Bronze Sculpture for Sale
Sur la vie de ma mère #2, 2025
Painting : Textiles, embroidery · 121 x 40 x 5 cm 47.6 x 15.7 x 2 inch
$6,164
6 164 $US
Shipping & delivery
Shipped from: France
Delivery to: United States , $ 705
Estimated delivery: Two to three weeks
Free returns within 14 days, full refund
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Invoice from the gallery Learn more
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Verified Reviews : 9.6/10
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Textiles , embroidery on textile
Dimensions ( cm • inch )
121 x 40 x 5 cm 47.6 x 15.7 x 2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2013
Discount
This seller offers discount when you purchase multiple artworks.
Description
Hand-embroidered textile painting
Unique work
Signed, dated and titled at the bottom by the artist
"Tormented by the contrary winds of untamable thoughts, I feel the telluric tremors of this world in full mutation."A small determined people sits in my head: lost night visitors, dark thoughts wearing hats, zig-biphale, bird-woman, intra-cranial bestiary whose hybrid beings that compose it await to be liberated.
Everything depends on a thread: needle, scissors, I cut, I sew, I place and superimpose, threads, fabrics, weave that I find, impulsive gesture, repeated, compulsive.
My hands precede my thought.
Creatures on a black background, stunned, extirpated from my skull, frozen forever, married with bone and lace, flower bearer, laughing skeleton, when color devours intention, gives a festive air, joyful death on a turquoise background…needle threads, scissors, fabrics, weave that I find, I cut, I trim, I superimpose, I assemble.
Polymorphic beings that occupy all space, my nature does not like the void, one on another, next to another, intertwine, hug, overlap, back to back, face to face, frozen smiles, grimaces…., silent dialogue in the noise of the world, no luck.
We are entering a zone of Turbulence."
Barbara d'Antuono, 2026
Presentation
An Italian national, Barbara d’Antuono arrived in Corsica aged seven. She lived there until the eighties when she leaves for the West Indies. She travels around the islands, via Jamaica, and stops off in Haiti where she spends the next five years.
Immersed in the rich, expanding artistic environment in Haiti, Barbara discovers painting and sculpture. She attends the Haitian painter Ronald Meus’s studio regularly. Her artistic path starts with Outsider Art, wood and bone assemblage, totem collages, fetishes...Babette El Saieh, the great collector Issa El Saieh’s daughter, gives Barbara her first exhibition in the Hotel Olofson, Port-au-Prince. Subsequently, Barbara’s work is exhibited regularly in Haiti.
In 1986 she moves to France and starts developing her own technique. A multi-faceted artist, her work encompasses sculpture, painting, graphics, poetry and music.
Barbara is a globetrotter, nourishing her imagination with journeys to Africa where she finds ancestral voodoo, particularly in Benin and Togo, and the Tamberma valley.
This spicy mixture produces the dreamlike, colourful, sometimes naïve, style that permeates all her work. Barbara shares her global encounters and discoveries, while always leaving a free space for our imagination. Her favourite themes are Voodoo, Africa, diversity, life and death issues. Barbara’s creativity springs from her imagination. She points to a path, then it’s up to us to make our own way.
It’s difficult to pigeonhole Barbara in conventional art movements. She fits somewhere between Outsider Art, Art Singulier (Marginal Art), Underground Art. Some people see Dada and Surrealist influences in her work, and the spirit of Basquiat too.
From 1995, Barbara has exhibited her work regularly in Paris, and also in Germany. She has participated in several group shows, including a tribute to Wilfredo Lam at Unesco. And from 1998, she has become a well-known artist with the Gallery Art Factory, and then the Galerie l’Art de Rien.She has had several shows in the Lavoir Moderne Parisien and the Chapelle du Collège de Carpentras. In 2012, she had an exhibition in the Galerie Electron Libres, based on Haitian Voodoo. Back to roots.
In 2013, she distances herself temporarily from figurative work and explores lyrical abstract art. The “people” disappear and make way for more abstract forms, creating elements of absurd mechanisms with implausible purposes, and strange, poetic cities to be build and demolished.
n 2014, her “people” reappear in interactive groups. These minimalistic graphics are like a humorous reference to Barbara’s first artistic encounter: Outsider Art.
Thus whatever the spirit that inspires Barbara’s work, the “people”, the human element, are always the sentries to her creative worl
Immersed in the rich, expanding artistic environment in Haiti, Barbara discovers painting and sculpture. She attends the Haitian painter Ronald Meus’s studio regularly. Her artistic path starts with Outsider Art, wood and bone assemblage, totem collages, fetishes...Babette El Saieh, the great collector Issa El Saieh’s daughter, gives Barbara her first exhibition in the Hotel Olofson, Port-au-Prince. Subsequently, Barbara’s work is exhibited regularly in Haiti.
In 1986 she moves to France and starts developing her own technique. A multi-faceted artist, her work encompasses sculpture, painting, graphics, poetry and music.
Barbara is a globetrotter, nourishing her imagination with journeys to Africa where she finds ancestral voodoo, particularly in Benin and Togo, and the Tamberma valley.
This spicy mixture produces the dreamlike, colourful, sometimes naïve, style that permeates all her work. Barbara shares her global encounters and discoveries, while always leaving a free space for our imagination. Her favourite themes are Voodoo, Africa, diversity, life and death issues. Barbara’s creativity springs from her imagination. She points to a path, then it’s up to us to make our own way.
It’s difficult to pigeonhole Barbara in conventional art movements. She fits somewhere between Outsider Art, Art Singulier (Marginal Art), Underground Art. Some people see Dada and Surrealist influences in her work, and the spirit of Basquiat too.
From 1995, Barbara has exhibited her work regularly in Paris, and also in Germany. She has participated in several group shows, including a tribute to Wilfredo Lam at Unesco. And from 1998, she has become a well-known artist with the Gallery Art Factory, and then the Galerie l’Art de Rien.She has had several shows in the Lavoir Moderne Parisien and the Chapelle du Collège de Carpentras. In 2012, she had an exhibition in the Galerie Electron Libres, based on Haitian Voodoo. Back to roots.
In 2013, she distances herself temporarily from figurative work and explores lyrical abstract art. The “people” disappear and make way for more abstract forms, creating elements of absurd mechanisms with implausible purposes, and strange, poetic cities to be build and demolished.
n 2014, her “people” reappear in interactive groups. These minimalistic graphics are like a humorous reference to Barbara’s first artistic encounter: Outsider Art.
Thus whatever the spirit that inspires Barbara’s work, the “people”, the human element, are always the sentries to her creative worl
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