Dit werk is een krachtig voorbeeld van **iFusionism**, de kunststroming die door **Fenzolini** werd gecreëerd. Vier iconische meesters ontmoeten elkaar hier in één enkel canvas: de explosieve energie van **Basquiat**, de lyrische gebaren van **Mitchell**, de pop-art sensualiteit van **Wesselmann**, en de speelse, organische lijnen van **Alechinsky**.

Door deze werelden samen te smelten, ontstaat een **nieuw visueel universum** waarin contrasten elkaar niet verdringen maar versterken. Abstractie vloeit samen met pop, rauwe expressie met verfijnde lyriek. Het resultaat is een luxueus en tijdloos statementstuk dat de **erfenis van de kunstgeschiedenis herinterpreteert** en vertaalt naar de hedendaagse tijd.

Een kunstwerk van Fenzolini is niet louter een schilderij: het is een **icoon van exclusiviteit en visie**, een brug tussen verleden en toekomst.

Zoals steeds blijft zijn credo gelden: **“Chase your dream.”**

Electric Harmony

In this iFusionism artwork, Fenzolini unites the visionary genius of **Pablo Picasso**, the playful abstraction of **Joan Miró**, and the poetic surrealism of **René Magritte**.

These three masters, each with their own unique language, are brought together in a single powerful visual statement.

Through the lens of **iFusionism** – the art movement founded by Fenzolini – iconic masterpieces are not only reinterpreted but fused into entirely new creations. _Timeless Convergence_ transcends time and artistic boundaries, offering a luxurious and visionary work of art that celebrates the legacy of modern art while opening new horizons.

Timeless Convergence

In **Frog Meets Apple**, two great masters of art history encounter each other in an unexpected dialogue.

The mysterious, dreamlike world of René Magritte — with his iconic man and floating apple — is immersed in the bright, sparkling pool universe of David Hockney.

Between them appears a colorful frog: a symbol of playfulness, metamorphosis, and imagination.

This artwork embodies the essence of **iFusionism**: the fusion of iconic styles into a new, luxurious visual language. Here, a visual meeting arises in which Surrealism and modernity amplify one another.

**Frog Meets Apple** is more than a painting. It is a poetic clash of worlds, a play of contrast and harmony — for the collector who dares to choose the unique and the timeless.

Frog Meets Apple

**BALLOON MAN** is a creation in which I, as Fenzolini, bring together two iconic styles: the playful shine of Jeff Koons’ _Balloon Dog_ and the raw power of Banksy’s street art. By fusing these worlds, I created a new and surprising image that balances between pop art and urban expression.

The result radiates both lightness and rebellion, with a nod to high-end art as well as the street culture of the modern city. For me, this work is a clear example of **iFusionism**: great masters of art history colliding, merging, and gaining entirely new meaning through my vision.

With **BALLOON MAN**, I wanted to reveal the tension between beauty and critique, between perfection and imperfection — a luxurious statement piece that is at once recognizable and groundbreaking.

BALLOON MAN

**Pop Playing Cobra Cards** merges three iconic worlds into one visionary artwork.

Paul Cézanne’s intimate card players encounter the expressive, untamed lines of Pierre Alechinsky and the bold pop iconography of Andy Warhol. This tension between Classicism, Cobra, and Pop Art creates a new narrative: a visual dialogue where history, rebellion, and modernity play together at the same table.

This work embodies the essence of **iFusionism**, the art movement I developed as Fenzolini. Here, masterpieces are not copied but reinvented — transformed into luxurious statement pieces that are both respectful and revolutionary.

**Pop Playing Cobra Cards** is more than a painting. It is a game of time and style, where three giants of art history meet in a new universe. A tribute to the power of fusion, for the collector who dares to choose the unique and the timeless.

Pop Playing Cobra Cards

**Marilyn Kubus** is an original creation I made, inspired by the timeless icon Marilyn Monroe. In this work, I deliberately play with form and perspective: Monroe’s classic portrait is divided and reconstructed within the strict lines of a cube.

Through this geometric approach, the image gains a new depth. I wanted to place Monroe’s glamour and vulnerability into a contemporary framework, where round forms and angular structures amplify one another. The result is a field of tension in which beauty, fame, and abstraction converge.

With **Marilyn Kubus**, I breathed new life into a 20th-century icon, transforming her into a modern artwork that balances between pop art, geometric abstraction, and my own personal interpretation.

Marilyn Kubus 

**Chaplin Rat** is a work I created as Fenzolini, inspired by Charlie Chaplin, René Magritte, and Banksy. I fused their iconic styles and transformed them through my own vision into a new, contemporary creation.

The poetic humor of Chaplin, the surreal imagination of Magritte, and the rebellious force of Banksy meet in this piece. The result is a composition that is at once playful, philosophical, and confrontational.

With **Chaplin Rat**, I wanted to capture the tension between humor and critique, between poetry and reality, between past and present. For me, this is the power of **iFusionism**: bringing together great masters into a luxurious statement piece that reshapes recognizable elements of the past into my own contemporary visual language.

Chaplin Rat

**Blam It’s Dean** is a work I created as Fenzolini, inspired by Andy Warhol and Roy Lichtenstein. I brought their iconic styles together and transformed them through my own vision into a new, contemporary creation.

I fused the pop-art energy and visual language of Warhol with the graphic comic style and powerful onomatopoeia of Lichtenstein. The result is a composition that stands as both a tribute to their legacy and a fresh interpretation through my personal voice.

For me, this is the essence of **iFusionism**: bringing together icons of art history to breathe new life into them. With **Blam It’s Dean**, I sought to capture the force of pop culture, film legends, and visual explosiveness in one luxurious statement piece.

Blam It’s Dean

**Flying Love** is a work I created as Fenzolini, inspired by Banksy, Andy Warhol, and Keith Haring. I merged their iconic styles and filtered them through my own vision to create a completely new contemporary image.

At its core stands a girl from Banksy, to whom I added a playful detail: a shoe featuring Warhol’s famous Campbell’s Soup design. She reaches out toward a floating heart, a motif borrowed from Keith Haring, drifting through the air like a balloon.

With this work, I wanted to capture the tension and beauty that arise when street art, pop art, and playful symbolism meet. For me, this is a pure example of **iFusionism**: transforming the legacies of great masters into a unique creation where desire, hope, and love take on a new visual language.

Flying Love

**The Tuxedo** is a work I created as Fenzolini, inspired by Gustav Klimt, René Magritte, and Keith Haring. I allowed their iconic styles to merge and, through my own vision, transformed them into a completely new contemporary image.

The ornamental richness of Klimt, the surreal imagination of Magritte, and the playful energy of Haring converge in a layered composition that radiates elegance, mystery, and movement.

With this work, I wanted to capture the tension between decorative splendor and philosophical depth, between symbolism and playfulness. For me, **The Tuxedo** is a defining expression of **iFusionism**: a luxurious statement piece in which recognizable elements of the past are transformed into my unique, contemporary visual language.

The Tuxedo

**Crazy Moonwalk** is a work I created as Fenzolini, inspired by Andy Warhol and Keith Haring. Their iconic styles have always fascinated me: Warhol’s vibrant energy and Haring’s playful, rhythmic lines.

In this piece, I merge their worlds and filter them through my own vision. By doing so, I breathe new life into their legacy and transform it into a powerful, dynamic artwork that carries my personal signature.

For me, this is a clear example of **iFusionism**: bringing together great figures from art history and reshaping them into something entirely new. **Crazy Moonwalk** pulses with vitality and demonstrates how inspiration can grow into a fully independent voice.

Crazy Moonwalk

**TRUCK FICTION** is my fusion of three iconic influences: Andy Warhol’s truck, the cinematic power of _Pulp Fiction_ as imagined by Banksy, and the contemporary myth of the Bored Ape. Through my vision, I unite these elements into one new image — a contemporary artwork where pop culture and street art intersect.

For me, this work goes beyond referencing legendary images: I wanted to evoke a sense of vitality, energy, and contemporary relevance. Art, in my view, must be part of real life — and that is exactly what I express here.

As Fenzolini, I see **TRUCK FICTION** as a defining example of my movement **iFusionism**: icons from different worlds merging into a luxurious statement piece that is at once playful and visionary.

TRUCK FICTION

In **Cowboy Newspaper**, I bring together three worlds: Andy Warhol’s iconic cowboy, Keith Haring’s playful energy, and Pierre Alechinsky’s expressive script. For me, the cowboy is not only a symbol of power and myth, but also a figure I place within a new narrative, surrounded by lines, patterns, and fragments that give him a contemporary strength.

With this work, I give my own twist to **iFusionism**: setting the American Dream alongside the language of street art and expressive painting, transforming the heroic figure into an icon that balances between past and present, history and contemporary culture.

As Fenzolini, I turn **Cowboy Newspaper** into a luxurious statement piece, where tradition, pop culture, and the avant-garde merge into one visionary composition.

Cowboy Newspaper

In **Hari Miri Dollars**, three artistic universes merge into one explosive composition.

Warhol’s iconic dollars — symbols of pop culture and consumption — are infused with the vibrant energy of Keith Haring’s dynamic lines, while Joan Miró’s poetic shapes and cosmic symbols playfully move through the scene.

This work embodies the spirit of **iFusionism**: a reinvention of art history in which iconic styles flow together into powerful, luxurious statement pieces.

**Hari Miri Dollars** is a celebration of money, movement, and imagination — a timeless dialogue between pop, rebellion, and surrealist poetry.

Hari Miri Dollars

**Marilyn Letters** is a completely original creation of mine, inspired by the timeless icon Marilyn Monroe. In this work, I play with the tension between image and typography: the recognizable contours of Marilyn are combined with graphic letters that reference her status as a cultural symbol.

The result is a powerful and contemporary portrait in which I reinterpret Monroe’s glamour and vulnerability. Through the integration of letterforms, a layered image emerges where identity, fame, and visual language converge.

With **Marilyn Letters**, I breathe new life into a 20th-century icon and transform her into a contemporary artwork that balances between pop art, graphic expression, and personal interpretation.

Marilyn Letters

In **The Tuxedo Shield**, I merge anonymity, pop icons, and identity into a new visual narrative.

Magritte’s classic suit is transformed into an empty body, crowned with Warhol’s shield — here taking the role of a face. By adding Wesselmann’s sensual lips, I give the shield an unexpected humanity: a smile that is at once seductive and unsettling.

With this work, I, Fenzolini, question the balance between protection and identity, between uniformity and individuality. For me, this is **iFusionism** in motion: the critical irony of Pop Art, the surreal estrangement of Magritte, and the sensuality of Wesselmann flowing together into one luxurious statement piece.

**The Tuxedo Shield** is my iconic fusion, challenging the viewer to reflect on what truly forms our face: masks, icons, or emotions.

The Tuxedo Shield

In **History for Sale**, three iconic worlds collide.

The dramatic grandeur of Rembrandt’s _Night Watch_ is lifted from its 17th-century context and placed alongside Banksy’s raw queue of figures waiting at a stall for a bright red T-shirt — a symbol of consumption, speed, and mass production. Keith Haring’s rhythmic patterns swirl around them, creating an energetic, almost playful tension that breaks through the barriers of time.

This **iFusionism** work by Fenzolini forms a visual dialogue between past and present: from the civic guards once protecting their city, to the modern crowds patiently lining up for the next cultural icon. _History for Sale_ confronts the viewer with a provocative question: what does value mean in an era where everything — even history — seems for sale?

A luxurious statement piece, where classical mastery, street art, and pop energy converge into one visionary artwork.

Nightwatch in Line

In **Dots of Flowers**, I capture sorrow through color and pattern. The iconic comic woman of Roy Lichtenstein sheds tears that merge with Andy Warhol’s flowers and Damien Hirst’s dots. The result is a new visual language that intertwines emotion and decoration.

The contrast I create between pain and vibrant colors generates a tension that is both ironic and moving. For me, this piece is a fusion of Warhol’s mass production, Lichtenstein’s melancholy, and Hirst’s clinical precision — all reimagined through my own artistic lens.

As Fenzolini, I see **Dots of Flowers** as a striking example of **iFusionism**: a luxurious statement piece in which three icons converge to tell a universal story of vulnerability, repetition, and beauty.

Dots of Flowers

In **Mao Pop**, I transform power into mass-media spectacle. The serious portrait of Mao, once a symbol of authority and ideology, explodes into a universe of comic-style colors, lines, and explosive “POP!” signs.

With this work, I fuse Andy Warhol’s iconic portraits with the visual language of Roy Lichtenstein. For me, it is a collision of politics and pop culture, where propaganda and advertising merge inseparably.

As Fenzolini, I see this as a bold expression of **iFusionism**: great masters of art history flow together into a colorful, visionary, and luxurious statement piece that is at once ironic and seductive.

Mao Pop

**TRIBAL PRIDE** is a deeply personal and powerful work that reaches back to my childhood. As a child, I was fascinated by the image on a CD I owned. The energy and aura of that image stayed with me, and years later I decided to create my own interpretation.

In this piece, I merge that youthful wonder with a contemporary twist: a subtle nod to Andy Warhol. His iconic style inspired me to integrate a detail — the characteristic nickel — into the figure’s head. In doing so, I unite tribal strength with pop art influences, shaping a new visual language.

For me, **TRIBAL PRIDE** embodies the spirit of **iFusionism**: the fusion of personal memory, iconic art, and contemporary imagination. As Fenzolini, I transform this into a luxurious statement piece that celebrates identity, admiration, and artistic freedom.

TRIBAL PRIDE 

**Vampire Icon** is a work I created as Fenzolini, inspired by Andy Warhol, Dracula, and Keith Haring. Their iconic worlds are fused together and transformed through my vision into a contemporary artwork that embraces both glamour and darkness.

The vibrant pop-art energy of Warhol, the mysterious power of the legendary Dracula, and the playful symbolism of Haring converge in this piece. The result is a composition that evokes tension between fear and attraction, between light and shadow, between iconic culture and my personal interpretation.

With this work, I shape my own form of **iFusionism**: great figures from art history are fused and reborn into a luxurious statement piece that is unmistakably Fenzolini.

Vampire Icon

**High Heel Dreamer (Shadow)** is a work I created as Fenzolini, inspired by Banksy, Andy Warhol, and Keith Haring. Their iconic styles are fused and transformed into a new, contemporary statement that embodies my vision.

The rebellious force of Banksy was my starting point, yet I gave his figure an unexpected twist: a high heel from Andy Warhol, symbol of glamour and pop culture. In his hand I placed a radiant bouquet of flowers, reaching out toward a dancing flower by Keith Haring — an icon of love, hope, and playful energy.

With this work I sought to capture the tension between rebellion and elegance, street art and pop art, raw force and poetic movement. For me, this is **iFusionism** in its purest form: a tribute to great masters, yet simultaneously a transformation into a unique, luxurious statement piece that can exist only within my own artistic language.

High Heel Dreamer (Shadow)

In **Mick Jagger Scream**, I let two iconic worlds collide head-on.

The expressive despair of Munch’s _The Scream_ merges with the glamorous pop-art style of Andy Warhol. At the center stands Mick Jagger: for me, not only a rock legend, but also a symbol of rebellion and the human condition.

I play with bold colors, graphic contours, and iconic faces to create a luxurious tension between emotion and aesthetics. Where Munch evokes fear and vulnerability, I transform that feeling through Warhol into a statement of fame, power, and timeless pop culture.

As Fenzolini, I shape here a new chapter within my movement **iFusionism**: a universe where masters and icons converge, and where contrasts dissolve into one visionary image.

Mick Jagger Scream

In **Sunset Elephant Blank**, I fuse two worlds into a visionary composition.

Tom Wesselmann’s woman lies carefree in the sun atop Banksy’s elephant — an unexpected encounter between sensuality and social critique.

The contrast I create is both ironic and poetic: the animal that often symbolizes burden and weight becomes, in my vision, a bearer of lightness and freedom.

**Sunset Elephant Blank** is a luxurious statement piece of **iFusionism**, where street art and pop art merge into a surreal dream.

Sunset Elephant Blank

In Head of Chaga laat ik drie iconen van de moderne kunst samenvloeien. Het anonieme pak van Magritte bekroon ik met Warhol’s beroemde Campbell’s Soup Can, terwijl ik de figuur plaats in een kleurrijke, poëtische wereld die rechtstreeks ontsproten lijkt aan Marc Chagall.

  
Zo maak ik een speels maar scherp statement: identiteit, consumptie en droom vervlecht ik tot één beeld. Waar Magritte de mens reduceerde tot een anonieme drager, zet ik er via Warhol een symbool van massaconsumptie voor in de plaats, terwijl ik met Chagall de scène omhul met warmte, kleur en liefde.

  
Met dit werk toon ik de essentie van mijn iFusionism: grootmeesters uit de kunstgeschiedenis vloeien samen in een nieuw, luxueus statement piece waarin ironie en poëzie hand in hand gaan. 

Head of Chaga

**Elephant Ride** collides three worlds and fuses them into a new universe.

Tom Wesselmann’s woman rests effortlessly on Banksy’s elephant, while the background glows in vibrant tones that give the scene a dreamlike intensity.

For me, this work is about tension and reversal: the animal that normally symbolizes burden and weight becomes here a symbol of freedom and lightness. It is at once ironic and poetic.

With this piece, I bring my vision as Fenzolini to life — a form of **iFusionism**, where iconic styles and meanings not only merge, but are radically transformed into a new reality.

Elephant ride

**It’s Not Just a Banana on the Wall** brings three iconic worlds together into a new, visionary universe.

Warhol’s pop-banana is reimagined in the provocative spirit of Maurizio Cattelan, duct-taped to the wall. The letters pulse with the playful, rebellious energy of Keith Haring, while the art world itself is challenged: _What is value, what is art, what is symbol?_

This work embodies **iFusionism** — a movement where iconic masterpieces and styles not only merge, but also transform into new meanings, pushing the boundaries of art itself.

It’s Not Just a Banana on the Wall!

In Dutch Sunlight, three giants of Dutch art merge into one visionary work.

Vermeer’s humble maid pours water as if nourishing Van Gogh’s sunflowers, while Mondrian’s strict planes and primary colors fill the background with a modern rhythm of order and energy.

This work embodies iFusionism: the fusion of iconic styles into a new, luxurious visual universe.

Dutch Sunlight is an ode to Dutch art history – a play of tradition, expression, and innovation – timeless and groundbreaking.

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Fenzolini (Fabio Romano)

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