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FRIDA KAHLO Self-Portrait with Thorn Necklace... Skate Deck Modern Design Pop
2025

$978.28

£727.28

€825

CA$1,355.72

A$1,511.37

CHF 788.24

MX$18,275.94

NOK 9,908.57

SEK 9,375.49

DKK 6,280.94

About the Item

Frida Kahlo - Self-Portrait with Thorn Necklace and Hummingbird 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 A steady gaze, a crown of thorns, a lifeless hummingbird hanging like an exotic jewel: Frida Kahlo doesn’t just paint a portrait—she paints a manifesto. In Self-Portrait with Thorn Necklace and Hummingbird (1940), the artist transforms pain into ornament, and suffering into symbol. Surrounded by Mexico’s lush flora and flanked by silent creatures—a mischievous monkey and a watchful cat—Frida appears as a stoic, almost mystical figure whose beauty is anything but pleasing; it’s defiant. The black hummingbird hanging from her neck, far from being a symbol of joy, becomes a clever irony: life suspended, worn like an amulet. The thorns pierce her skin without apology—raw and real, like art that doesn’t ask for permission. And yet, nothing here is gratuitous; it’s sharp-edged visual poetry. A wounded elegance, yes—but one that stands tall. This is Frida in her purest form: nature and symbol, tragedy and theatre, pain and design. Because in her world, even suffering knows how to dress. 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:
Wood,Maple,Screen
Movement & Style:
Expressionist
After:
Frida Kahlo (1907 - 1954)
Period:
2010-
Condition:
Gallery Location:
Madrid, ES
Reference Number:
1stDibs: LU1033116619532

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