In 2007, at a significant juncture in art history where the tangible and intangible worlds collided, Leroy Brothers unveiled the enigmatic figure of “Axel King”. Set against the digital backdrop of the burgeoning internet age, Axel King, ostensibly an art installation spanning from 2006-2009, proffers profound insight into the shifting paradigms of art creation, consumption, and critique. As the art world grappled with the onslaught of technology, Axel King emerged as a beacon, highlighting the complexities of the era.

At face value, Axel is a virtual artist—yet his oeuvre comprises real, tangible paintings, paradoxically rendered through the collective input of the vast expanse of the internet. This method of “finding inspiration” bypasses the traditional solitude of the artist's studio, replacing the singular, isolated genius with a myriad of voices clamoring for representation. The result? Artworks that are not a product of Axel’s solitary contemplation, but rather a cacophony of suggestions, ideas, and imaginations sourced from the community. The final execution, the brush strokes on canvas, is left to anonymous artist assistants, further obfuscating the lines of traditional artistic ownership.