Slasky (1972) - COPY/LOSS No.1
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Selected by Maurizio Buquicchio
Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Slasky, COPY/LOSS No.1, a Giclée on Hahnemühle 350 g, edition limited to 5, 76 × 55 cm, hand-signed, Italy, in excellent condition.
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Description from the seller
Giclée on Hahnemühle 350gsm + certificate of authenticity
Copy/Loss No.1
Limited edition of 5, 2026 | Diptych, 75 × 55 cm
In Copy/Loss No.1 the artist reflects on the loss of the aura of the iconic image in the era of infinite reproduction.
The diptych presents a double Marilyn Monroe: on the left the image explodes into saturated pop colors (magenta, cyan and green on a turquoise background), still powerful and seductive; on the right the same figure gradually dissolves into an evanescent grayscale scale, almost disappearing.
Through this transition from maximum saturation to disappearance, the work shows how every copy does not preserve but consumes the original.
Marilyn becomes a symbol of the fragility of contemporary icons: the more they are reproduced, the more they lose identity and authority.
Part of the Archive Failure series, Copy/Loss No.1 is an elegy to the decay of the image in the age of post-reproduction.
An iconic face is duplicated until it loses stability.
The Pop image, born to be eternal and instantly recognizable, is split between presence and dissolution.
On one side the glossy surface of media culture survives; on the other emerges a worn, unstable, almost ghostly copy.
The work does not celebrate the icon.
It observes its erosion through repetition, transforming the portrait into an archival artifact of collective memory.
"Art is not about representing new things, but about representing them with novelty"
Slasky is a renowned Italian artist whose works have been shown in solo and group exhibitions internationally.
The artist has the ability to fuse classical artworks with techniques of contemporary digital art. With his classic neo-urban style, he combines tradition and modernity, bringing the protagonists of original artworks into contemporary social and artistic environments.
Institutional highlight: Long Live Rembrandt, Rijksmuseum, Amsterdam, 2026. Work selected by the museum
jury from thousands of international submissions for exhibition within the museum's permanent collection
spaces. 15 July — 15 September 2019.
2026
* CI-AO
30 April - 28 May 2026
Via Del Vantaggio 28, Rome
Piazza del Popolo
* FACE2FACE
Laundry Studios · 5 – 9 March 2026
⸻
2025
* Tokyo Open Art | Art on Loop Exhibition
Tokyo · 12 – 16 September 2025
* Art Parallax
London · 15 – 16 February 2025
⸻
2024
* Waterloo — Solo Exhibition
Limassol · 10 – 20 December 2024
* ARTLAB 2024
Munich · 13 – 22 June 2024
* Must Be — Solo Exhibition
Anemi, Limassol · 3 – 10 February 2024
* Contemporary Venice 2024 — 13th Edition — Solo Exhibition
Venice · 12 – 15 January 2024
⸻
2023
* Time Is An Illusion / Le temps est une illusion
Kramfors · 2 – 23 October 2023
⸻
2022
* (UN)FAIR — (UN)DISCOVERED ART
Superstudio Maxi, Milan · 8 – 10 April 2022
⸻
2021
* MIA Fair 2021
Superstudio Maxi, Milan · 7 – 10 October 2021
* Lausanne Art Fair
Lausanne · 30 September – 3 October 2021
* Lille Art Up!
Lille Grand Palais · 24 – 27 June 2021
* Works on Paper
Antibes · 18 March – 21 April 2021
⸻
2020
* StreetArt // UrbanArt
Tozzo Atelier · 8 – 30 October 2020
* Work on Paper
Stockholm · 18 March – 21 April 2020
⸻
2019
* Long Live Rembrandt ★ — Jury Selection
Rijksmuseum, Amsterdam · 15 July – 15 September 2019
* Wopart Art Fair
Lugano · 19 – 22 September 2019
* Andy Warhol Exhibition — Group Show
· 14 April – 23 September 2019
⸻
2018
* Neo Urban Classic — Solo Exhibition
MGallery by Sofitel, Kaluga · 16 March 2018
* Anti Donald Trump
Creative Debuts, London · 12 – 18 July 2018
⸻
2016
* Arte Firenze — Sandro Botticelli International Contemporary Art Prize
Florence · 18 – 20 November 2016
* Twitter Art Exhibition
Trygve Lie Gallery · 31 March – 21 April 2016
⸻
2015
* HUMAN RIGHTS? — La Casa della Pace
Fondazione Opera Campana dei Caduti, Rovereto · 31 May – 30 August 2015
Seller's Story
Slasky once again begins to crack open the barriers of time with a work that acts as a refined visual and conceptual short circuit. At the center of the composition emerges the magnetic and indissoluble gaze of a classical feminine portrait, imbued with the meticulous realism typical of the great northern European painting tradition of the Seventeenth Century. The austere dignity of the noblewoman, framed by a lavish frilled white lace collar, is however intercepted, severed, and partially concealed by a geometric pattern of white and black diagonal stripes.
This graphic intervention is not a mere aesthetic overlay, but a powerful statement of urban poetics. Slasky introduces a pattern that immediately evokes the visual codes of contemporary road signage, Optical Art, and modern street graphics. The geometric crossbar acts as a barrier or censoring filter that fragments the face: one half remains faithful to its museum and historical dimension, while the other half dissolves into the cold rationality of the abstract code.
The work thus interrogates the perception of identity in the digital age. The face of the past, guardian of an intimate and solemn historical memory, is reactivated and compelled to dialogue with the syncopated rhythms and the brazen geometries of contemporary culture. To underscore this dichotomy, the choice of frame is decisive: a sumptuous black Baroque profile in relief that envelops the work, transforming the jarring pop contrast into a sacred object of museum-design.
With his unmistakable technical and editorial deftness, Slasky does not destroy the antique, but re-encodes it, proving that classical art belongs not only to the past, but is a living matter, ready to be traversed and re-signified by the symbols of our present.
Translated by Google TranslateGiclée on Hahnemühle 350gsm + certificate of authenticity
Copy/Loss No.1
Limited edition of 5, 2026 | Diptych, 75 × 55 cm
In Copy/Loss No.1 the artist reflects on the loss of the aura of the iconic image in the era of infinite reproduction.
The diptych presents a double Marilyn Monroe: on the left the image explodes into saturated pop colors (magenta, cyan and green on a turquoise background), still powerful and seductive; on the right the same figure gradually dissolves into an evanescent grayscale scale, almost disappearing.
Through this transition from maximum saturation to disappearance, the work shows how every copy does not preserve but consumes the original.
Marilyn becomes a symbol of the fragility of contemporary icons: the more they are reproduced, the more they lose identity and authority.
Part of the Archive Failure series, Copy/Loss No.1 is an elegy to the decay of the image in the age of post-reproduction.
An iconic face is duplicated until it loses stability.
The Pop image, born to be eternal and instantly recognizable, is split between presence and dissolution.
On one side the glossy surface of media culture survives; on the other emerges a worn, unstable, almost ghostly copy.
The work does not celebrate the icon.
It observes its erosion through repetition, transforming the portrait into an archival artifact of collective memory.
"Art is not about representing new things, but about representing them with novelty"
Slasky is a renowned Italian artist whose works have been shown in solo and group exhibitions internationally.
The artist has the ability to fuse classical artworks with techniques of contemporary digital art. With his classic neo-urban style, he combines tradition and modernity, bringing the protagonists of original artworks into contemporary social and artistic environments.
Institutional highlight: Long Live Rembrandt, Rijksmuseum, Amsterdam, 2026. Work selected by the museum
jury from thousands of international submissions for exhibition within the museum's permanent collection
spaces. 15 July — 15 September 2019.
2026
* CI-AO
30 April - 28 May 2026
Via Del Vantaggio 28, Rome
Piazza del Popolo
* FACE2FACE
Laundry Studios · 5 – 9 March 2026
⸻
2025
* Tokyo Open Art | Art on Loop Exhibition
Tokyo · 12 – 16 September 2025
* Art Parallax
London · 15 – 16 February 2025
⸻
2024
* Waterloo — Solo Exhibition
Limassol · 10 – 20 December 2024
* ARTLAB 2024
Munich · 13 – 22 June 2024
* Must Be — Solo Exhibition
Anemi, Limassol · 3 – 10 February 2024
* Contemporary Venice 2024 — 13th Edition — Solo Exhibition
Venice · 12 – 15 January 2024
⸻
2023
* Time Is An Illusion / Le temps est une illusion
Kramfors · 2 – 23 October 2023
⸻
2022
* (UN)FAIR — (UN)DISCOVERED ART
Superstudio Maxi, Milan · 8 – 10 April 2022
⸻
2021
* MIA Fair 2021
Superstudio Maxi, Milan · 7 – 10 October 2021
* Lausanne Art Fair
Lausanne · 30 September – 3 October 2021
* Lille Art Up!
Lille Grand Palais · 24 – 27 June 2021
* Works on Paper
Antibes · 18 March – 21 April 2021
⸻
2020
* StreetArt // UrbanArt
Tozzo Atelier · 8 – 30 October 2020
* Work on Paper
Stockholm · 18 March – 21 April 2020
⸻
2019
* Long Live Rembrandt ★ — Jury Selection
Rijksmuseum, Amsterdam · 15 July – 15 September 2019
* Wopart Art Fair
Lugano · 19 – 22 September 2019
* Andy Warhol Exhibition — Group Show
· 14 April – 23 September 2019
⸻
2018
* Neo Urban Classic — Solo Exhibition
MGallery by Sofitel, Kaluga · 16 March 2018
* Anti Donald Trump
Creative Debuts, London · 12 – 18 July 2018
⸻
2016
* Arte Firenze — Sandro Botticelli International Contemporary Art Prize
Florence · 18 – 20 November 2016
* Twitter Art Exhibition
Trygve Lie Gallery · 31 March – 21 April 2016
⸻
2015
* HUMAN RIGHTS? — La Casa della Pace
Fondazione Opera Campana dei Caduti, Rovereto · 31 May – 30 August 2015
Seller's Story
Slasky once again begins to crack open the barriers of time with a work that acts as a refined visual and conceptual short circuit. At the center of the composition emerges the magnetic and indissoluble gaze of a classical feminine portrait, imbued with the meticulous realism typical of the great northern European painting tradition of the Seventeenth Century. The austere dignity of the noblewoman, framed by a lavish frilled white lace collar, is however intercepted, severed, and partially concealed by a geometric pattern of white and black diagonal stripes.
This graphic intervention is not a mere aesthetic overlay, but a powerful statement of urban poetics. Slasky introduces a pattern that immediately evokes the visual codes of contemporary road signage, Optical Art, and modern street graphics. The geometric crossbar acts as a barrier or censoring filter that fragments the face: one half remains faithful to its museum and historical dimension, while the other half dissolves into the cold rationality of the abstract code.
The work thus interrogates the perception of identity in the digital age. The face of the past, guardian of an intimate and solemn historical memory, is reactivated and compelled to dialogue with the syncopated rhythms and the brazen geometries of contemporary culture. To underscore this dichotomy, the choice of frame is decisive: a sumptuous black Baroque profile in relief that envelops the work, transforming the jarring pop contrast into a sacred object of museum-design.
With his unmistakable technical and editorial deftness, Slasky does not destroy the antique, but re-encodes it, proving that classical art belongs not only to the past, but is a living matter, ready to be traversed and re-signified by the symbols of our present.
Translated by Google TranslateDetails
Sold by
Agent
Edition
Limited edition
Artist
Slasky (1972)
Title of artwork
COPY/LOSS No.1
Technique
Giclée
Signature
Hand signed
Country of origin
Italy
Condition
Excellent condition
Height
76 cm
Width
55 cm
Depiction/theme
Pop Culture
Style
Pop Art
Sold with frame
No
Period
2020+
