ESENJ
Opera
81 x 100 cm
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Eden's Abyss
116 x 89 cm
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Empreinte d'une mémoire
50 x 70 cm
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Burn Out
60 x 73 cm
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The painting “Burnout” depicts a person overwhelmed by their emotions and by those around them. They experience a loss of control over their feelings and suffer from deep psychological pain. A profound sense of distress takes root within them. They fall into a depression they are no longer sure they can control. Burnout, depression, is an illness that is unfortunately very common.
Dressed in a prisoner’s uniform, the figure is suffocated by the suffering of their emotions and by the thoughts that haunt them. The character feels their emotions so intensely and painfully that they become overwhelmed, oppressed, and even incapable of expressing or managing them. This emotional suffering can create a feeling of suffocation, as if the weight of these emotions prevents them from breathing or moving forward.
The heads surrounding the figure represent the echo of their own thoughts and the burden of others’ words weighing upon them. No longer in control of anything, they suffer. Their gaze is empty, like that of a person without a soul. They are lost and trapped in emptiness; there is a kind of veil in their eyes. They are present without truly being there.
A prisoner of this world of pain, the world around them no longer exists. It is as if they were underwater: there is a constant murmur, but they can no longer decipher or understand others or their own emotions.
Rupture
80 x 60 cm
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ESENJ powerfully explores the inner violence of separation, whether romantic, friendly, or familial. Two central figures, fragmented and outlined in black, face one another while being divided by a striking void.
The colors, initially intertwined, burst into fragments that float within a white space, symbolizing the disintegration of what was once built.
The figure on the left, marked by a tear, embodies sadness and vulnerability, while the one on the right, with a lowered head, suggests indifference or emotional detachment.
Through this interplay of materials and fractured forms, the artist reveals the psychological impact of rupture, the scattering of memories, and the isolation that follows, while still hinting at the possibility of reconstruction emerging from the fragments.
Alone Together
50 x 70 cm
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Mediterranean
100 x 80 cm
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Between legal barriers and a turbulent sea, Mediterranean confronts two realities: above, white silhouettes with faces crossed out, symbols of institutional refusal; below, blue faces frozen in terror emerge from the waves. No hand is extended, gazes are turned away. The connection is broken.
In this stark and powerful work, ESENJ gives form to indifference, repressed memory, and borders that separate more than they protect. A manifesto painting in which the sea is no longer a landscape, but a cemetery.
Hope
116 x 89 cm
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ESENJ stages an angelic figure reaching out toward a world in suffering, carrying a chaotic structure on their back. It serves as a metaphor for forgotten lives and beings in distress. The central figure embodies compassion, kindness, and the act of selfless support.
A white wing subtly emerges at the base of this burden, symbolizing the inner light of those who fight to lift others up. The outstretched hand offers a candle, a simple gesture carrying a powerful message: there is hope.
Confronted with invisible prisons and confined lives, the artist reminds us of the importance of mutual aid. Hope is a call for solidarity, empathy, and humanity.
Humanitarian Bridge
116 x 89 cm
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The Wall of my Suffering
50 x 70 cm
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Just(ice)
40 x 50 cm
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In this striking work, ESENJ questions justice and its humanity.
The central figure, both imposing and doubled, embodies a judicial authority whose face dissolves into an icy blue. The word “JUSTICE,” with “JUST” crossed out, leaves only “ICE”: coldness.
Surrounding it, a crowd of anonymous faces and lost silhouettes bears witness to the loneliness and distress of those seeking to be heard or repaired. The institution, meant to protect, appears here cold, distant, almost inhuman, cut off from the reality of human lives.
Through this work, ESENJ delivers a poignant reflection on the loss of meaning and human warmth within systems of power, confronting us with an essential question: what remains of justice when it is no longer just, but only cold?
The Indifference
50 x 70 cm
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Indifference is a powerful work that confronts, without compromise, the divide between wealth, comfort, and inaction in the face of human suffering.
Divided into three scenes, the canvas juxtaposes extremes: on the left, an opulent and colorful city symbolizes prosperity, masking a cold indifference within its shadows. On the right, death and confinement are embodied by a red figure hidden behind a reaper, trapped behind a black grid.
At the center, an anthropomorphic white whirlwind rises from the turbulent sea, representing swallowed souls, forgotten shipwreck victims. White hands emerge from the water like silent calls for help, emphasizing the vulnerability and innocence of the victims.
The figure of a man with a gray head, red eyes, and an extended tongue embodies deliberate hostility and contempt. Through this figure, the artist denounces willful blindness, closed borders, and the selfishness of societies that choose indifference despite their abundance.
Through this work, ESENJ calls for awareness, for rekindling our humanity, and for refusing to look away. Indifference challenges us: how long will we accept being passive spectators to the suffering of others?
Freedom, Equality and Justice
50 x 70 cm
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Freedom, Equality and Justice evokes the universal pursuit of essential values that remain, all too often, out of reach. The Earth, encircled by barbed wire, symbolizes a world in which freedom, equality, and justice exist, yet remain fragile and restrained.
Unfortunately, today these values are not upheld for all human beings on Earth, giving rise to war and chaos. The work questions the forces that block access to them and the price that must be paid to defend them.
It reminds us that a better world can only exist if these three values are freed and applied to every human being. Suspended between collective hope and oppression, the piece invites reflection on the sacrifices required for freedom, equality, and justice to become a shared reality, allowing humanity to live together in peace while protecting our planet.
Reverse Time
70 x 50 cm
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Spectactor of a world that devours me
40 x 40 cm
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When facing this work, each of us can feel that moment when the world seems to close its claws around us.
The central figure, both present and in the process of disappearing, embodies the universal feeling of solitude within the crowd, the silent struggle not to lose oneself in the surrounding turmoil.
The structures surrounding the figure remind us how social pressure, daily demands, or the anonymity of the city can engulf us, to the point of erasing our very contours.
ESENJ invites us to an intimate reflection on our own place in society: are we still actors in our lives, or merely spectators, lucid yet powerless, facing a world that sometimes devours us?
A reflection on the contemporary human condition, caught between clear-eyed observation and the feeling of being consumed by society
The Shadow of Ourselves
50 x 50 cm
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In this striking work by ESENJ, humanity is everywhere and yet nowhere. The silhouettes repeat, fade, and merge.
Each seems trapped within a frame, assigned a role, caught in a mechanical, almost automatic posture. They are no longer individuals but shadows, sketches. They become the shadow of themselves.
Movement is frozen, freedom absent. The bodies appear to follow an imposed choreography, as if the city or the system has absorbed all initiative, all sincere expression. One senses the echo of a society that produces standardized, interchangeable beings, dehumanized by conformity.
The city, both vibrant and suffocating, imposes its rhythm and its rules. It leaves no room for chance or intimacy. Humanity becomes an interface, a function in a regulated world, an actor without lines in a theater without an audience.
Through this canvas, ESENJ offers a radical critique of modern life. He highlights alienation, the loss of meaning, the gradual extinction of being into appearance, while allowing a hint of melancholy to emerge: that of a world where one continues to exist, but no longer truly to live.
Fighting for the Island
50 x 50 cm
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At the heart of a turbulent landscape, this work evokes a wild land, once in harmony with its inhabitants and the forces of nature. Today, threatened by the arrival of a new civilization, the island is disfigured.
Human, animal, and mineral faces emerge from the material. They appear as wounded guardians and spirits in resistance against urbanization, drying, and oblivion.
Between the fantastic and political allegory, ESENJ delivers here a visual cry: that of plundered territories, swept-away traditions, and nature silently destroyed.
This island may well be our own.
Dance to forget
70 x 50 cm
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Influenced
116 x 89 cm
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The Decision-Makers
50 x 70 cm
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Tyrant
50 x 70 cm
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Connected
80 x 100 cm
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Connected celebrates what unites human beings beyond visible borders. Intertwined silhouettes, flowing lines, and blended colors weave a human tapestry, rich in our differences and our interdependence. Each figure, unique, is part of a whole: a world where every interaction creates a bond, where every presence matters. Through vivid hues and organic forms, ESENJ reveals the energy of a connected world not through networks, but through solidarity, empathy, and humanity.
Dance to forget again
70 x 50 cm
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The Melting Ice
60 x 80 cm
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This work denounces the melting of the ice, a symbol of climate change caused by humans. At the center, an icy waterfall shelters the face of a creature with a tortured expression, reflecting the suffering of nature and our own guilt. The icy colors, ranging from blue to white, symbolize the fragile beauty of a disappearing world. The Melting Ice confronts us with the truth. We are responsible for this destruction. It is time to change our habits and act now before it is too late.
The Man and The Monkey
60 x 80 cm
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This work highlights the imminent threat looming over nature. A man and a monkey stand in a lush world, bathed in vibrant colors, but the shocked expression on the man’s face reveals the terrifying awareness of the destruction approaching. The man represents all lovers of nature. He gazes in astonishment at the degradation around him, a witness to the disappearance of species and the devastation caused by human activity. The monkey, fragile and innocent, embodies our inseparable connection with the animal kingdom and our responsibility toward all forms of life.
The environment, while magnificent, conceals a dark truth: danger is approaching. Nature personified seems to close in on itself, a symbol of a declining ecosystem trapped by deforestation and climate change. The Man and the Monkey is a brutal reminder of our role in the collapse of our planet. This work leaves us no choice but to face our responsibility and the urgency to act.
The Mirage
81 x 100 cm
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In this suspended vision, a utopian city floats in the distance, bathed in light and harmony. Protected by a majestic bridge, it seems to reach out to us. Two illuminated doors open onto elsewhere, a promise of peace. But the city is blurred and uncertain, a mirage. ESENJ asks whether this ideal city truly exists or if it is merely a projection of our hopes in a world that wavers. Through this work, the artist encourages us to dream bigger, but also to act to transform our mirages into realities. The Mirage urges us to keep our eyes open and to never stop imagining a better, fairer, and more humane world.
L'Homme à Nu
60 x 80 cm
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Standing exposed under the allegory of a scanner, the man has nothing left to hide.
The skeleton, laid bare by the scanner, becomes a symbol of our fundamental equality. Whether we are powerful or not, rich or poor, famous or anonymous, our inner structure is the same.
The painting asserts that no human being can be superior to another. We are all equal, all vulnerable, all alike in our deep humanity.
The artist ESENJ uses the medical scanner as a metaphor. The scan does not stop at appearances; it penetrates the skin, clothing, and social masks. It reveals what is invisible to the naked eye, what we have in common, what we cannot hide or change. In this work, the scanner becomes a tool of truth, humility, and fraternity. It invites us to move beyond superficial judgments and to recognize the dignity of every individual simply because they are human.
The Water War
54 x 65 cm
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Water War highlights one of the major challenges of our time: the scarcity of water and the tensions it creates. ESENJ denounces the inequality in access to this vital resource, the effects of climate change, and the growing risks of famine, displacement, and conflict. This work reminds us of the urgent need for collective action to preserve water, reduce inequalities, and prevent the world from tipping into crisis.
The Associates
81 x 100 cm
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In this work, ESENJ depicts a group of characters driven by ego, greed, and power. Beneath a seemingly benevolent appearance, they manipulate, dominate, and extinguish the light of others to shine alone. Their motto is Business is business.
The Souls
50 x 70 cm
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Faceless and identityless silhouettes. Just outlines, suspended in a turmoil of bright and dark colors. Here, humans no longer have a body. They are soul and energy. In this incandescent whirlwind, each figure seems to float between two worlds. Some rise, others collapse. None are entirely light or entirely shadow. All silently carry the weight of a destiny. ESENJ does not paint individuals, but humanity at its barest. Each seeks their own path. It is the cycle of life. Sometimes we are at the top, and sometimes we are at the bottom, and it is not always by our choice. The Souls is a vision of ourselves, dispossessed, navigating the trials of life.
The City of Hell
80 x 60 cm
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In The City of Hell, ESENJ depicts a metropolis in ruins, consumed by its own excesses. Four skulls with frozen smiles float above a burning urban chaos. They appear suspended, mechanical, and emptied of humanity. They are witnesses or accomplices to a world that has become unlivable. The glowing red tones evoke fire, rage, and violence, while the deep blues and blacks emphasize an atmosphere of suffocation and perpetual night. Through a frontal, almost claustrophobic composition, the artist evokes the collapse of a civilization where the dead still laugh, or perhaps they are laughing at us. One thinks of prison-like architectures, abandoned industrial landscapes, and cities that crush more than they shelter. The City of Hell is a mirror. It reflects the normalization of horror in our daily lives and the place we occupy within it.
Spectators of a hell we have helped to build.
The Ghost Town
70 x 90 cm
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In Ghost Town, ESENJ paints the deafening silence of abandoned cities. Once full of life, these cities were deserted following natural disasters, conflicts, industrial accidents, but also ruthless economic mechanisms. Some cities are emptied simply because they are no longer considered valuable in a system that sacrifices territories for profitability. The work highlights the fragility of our societies in the face of forces they create themselves. Emptiness, abandonment, and flight are all symptoms of a world where humans become secondary, displaced by market logic or swept away by the mistakes of the past. Ghost Town is more than a frozen landscape. It is a warning. These ruins speak of deep imbalances, growing inequalities, and a world that forgets its own memory. They remind us that as long as the economy takes precedence over humanity, other cities will fall into silence.
Justice
70 x 50 cm
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In Justice, ESENJ gives form to injustice with a disturbing force. Against a dark, almost funeral background, a skeletal figure in a lawyer’s robe sits, golden teeth in a chilling smile, a grotesque caricature of judicial authority. The scales, skewed by the figure’s own hand, are no longer a symbol of fairness but of biased power. This grotesque figure embodies a system that claims to judge in the name of the law yet reproduces social, racial, economic, and territorial inequalities. Gold shines where injustice can be bought, and the ceremonial robe hides privilege. Through this work, ESENJ exposes the flaws of an order that pretends to be impartial but remains deeply unequal. Justice is not an isolated accusation, it is a pictorial cry against a system that blindly condemns some while absolving others. This painting is a call to action. When will there be justice for all? Justice without masks, without privilege, without an invisible hand tipping the scales.
The Priestess
70 x 90 cm
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Explorer
81 x 100 cm
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Through Explorer, ESENJ celebrates the boldness of knowledge and the power of sharing. A ship with retro-futuristic accents cuts through a rocky landscape, topped by a multicolored parabola, symbolizing knowledge acquired and knowledge yet to be discovered. Facing it, a stone silhouette seems to embody ignorance. The work evokes the passage from shadow to light and the responsibility to pass on what we learn. Explorer is an ode to curiosity, education, and the courage to move into the unknown.
The Devil with many faces
50 x 50 cm
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ESENJ sketches a devil with many faces. They are nothing but illusions, strategies of a master manipulator. This devil is not abstract. It takes the form of a real person, one who adapts their face to every circumstance to better seduce, dominate, and betray. This polymorph takes the traits of a manipulator, a master of emotions and lies. Their smile is used as a lure, a sign of their hypocrisy. The Devil with Many Faces points to a far more insidious evil: hypocrisy, lies disguised as kindness, and charm used as a weapon. Its thousand faces warn us against false appearances and toxic influences that we sometimes accept too readily.
All humans carry multiple facets adapted to different situations in life, but for some, these are used as weapons. In The Devil with Many Faces, ESENJ embodies this troubling figure through a devil composed of multiple faces painted in cyan, bright red, and brick red. Each mask evokes an emotion, a lie. ESENJ invites us to recognize these figures in our daily lives, but also within ourselves. The work questions our relationship with sincerity, human complexity, and the destructive power of carefully crafted appearances.
Subject n°2705
50 x 50 cm
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Subject n°2705 confronts us with the reality of animal experimentation by exposing the invisible and silent suffering inflicted on living beings in laboratories.
At the heart of an oppressive black background, a floating, faceless animal figure expresses pain through its hunched posture, gray tones, and red highlights. Connected to an experimental device by a tube, the creature becomes a symbol of all those subjected to invasive testing.
Through this work, the artist denounces institutionalized violence and calls for awareness. By contemplating this scene, the viewer is invited to reflect on their own responsibility toward animals and to support ethical alternatives that are more humane and respectful of life.
Subject n°2705 questions established norms in the name of progress and offers a vision of science founded on compassion.
Look at the sky
70 x 90 cm
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Scène de vie
50 x 70 cm
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Selfie
70 x 90 cm
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