Bronze Sculpture for Sale
Painting : acrylic · 90 x 90 x 0.1 cm 35.4 x 35.4 x 0 inch
One of the last works available by this artist
Shipped from: France
Delivery to: France , € 49
Estimated delivery: Less than one week
Free returns within 14 days, full refund
Sold with certificate of Authenticity from the artist
Invoice from the gallery Learn more
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Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
90 x 90 x 0.1 cm 35.4 x 35.4 x 0 inch Height x Width x Depth
Art gallery
Credentials
Vetted seller since 2023 • Top Seller
A work that collides two worlds with nothing in common: the superhero and the ballerina, strength and grace, pop culture and classical tradition.
At the centre of the composition, a masked figure holds a full arabesque, arms spread in a high crown, one leg bent, the balance perfectly held on pointe. The close-fitting webbed costume and the large spider emblem across the chest immediately evoke the imagery of the arachnid vigilante. Yet this fighting body is girdled by an immaculate tulle tutu, spectacularly spread, its layered tiers radiating in a corolla around the hips. The contrast is immediate, almost comic — and then, very quickly, it becomes unsettling.
For the pose is in no way a parody. It is accurate, taut, technically exact: that of a dancer at the height of their mastery. The artist is not mocking ballet, she is revealing its athletic power — classical dance as a warrior's discipline, demanding the same endurance and the same bodily violence as any combat.
The background, deep black and densely worked, functions as an urban wall. White calligraphic tags are scattered across it in repeated blocks, traced with a rapid, illegible gesture in the manner of graffiti throw-ups. Sheets of gold leaf run through them, applied in irregular, flaking, weathered patches — like a fragment of ancient fresco or Byzantine altarpiece resurfacing beneath the concrete. This gold introduces the dimension of the sacred: the figure is no longer merely a comic-book hero, it is an icon in the religious sense of the word.
The monochrome palette — black, white, silvery grey — leaves gold its role as the sole colour, and concentrates all attention on the interplay of textures: the webbing of the costume, the gauzy tulle, the grain of the wall, the metallic gleam of the gilding.
Masked in Tulle questions the masks we wear and the roles we hold. Beneath the costume, no one knows who is dancing. The title says it precisely: it is not only the face that is masked, but the entire identity, concealed beneath a material — tulle — that ordinarily signals fragility and femininity. Nicole Lubbers layers these codes the better to reveal how arbitrary they are.
Nicole Lubbers is a contemporary Dutch artist living in the eastern Netherlands, whose practice is distinguished by an experimental and multimedia approach to creation. Described by some observers as innovative and eccentric, she develops an artistic universe where mixed media techniques, material exploration, and the search for new forms of visual expression intersect. Her work is part of an experimental contemporary painting and emerging conceptual art dynamic, in which formal freedom plays a central role.
According to available information, Nicole Lubbers has reportedly received several international distinctions. She is said to have been named Artist of the Year 2024 at the Belgrade Biennale, an award presented by Milinko, an art agent and president of the Belgrade ART SALON. She also reportedly achieved second place at the 2024 World Art Awards in the “most innovative artist” category, with another work placing fifth in the same edition. These recognitions suggest growing visibility within international emerging art award circuits.
Her career is also marked by a nomination at the 2024 World Art Awards, initiated by Thom Bierdz, actor, writer, and artist, also president of the event. Three of her works are said to have been selected in this context, reinforcing her presence in international art events. In addition, Nicole Lubbers is reported to have been invited to participate in openings in Venice, Belgrade, and Belgium, confirming the gradual dissemination of her work across several European scenes.
Her artistic practice is based on the use of diverse materials and a constant drive for experimentation. She explores multiple technical combinations in a process that questions the boundaries between painting, material, and installation. This approach places her work within a contemporary plastic research framework, where material innovation becomes a language in itself.
Overall, Nicole Lubbers’ work is positioned within a developing trajectory on the European contemporary art scene, between emerging recognition, technical exploration, and participation in international events.
All our reviews are extracted from Verified Reviews
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