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Gabriel Moreno

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Lilith´s dinner

Original

Size: 250 x 300 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Through the eyes of the femme fatale

Lilith appears as the first wife of Adam, who was created at the same time and from the same clay as Adam, before Eve. She is mentioned in Biblical Hebrew in the Book of Isaiah, and in late antiquity in sources of Mandaean mythology and Jewish mythology from around the year 500 of our era. She also appears in writings from the 13th century by Isaac ben Jacob ha-Cohen, in the Yalqut Reubeni, a collection of Kabbalistic commentaries on the Pentateuch, and in Jewish folklore, for example in the Alphabet of Sirach (c. 700-1000 AD).

Adam and Lilith never found harmony together. "Why should I lie beneath you?" she asked. "I too was made from clay, and therefore I am your equal." When Adam tried to force her to obey, Lilith, enraged, uttered the magical name of God, rose into the air, and abandoned him.

Leaving Eden, she went to the shores of the Red Sea (home to many demons). There, she indulged in lust with them, giving birth to the lilim. When three angels of God came to find her (Snvi, Snsvi, and Smnglof), she refused...

Lilith was the first woman characterised by her impetuous rebellion, which also led her to embody the figure of an evil devil, as she did not fit into the societal model of women at the time. However, her seductive and man- devouring behaviour was the other side of the coin. In this sense, she was the first free woman in history and therefore traditionally considered a "femme fatale," the downfall of men. She was the woman to stay away from. She represented everything opposite to the faithful wife and selfless and obedient mother: a woman of captivating beauty and sensuality, always naked and provocative.

La femme fatale, as a term, was first coined by the Englishman Patrick Bade (1979), to refer to a female archetype in visual arts. This figure emerges as a response to sexophobia and misogyny, elements that throughout the centuries have acted as a common thread connecting political and social changes of the 19th century, explaining the insecurity and fear that arise within male society in the face of a new woman, rebelling against the patriarchal order, a role personified by Lilith, and a couple of centuries later, similar to this mythical and impetuous aura of Lilith in the women's struggle. Simone de Beauvoir is one of the writers who addresses, through literature, the essence of Lilith, the female sex intellectually revealed, capable of

intervening in the world alongside men, in the society of her time, and being a protagonist in the construction of a world together with them.

The harpy, the sphinx, the siren, the medusa, all of them gloomy and ancient creatures associated with death, surrounding the Femme Fatale. All of this, combined with Lilith's traits of rebellion, independence, and even vampirism, create a parallel to the feminine archetype. Throughout history, artists have portrayed Lilith in this way.

Gabriel Moreno introduces a contemporary Lilith in his pictographic language, who looks directly at the viewer, rematerializing the femme fatale, a woman who screams independence, rebellion, sensuality, strength that challenges society, and encompasses space with her feminine and profound energy, bringing forth the entire history of the myth of the goddess and the demoness.

La Pietà

Original Artwork

Size:

400 x 300 cm

Technique:

Graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Context Art fair 2022

Lilith`s dreams Nº 1

Original artwork

Size:

110 x 110 cm

Technique:

pencil, Bic blue pen, charcoal, on paper 320 g.

Through the eyes of the femme fatale

Lilith appears as the first wife of Adam, who was created at the same time and from the same clay as Adam, before Eve. She is mentioned in Biblical Hebrew in the Book of Isaiah, and in late antiquity in sources of Mandaean mythology and Jewish mythology from around the year 500 of our era. She also appears in writings from the 13th century by Isaac ben Jacob ha-Cohen, in the Yalqut Reubeni, a collection of Kabbalistic commentaries on the Pentateuch, and in Jewish folklore, for example in the Alphabet of Sirach (c. 700-1000 AD).

Adam and Lilith never found harmony together. "Why should I lie beneath you?" she asked. "I too was made from clay, and therefore I am your equal." When Adam tried to force her to obey, Lilith, enraged, uttered the magical name of God, rose into the air, and abandoned him.

Leaving Eden, she went to the shores of the Red Sea (home to many demons). There, she indulged in lust with them, giving birth to the lilim. When three angels of God came to find her (Snvi, Snsvi, and Smnglof), she refused...

Lilith was the first woman characterised by her impetuous rebellion, which also led her to embody the figure of an evil devil, as she did not fit into the societal model of women at the time. However, her seductive and man- devouring behaviour was the other side of the coin. In this sense, she was the first free woman in history and therefore traditionally considered a "femme fatale," the downfall of men. She was the woman to stay away from. She represented everything opposite to the faithful wife and selfless and obedient mother: a woman of captivating beauty and sensuality, always naked and provocative.

La femme fatale, as a term, was first coined by the Englishman Patrick Bade (1979), to refer to a female archetype in visual arts. This figure emerges as a response to sexophobia and misogyny, elements that throughout the centuries have acted as a common thread connecting political and social changes of the 19th century, explaining the insecurity and fear that arise within male society in the face of a new woman, rebelling against the patriarchal order, a role personified by Lilith, and a couple of centuries later, similar to this mythical and impetuous aura of Lilith in the women's struggle. Simone de Beauvoir is one of the writers who addresses, through literature, the essence of Lilith, the female sex intellectually revealed, capable of

intervening in the world alongside men, in the society of her time, and being a protagonist in the construction of a world together with them.

The harpy, the sphinx, the siren, the medusa, all of them gloomy and ancient creatures associated with death, surrounding the Femme Fatale. All of this, combined with Lilith's traits of rebellion, independence, and even vampirism, create a parallel to the feminine archetype. Throughout history, artists have portrayed Lilith in this way.

Gabriel Moreno introduces a contemporary Lilith in his pictographic language, who looks directly at the viewer, rematerializing the femme fatale, a woman who screams independence, rebellion, sensuality, strength that challenges society, and encompasses space with her feminine and profound energy, bringing forth the entire history of the myth of the goddess and the demoness.

The Apple of Lilith Nº3

Original Arworks

Size:

250 x 250 cm

Technique:

Graphic and colors pencils, Bic blue pen, charcoal, on paper 320 gr glued on wooden canvas. Varnish finishes.

Through the eyes of the femme fatale

Lilith appears as the first wife of Adam, who was created at the same time and from the same clay as Adam, before Eve. She is mentioned in Biblical Hebrew in the Book of Isaiah, and in late antiquity in sources of Mandaean mythology and Jewish mythology from around the year 500 of our era. She also appears in writings from the 13th century by Isaac ben Jacob ha-Cohen, in the Yalqut Reubeni, a collection of Kabbalistic commentaries on the Pentateuch, and in Jewish folklore, for example in the Alphabet of Sirach (c. 700-1000 AD).

Adam and Lilith never found harmony together. "Why should I lie beneath you?" she asked. "I too was made from clay, and therefore I am your equal." When Adam tried to force her to obey, Lilith, enraged, uttered the magical name of God, rose into the air, and abandoned him.

Leaving Eden, she went to the shores of the Red Sea (home to many demons). There, she indulged in lust with them, giving birth to the lilim. When three angels of God came to find her (Snvi, Snsvi, and Smnglof), she refused...

Lilith was the first woman characterised by her impetuous rebellion, which also led her to embody the figure of an evil devil, as she did not fit into the societal model of women at the time. However, her seductive and man- devouring behaviour was the other side of the coin. In this sense, she was the first free woman in history and therefore traditionally considered a "femme fatale," the downfall of men. She was the woman to stay away from. She represented everything opposite to the faithful wife and selfless and obedient mother: a woman of captivating beauty and sensuality, always naked and provocative.

La femme fatale, as a term, was first coined by the Englishman Patrick Bade (1979), to refer to a female archetype in visual arts. This figure emerges as a response to sexophobia and misogyny, elements that throughout the centuries have acted as a common thread connecting political and social changes of the 19th century, explaining the insecurity and fear that arise within male society in the face of a new woman, rebelling against the patriarchal order, a role personified by Lilith, and a couple of centuries later, similar to this mythical and impetuous aura of Lilith in the women's struggle. Simone de Beauvoir is one of the writers who addresses, through literature, the essence of Lilith, the female sex intellectually revealed, capable of

intervening in the world alongside men, in the society of her time, and being a protagonist in the construction of a world together with them.

The harpy, the sphinx, the siren, the medusa, all of them gloomy and ancient creatures associated with death, surrounding the Femme Fatale. All of this, combined with Lilith's traits of rebellion, independence, and even vampirism, create a parallel to the feminine archetype. Throughout history, artists have portrayed Lilith in this way.

Gabriel Moreno introduces a contemporary Lilith in his pictographic language, who looks directly at the viewer, rematerializing the femme fatale, a woman who screams independence, rebellion, sensuality, strength that challenges society, and encompasses space with her feminine and profound energy, bringing forth the entire history of the myth of the goddess and the demoness.

Queen Time-Out IV

Original Artwork (Sold out)

Size:

220 x 200 cm

Technique:

Graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

* * *

🖼 LIMITED EDITION SERIES AVAILABLE FOR THESE PIECES 🖼

CLICK HERE TO BUY “ QUEEN´S TIME OUT IV LIMITED EDITION” OR VISIT OUR SHOP TO MORE INFORMATION.

The Apple of Lilith Nº1

Original

Size: 160 x 260 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Through the eyes of the femme fatale

Lilith appears as the first wife of Adam, who was created at the same time and from the same clay as Adam, before Eve. She is mentioned in Biblical Hebrew in the Book of Isaiah, and in late antiquity in sources of Mandaean mythology and Jewish mythology from around the year 500 of our era. She also appears in writings from the 13th century by Isaac ben Jacob ha-Cohen, in the Yalqut Reubeni, a collection of Kabbalistic commentaries on the Pentateuch, and in Jewish folklore, for example in the Alphabet of Sirach (c. 700-1000 AD).

Adam and Lilith never found harmony together. "Why should I lie beneath you?" she asked. "I too was made from clay, and therefore I am your equal." When Adam tried to force her to obey, Lilith, enraged, uttered the magical name of God, rose into the air, and abandoned him.

Leaving Eden, she went to the shores of the Red Sea (home to many demons). There, she indulged in lust with them, giving birth to the lilim. When three angels of God came to find her (Snvi, Snsvi, and Smnglof), she refused...

Lilith was the first woman characterised by her impetuous rebellion, which also led her to embody the figure of an evil devil, as she did not fit into the societal model of women at the time. However, her seductive and man- devouring behaviour was the other side of the coin. In this sense, she was the first free woman in history and therefore traditionally considered a "femme fatale," the downfall of men. She was the woman to stay away from. She represented everything opposite to the faithful wife and selfless and obedient mother: a woman of captivating beauty and sensuality, always naked and provocative.

La femme fatale, as a term, was first coined by the Englishman Patrick Bade (1979), to refer to a female archetype in visual arts. This figure emerges as a response to sexophobia and misogyny, elements that throughout the centuries have acted as a common thread connecting political and social changes of the 19th century, explaining the insecurity and fear that arise within male society in the face of a new woman, rebelling against the patriarchal order, a role personified by Lilith, and a couple of centuries later, similar to this mythical and impetuous aura of Lilith in the women's struggle. Simone de Beauvoir is one of the writers who addresses, through literature, the essence of Lilith, the female sex intellectually revealed, capable of

intervening in the world alongside men, in the society of her time, and being a protagonist in the construction of a world together with them.

The harpy, the sphinx, the siren, the medusa, all of them gloomy and ancient creatures associated with death, surrounding the Femme Fatale. All of this, combined with Lilith's traits of rebellion, independence, and even vampirism, create a parallel to the feminine archetype. Throughout history, artists have portrayed Lilith in this way.

Gabriel Moreno introduces a contemporary Lilith in his pictographic language, who looks directly at the viewer, rematerializing the femme fatale, a woman who screams independence, rebellion, sensuality, strength that challenges society, and encompasses space with her feminine and profound energy, bringing forth the entire history of the myth of the goddess and the demoness.

Hunter Queen

Original artwork

Size:

330 x 240 cm

Technique:

Graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Epistolary relationship Nº3

Original artwork

Size:

150 x 180 cm

Technique:

pencil, Bic blue pen, charcoal, on paper 320 gr. with finished in gold leaf.

Queen Time-Out XIII

Original artwork

Size: 160 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Show Me The Money VI

Original artwork

Zise:

112 x 190 cm

Mixed technique

Done entirely with pencil and ballpoint over several layers of hand-cut paper and diversity of acrylic paint.

Framed with crystal museum.

* * * *

🖼 NEW LIMITED EDITION SERIES AVAILABLE FOR THESE PIECES 🖼

CLICK HERE TO BUY “ NEW SERIE SHOW ME THE MONEY LIMITED EDITION” OR VISIT OUR SHOP TO MORE INFORMATION.

La Pietá IV

Original artwork

Size:

230 x 160 cm

Technique:

Pencil, Bic blue pen, charcoal, on paper 320 gr.

Candy Queen

Original Artwork

Size:

200 x 220 cm

Technique:

Graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

* * * *

🖼 LIMITED EDITION SERIES AVAILABLE FOR THESE PIECES 🖼

CLICK HERE TO BUY “CANDY QUEEN LIMITED EDITION” OR VISIT OUR SHOP TO MORE INFORMATION.

Blaster Queen

Original Artwork

Size:

160 x 260 cm

Technique:

Graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

* * *

🖼 LIMITED EDITION SERIES AVAILABLE FOR THESE PIECES 🖼

CLICK HERE TO BUY “ BLASTER QUEEN LIMITED EDITION” OR VISIT OUR SHOP TO MORE INFORMATION.

La Vergine del Latte Yoda

Original artwork

Size:

160 x 160 cm

Technique:

graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Queen Time-Out XV

Original artwork

Size:

160 x 200 cm

Technique:

Graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes

Cocktail Queen III

Original artwork

Size:

160 x 260 cm

Technique:

Graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

La Vergine del Latte Caligula

Original

Size:

160 x 160 cm

Technique:

Graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Red pizza II

Original artwork

Size:

230 x 160 cm

Technique:

Graphic and colors pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

La Vergine del Latte Epi

Let me present you a version of “La Vergine del Late Epi”

Original
Size: 160 x 160 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Trinity II

Original Artwork

Size:

160 x 235 cm

Technique:

Graphic and colored pencils, Bic blue pen, charcoal, on 320 gr. paper, varnish finish.

La vergine del tatuaggio V

Original artwork

Size:

230 x 200 cm

Technique:

Graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Pizza Queen III

Gabriel Moreno is pleased to present "Pizza Queen III".

Original

Size: 220 x 200 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes

Hot Dog Queen III

Original

Size: 220 x 220 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Show me the money

Gabriel Moreno is pleased to present "Show me the money".

Original

Size: 230 x 160 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Hunter Queen II

Original

Size: 240 x 220 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr glued on wooden canvas. Varnish finishes.

Blaster Queen II

Original

Size: 160 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr glued on wooden canvas. Varnish finishes.

Mother Queen

Original

Size: 200 x 240 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr glued on wooden canvas. Varnish finishes.

Queen´s Time-Out VI

Original

Size: 220 x 170 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Queen´s Time-Out V

Queens Time-Out II

Queens Time Out II

Original

Size: 160 x 200 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Queen´s Time-Out VII

Original

Size: 140 x 120 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.

Queens Time-Out I

Original

Size: 160 x 222 cm

Technique: graphic and colour pencils, Bic blue pen, charcoal, on paper 320 gr. Varnish finishes.


Russian Fragility

Sculpture

Size: 75 x 40 x 24 cm 

Technique: bronze casting. Tattoo engraved by hand.

Color: green patina with golden and reddish reflections.

Hand engraved on raw bronze and re-engraved once given the patina.

More Info

San Gavino Mural

Russian Fragility XVI

Original

Size: 100 x 164 cm

Technique: pencil, Bic blue pen, charcoal, on paper 320 gr. with finished in gold leaf.

Russian Fragility XI

Original

Size: 100 x 164 cm

Technique: pencil, Bic blue pen, charcoal, on paper 320 gr. with finished in gold leaf.

 

Russian Fragility

Original

Size: 1,60 x 2,50 m

Technique: pencil, Bic blue pen, charcoal, on paper 320grms. mounted on varnished wood frame and finished with a layer of epoxy resin.

More Info

Russian prisoner II

Original

Size: 174 x 200 cm

Technique: pencil, Bic blue pen, charcoal, on paper 320 grms., varnished and mounted on wood frame.

More Info

Smoke

Original

Size: 1,12 x 1,42 m

Technique: pencil, Bic blue pen, charcoal, on paper 320grms., varnished and mounted on wood frame.

More Info

Giraffe

Original

Size: 90 x 225 cm

Technique: pencil, Bic blue pen, digital, on paper 320grms. mounted on wood frame and varnished.

More Info

Irune

Limited edition of 50. Signed and numbered by hand.

Paper: 50 × 105 cm

Sheets: 50 × 70 cm

Technique: Etching & Lithography Michel Archer paper 240 grs.

More Info

Bird

Limited Edition of 50. Signed and numbered by hand.

Plate Size: 80×80 cm
Paper Size: 80×125 cm

Technique: etching. Stamped with one color on a super alfa 250grs.

More Info

Flower

Limited Edition of 50. Signed and numbered by hand.

Plate Size: 80×80 cm
Paper Size: 80×125 cm

Technique: etching. Stamped with one color on a super alfa 250grs.

More Info

Butterfly

Limited Edition of 50. Signed and numbered by hand.

Plate Size: 80×80 cm
Paper Size: 80×125 cm

Technique: etching. Stamped with one color on a super alfa 250grs.

More Info

Lilith´s dinner

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LILITH DINNERpromo Grande.jpeg

La Pietà

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la-pieta-I.png

Lilith`s dreams Nº 1

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LILITHDreams nº1 Grande.jpeg

The Apple of Lilith Nº3

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TheAppleOfLilith2 Grande.jpeg

Queen Time-Out IV

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The Apple of Lilith Nº1

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TheAppleOfLilith1 Grande.jpeg

Hunter Queen

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Epistolary relationship Nº3

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EpistolaryRelationshipNº3 Grande.jpeg

Queen Time-Out XIII

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QueenTime-Out13-gabrielmoreno.jpg

Show Me The Money VI

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Show me the money VI

La Pietá IV

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La Pieta VIII up full retcoc Grande.jpeg

Candy Queen

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Blaster Queen

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La Vergine del Latte Yoda

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Queen Time-Out XV

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Cocktail Queen III

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La Vergine del Latte Caligula

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La Vergine del Latte Caligula.png

Red pizza II

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Pieta II.png

La Vergine del Latte Epi

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Trinity II

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La vergine del tatuaggio V

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Pizza Queen III

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Hot Dog Queen III

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Show me the money

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Hunter Queen II

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Blaster Queen II

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Mother Queen

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Queen´s Time-Out VI

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Queen´s Time-Out V

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Queens Time-Out II

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Queen´s Time-Out VII

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Queens Time-Out I

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Russian Fragility

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San Gavino Mural

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Russian Fragility XVI

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Russian Fragility XI

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Russian Fragility

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Russian prisoner II

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Smoke

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smoke2.jpg

Giraffe

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Gabriel Moreno Art - Giraffe

Irune

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Gabriel Moreno Art - Irune

Bird

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Gabriel Moreno Art - Bird

Flower

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Gabriel Moreno Art - Flower

Butterfly

— view —

Gabriel Moreno Art - Butterfly

Gabriel Moreno 2019