About the artwork
“ELVIS” by Élysée SKAYZOO (fr) is documented as stencil spray paint and acrylic on a 33T vinyl record cut to shape. It measures 30 × 29 cm. A portrait of Elvis is stencilled and painted on a circular vinyl record cut around the contour of the head and shoulders. Black,cream,green and muted red passages define the face,while scattered paint splashes and drips remain visible across the record surface. The description follows the supplied main image and is limited to elements that are visible at that scale; it does not assume the presence of reverse inscriptions,labels,certificates or other details unless these are separately recorded in the documentation.
The supplied note records a hand signature or signed component. The date 2016 is recorded in the documentation,with dating also mentioned in the note. No edition is stated,and the work is therefore discussed as an individual object rather than assigned an edition size. The support and technique are particularly important to the object’s reading. Printed areas,marker lines,aerosol passages,collage elements,paint layers,cut edges or three-dimensional components remain visually distinct and allow the construction of the image to be understood. Where the record mentions hand-finishing,signing,numbering or an artist’s proof,these elements should be checked against the corresponding detail photographs during final physical cataloguing. Condition comments are restricted to the supplied note and visible evidence; normal variations associated with handmade,recycled or previously used supports should not automatically be described as damage without direct examination.
Expert opinion
From a cataloguing perspective,“ELVIS” occupies a position within Contemporary painting and Urban Art. The work’s relevance lies primarily in the relationship between its recorded date,2016,its medium—stencil spray paint and acrylic on a 33T vinyl record cut to shape—and the degree of manual intervention visible in the object. The market category should not be determined by the artist’s name alone: the support,edition structure,signature,date,provenance and condition all materially affect how the work should be compared with other examples.
No edition is recorded. The direct use of paint,marker,collage or constructed material supports cataloguing the piece as a unique or individually executed work,subject to confirmation through the original object and its reverse. A certificate of authenticity is mentioned in the supplied documentation and should remain associated with the work. Any condition assessment should consider the particular support,including deckled paper,recycled cardboard,used currency,vinyl,skateboard wood or unstretched canvas,since these materials may carry intentional or inherent surface characteristics. For an informed assessment,the image should be examined alongside close views of the signature,numbering,reverse inscriptions,publisher or gallery marks and any certificate. The available material is sufficient for a cautious catalogue positioning,but it does not provide verified auction comparisons,institutional exhibition history or market-performance data. No estimate,investment conclusion or claim of rarity is therefore made. The work is best evaluated as a documented object within its specific medium and production context,with emphasis on authenticity,completeness and physical condition.
Additional info
Signed
Dated
Certificate
3x
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