Reinaldo Ortega Sardiñas 1977 - XXI España - Sueño del Gran Asador con El Leon de Judá y los Señores de la Guerra en tierra de Isabel la Católica





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Reinaldo Ortega Sardiñas (1977) presents Sueño del Gran Asador con El Leon de Judá y los Señores de la Guerra en tierra de Isabel la Católica, an original, XXL collage on canvas with acrylic intervention, 50 × 150 cm, 2 kg, signed by the artist, created in 2026 as part of the Cocaína para Isabel la Católica series in a Pop Surrealism style, produced in Spain and shipped without frame or wooden stretcher.
Description from the seller
Author: Reinaldo Ortega Sardiñas 1977 - XXI Spain
Series: Cocaine for Queen Isabella I (2025-2026) - Pop Surrealism.
Title: Dream of the Great Roaster with the Lion of Judah and the Lords of War in the land of Queen Isabella I - XXL format.
Technique: Digital collage printed on canvas, hand-finished with acrylic paint and varnish.
Dimensions: 50 x 150 cm
Work signed by hand by the Artist.
In excellent condition. New.
Unique edition in that format with this composition. Original.
Shipping does not include a frame or wooden stretcher.
Tracking will be provided via UPS or FedEx online.
STATEMENT
Reinaldo Ortega Sardiñas
The transgressor of contemporary Pop-Surrealism
My work sits in the uncomfortable territory where historical iconography, symbolic power, and popular culture collide without asking for permission. I work from pop-surrealism as a field of visual sabotage: I desacralize figures, ideologies, and cultural mythologies to reveal their structural fragility.
I am not interested in representing history; I am interested in intervening it. I take canonized figures —political, religious, cultural— and move them from their pedestals to settings where the absurd, the dreamlike, and the ironic destabilize their authority. The image ceases to be reverent and becomes a field of tension.
My language combines appropriation, conceptual collage, painting, and symbolic construction. I use the pop imaginary as a Trojan horse: it seduces first, questions later. The aesthetics are a lure; the intention is critical.
I embrace contradiction as method. My work does not seek consensus or comfort, but friction. In a world saturated with closed-off discourses, I propose open images that force a rethinking of what seemed untouchable.
I am the transgressor of contemporary pop-surrealism because I do not use surrealism to escape reality, but to dismantle it.
Author: Reinaldo Ortega Sardiñas 1977 - XXI Spain
Series: Cocaine for Queen Isabella I (2025-2026) - Pop Surrealism.
Title: Dream of the Great Roaster with the Lion of Judah and the Lords of War in the land of Queen Isabella I - XXL format.
Technique: Digital collage printed on canvas, hand-finished with acrylic paint and varnish.
Dimensions: 50 x 150 cm
Work signed by hand by the Artist.
In excellent condition. New.
Unique edition in that format with this composition. Original.
Shipping does not include a frame or wooden stretcher.
Tracking will be provided via UPS or FedEx online.
STATEMENT
Reinaldo Ortega Sardiñas
The transgressor of contemporary Pop-Surrealism
My work sits in the uncomfortable territory where historical iconography, symbolic power, and popular culture collide without asking for permission. I work from pop-surrealism as a field of visual sabotage: I desacralize figures, ideologies, and cultural mythologies to reveal their structural fragility.
I am not interested in representing history; I am interested in intervening it. I take canonized figures —political, religious, cultural— and move them from their pedestals to settings where the absurd, the dreamlike, and the ironic destabilize their authority. The image ceases to be reverent and becomes a field of tension.
My language combines appropriation, conceptual collage, painting, and symbolic construction. I use the pop imaginary as a Trojan horse: it seduces first, questions later. The aesthetics are a lure; the intention is critical.
I embrace contradiction as method. My work does not seek consensus or comfort, but friction. In a world saturated with closed-off discourses, I propose open images that force a rethinking of what seemed untouchable.
I am the transgressor of contemporary pop-surrealism because I do not use surrealism to escape reality, but to dismantle it.

