes, then around the world. Intervening in streets across the globe is a necessity for Jinks Kunst. His creations are visible in over 30 countries.

These trips are always an opportunity for long walks to discover the right walls, the right signs. They are rich in encounters with local populations. For Jinks Kunst, urban art is a way to create connections with the inhabitants of the countries he explores, to engage in activities (often volunteer-based) with audiences (slums, refugee camps, working-class neighborhoods, schools) who have little or no access to this form of cultural expression, notably by organizing stencil creation workshops.