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FRIDA KAHLO - Me And My Parrots. Skate Deck Modern Design Pop American2025
2025
$983.01
£724.65
€825
CA$1,345.84
A$1,492.64
CHF 783.86
MX$18,330.67
NOK 9,922.93
SEK 9,357.46
DKK 6,278.52
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About the Item
Frida Kahlo - Me And My Parrots
Date of creation: 2025
Medium: Digital print on Canadian maple wood
Edition: Open
Size: 80 x 20 cm (each skate)
Condition: In mint conditions and never displayed
This triptych is formed by three skate decks made of 7 ply grade A Canadian maple wood.
©2025 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York
Me and My Parrots (1941) is one of those self-portraits in which Frida Kahlo seems to say: “Yes, I have suffered, but look at me here—serene and majestic, surrounded by parrots like an exotic queen in her feathered court.” In this work, Frida appears with her characteristic direct and intense gaze, dressed in a simple white blouse that contrasts with the vibrant presence of the four parrots surrounding her. These birds, far from being mere tropical ornaments, seem to be extensions of her identity.
The parrots—two on her shoulders, one on her arm, and one perched on her chest—pose with an almost solemn stillness, as if aware they are part of a visual ritual. Frida, unflinching, holds them gently, as someone who has made nature a refuge and solitude a form of companionship.
The scene, though static, is full of life: there’s color, texture, and a sense of domesticated mystery. Frida doesn’t smile, but her eyes speak volumes. There is pride, weariness, but also a quiet strength that prevails.
Me and My Parrots is not just a portrait with animals; it’s a small allegory of independence and self-assertion. Because in Frida’s universe, even the parrots have something to say—and they say it with style.
ABOUT THE ARTIST
Frida Kahlo was born in the Blue House of Coyoacán, Mexico, in 1907—although she later claimed to have been born in 1910, aligning her birth with the start of the Mexican Revolution. It wasn’t vanity; it was a statement. Frida didn’t just live through time—she reimagined it with every brushstroke.
As a child, she contracted polio, leaving one of her legs thinner than the other. To compensate, she developed an even larger personality. But it was in 1925, when a streetcar accident shattered her spine, pelvis, and much of her body, that her life split in two—literally and symbolically. Most would have been defeated. Frida turned pain into language.
During her recovery, she began to paint. A mirror placed above her bed allowed her to transform her face into fertile ground for symbolism, memory, and resistance. She didn’t paint what she saw—she painted what she felt, remembered, endured. Her self-portraits were not simply likenesses but visual manifestos: her face framed by monkeys, thorns, flowers, roots, corsets, and, always, that singular unibrow—one bold line of unbroken thought.
In 1929, she married the muralist Diego Rivera, launching one of the most tempestuous love stories in art history. Their relationship was marked by infidelities, separations, and reconciliations—fuel for both drama and creativity. “I had two accidents in my life,” she once quipped, “one was the streetcar, the other was Diego. Diego was the worst.” And still, she loved him. In her own way.
Frida was political, communist, a voracious reader, a collector of traditional dress, a lover of men and women, a bold hostess, and a tireless provocateur. Her unique style—embroidered huipils, long skirts, floral crowns, and Indigenous jewelry—was not just fashion, but a cultural and personal declaration. Aesthetic and ideology intertwined.
Though she exhibited in Paris and New York and earned the admiration of figures like Picasso and Breton, during her lifetime she was often seen as “Diego Rivera’s eccentric wife” more than as an artist in her own right. It wasn’t until decades after her death in 1954 that her legacy truly exploded: feminist, queer, Latin American, unrepentantly original.
Today, Frida Kahlo is far more than an artist—she is a symbol of resistance, radical authenticity, and fierce beauty. Her legacy transcends museums and textbooks to live on in popular culture, street art, tattoos, fashion, and, above all, in the hearts of those who see in her the proof that art doesn’t need permission to be truth.
Frida never sought immortality. And yet, she found it.
- Creation Year:2025
- Dimensions:Height: 31.5 in (80 cm)Width: 23.63 in (60 cm)Depth: 0.79 in (2 cm)
- Medium:
- Movement & Style:
- After:Frida Kahlo (1907 - 1954)
- Period:
- Condition:
- Gallery Location:Madrid, ES
- Reference Number:1stDibs: LU1033116619442
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