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FRIDA KAHLO - The Two Fridas. Skate Deck Modern Design Pop2025
2025
$708.96
£522.63
€595
CA$970.64
A$1,076.51
CHF 565.33
MX$13,220.30
NOK 7,156.54
SEK 6,748.71
DKK 4,528.14
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About the Item
Frida Kahlo - The Two Fridas
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 diptych is formed by two 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
“The Two Fridas” (1939) is like a double portrait with emotional surgery: two Fridas, one with a broken heart and the other with a whole one, sitting side by side as if they had booked a couples therapy session… with themselves.
Each dressed to reflect a part of her identity—the European Frida in a Victorian lace dress, the Mexican Frida in her traditional Tehuana attire—these twin selves are connected by an artery that flows from one heart to the other, complete with surgical clamps and a love that’s now gone: Diego Rivera’s.
Painted just after their divorce, the work is an exercise in sentimental anatomy. But rather than wallowing in self-pity, Frida offers us a powerful, unsettling, and beautiful image where pain takes a seat alongside dignity. The exposed hearts are not a desperate cry, but a statement of identity: no heartbreak comes without a touch of reinvention.
“The Two Fridas” doesn’t just show us a divided artist—it reveals a woman capable of facing herself and keeping herself company. And she does it with drama, yes, but also with a kind of visual irony that turns tragedy into the sublime. Because if anyone knew how to turn scars into unforgettable art, it was Frida.
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: 15.75 in (40 cm)Depth: 0.79 in (2 cm)
- Medium:
- Movement & Style:
- After:Frida Kahlo (1907 - 1954)
- Period:
- Condition:
- Gallery Location:Madrid, ES
- Reference Number:1stDibs: LU1033116619552
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