Calvo - "Ha Ha Ha" XXL






Studied art history at Ecole du Louvre and specialised in contemporary art for over 25 years.
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Original artwork by Calvo titled "Ha Ha Ha" XXL, created in 2026 in acrylic and marker on canvas, measuring 106 x 150 cm (100 x 144 cm framed), signed with a certificate of authenticity and sold directly by the artist from Italy.
Description from the seller
Acrylic and Marker on canvas, measured 106 x 150 after the stretcher 100 x 144, signed with a certificate of authenticity.
An explosive visceral outpouring of rage, irony, and disenchantment. The work forcefully carves its place in the path of street-influenced Neo-Expressionism with a Basquiat-like sensibility, turning the canvas into a conceptual battlefield where primitive graphics meet social critique. Among aggressive chromatic blocks — dominated by visceral reds, saturated oranges, and jarring yellows — skeletal and masked figures emerge, crowned as rulers of urban chaos.
The brushwork is scratched, feverish, free of academic filters: fragmented texts ("AFRICAN TOUR", "HA HA HA", "TAXY FREE", "200 YEN") overlay capitalist slogans and taunts, reducing cultural identity and human experience to commodities in a distorted exchange. The musician on the left blows into a trumpet as in a liberating rite or a cry of warning, while the central skeletal figure, with raised hands and teeth laid bare, embodies the alienation and neurosis of the contemporary world. It is a restless, vivid, and brazen work that rejects harmony in order to shout its own truth.
Acrylic and Marker on canvas, measured 106 x 150 after the stretcher 100 x 144, signed with a certificate of authenticity.
An explosive visceral outpouring of rage, irony, and disenchantment. The work forcefully carves its place in the path of street-influenced Neo-Expressionism with a Basquiat-like sensibility, turning the canvas into a conceptual battlefield where primitive graphics meet social critique. Among aggressive chromatic blocks — dominated by visceral reds, saturated oranges, and jarring yellows — skeletal and masked figures emerge, crowned as rulers of urban chaos.
The brushwork is scratched, feverish, free of academic filters: fragmented texts ("AFRICAN TOUR", "HA HA HA", "TAXY FREE", "200 YEN") overlay capitalist slogans and taunts, reducing cultural identity and human experience to commodities in a distorted exchange. The musician on the left blows into a trumpet as in a liberating rite or a cry of warning, while the central skeletal figure, with raised hands and teeth laid bare, embodies the alienation and neurosis of the contemporary world. It is a restless, vivid, and brazen work that rejects harmony in order to shout its own truth.
