Sylvain Barberot - Trump power - feminine version





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Sylvain Barberot's Trump power - feminine version, a resin and wood sculpture with 8 carat gold, edition 5, created in 2026, signed by hand, sold directly by the artist from France, in excellent condition, weighing 1020 g and measuring 28.5 × 10 × 8 cm.
Description from the seller
"Trump power" is a way to synthesize the way the president of the United States addresses the world, including in his own country. It is, by this international gesture, an image with which he operates without any restraint. The work is a mold of a female hand painted with gold paint diluted to 30% of pure metal. It recalls his fascination with gilding, which he has overused in the Oval Office of the White House.
This work can be fixed to the wall or placed on your desk (dimensions: 31.5 x 7.5 x 6.5).
Up to you to choose...
An international artist whose work rests on the dichotomy that exists between memory and forgetting. Memory is, in my view, the essential element that binds our body to the world. However, and while our culture strives to engrave history with a chisel, I strive to inhibit, to deconstruct, even erase my own memory. A vast undertaking is the exercise of forgetting… The body is only the support of this memory of which it is dependent, even needy. It builds it, shapes it and transforms it. And if anamnesis is translated from Greek as the ascent/remembrance of memory, as for me I pursue it to better detach myself from it.
"Trump power" is a way to synthesize the way the president of the United States addresses the world, including in his own country. It is, by this international gesture, an image with which he operates without any restraint. The work is a mold of a female hand painted with gold paint diluted to 30% of pure metal. It recalls his fascination with gilding, which he has overused in the Oval Office of the White House.
This work can be fixed to the wall or placed on your desk (dimensions: 31.5 x 7.5 x 6.5).
Up to you to choose...
An international artist whose work rests on the dichotomy that exists between memory and forgetting. Memory is, in my view, the essential element that binds our body to the world. However, and while our culture strives to engrave history with a chisel, I strive to inhibit, to deconstruct, even erase my own memory. A vast undertaking is the exercise of forgetting… The body is only the support of this memory of which it is dependent, even needy. It builds it, shapes it and transforms it. And if anamnesis is translated from Greek as the ascent/remembrance of memory, as for me I pursue it to better detach myself from it.

