Slasky - Libertà
06
days
13
hours
40
minutes
29
seconds
Current bid
€ 110
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‘Libertà’ is a hand-signed, limited-edition giclée print, numbered 3/5, in the Baroque style, dated 2026 and measuring 60 × 33 cm.
AI-assisted summary
Description from the seller
Unity in Diversity: Marianne and the Students
This provocative digital artwork reinterprets Eugène Delacroix’s Romantic masterpiece, *Liberty Leading the People* (1830), immersing it in the turbulent context of recent protests in Paris.
The original work’s pyramidal composition is preserved, with the iconic figure of Marianne at its apex, brandishing the French tricolor and advancing over barricades of fallen bodies. However, the classical allegory is abruptly interrupted by the intrusion of modern reality.
On the right, a line of riot police officers, equipped with contemporary gear and shields bearing the word “POLICE,” confronts Marianne. In an ironic and shocking contrast, the lead officer wields a brightly colored water gun instead of a traditional weapon, transforming the symbol of state repression into something playful and absurd.
The Protests in Paris as Context
The work is saturated with details that anchor the scene in the protests in Paris. A burning dumpster, a common sight during demonstrations, bears inscriptions echoing the sentiments of the Yellow Vests movement. Slogans such as “MACRON DEMISSION” (Macron, resign), “GILETS JAUNES” (Yellow Vests), and “LA LUTTE CONTINUE” (The struggle continues) are clearly visible.
These graffiti are not merely superficial elements; they represent the voices of dissent and the heart of the conflict. The artist masterfully blends the visual language of historical revolution with the realities of contemporary civil disobedience.
*Unity in Diversity: Marianne and the Students * is a powerful commentary on the nature of protest and the persistence of revolutionary ideals in France. By placing Marianne in direct opposition to modern police, the work raises questions about who holds power and what “Liberty” means in the 21st century. The use of the water gun, in particular, challenges conventional notions of state violence and resistance.
In conclusion, this artwork is a powerful fusion of history, politics, and social commentary. It reminds us that while forms of protest may change, the human desire for freedom and justice remains a constant force.
2026
* CI-AO
30 April - 28 May 2026
Via Del Vantaggio 28, Rome
Piazza del Popolo
* FACE2FACE
Laundry Studios · 5 – 9 March 2026
⸻
2025
* Tokyo Open Art | Art on Loop Exhibition
Tokyo · 12 – 16 September 2025
Parallax Art Fair
Kensington Town Hall
Hornton Street
London
W8 7NX
2024
Solo Exhibition
CONTEMPORARY VENICE
Palazzo Pisani-Revedin
S. Marco, 4013A , 30124 Venice, Italy
ARTLAB
Benjamin Eck Gallery
Munich, Germany
2021
Mia Fair
The Information Photography Art Fair Italy
Milan, Italy
Lausanne Art Fair
Beaulieu Lausanne
Booth 59
Switzerland
Lille ArtUp 2021
Lille, France
StreetArt//UrbanArt
Legnano, Italy
2020
Woodward Gallery
WashYourHands Exhibition
New York City, NY
RedSheep Gallery
Work in Paper
Stockholm, Sweden
2019
Wopart Art Fair 2019 / Centro Esposizioni - Lugano, Switzerland
Lang Leve Rembrandt
Rijks Museum Amsterdam
#salvagecollection
#BreakthroughArtCollection
Seller's Story
Slasky once again begins to crack open the barriers of time with a work that acts as a refined visual and conceptual short circuit. At the center of the composition emerges the magnetic and indissoluble gaze of a classical feminine portrait, imbued with the meticulous realism typical of the great northern European painting tradition of the Seventeenth Century. The austere dignity of the noblewoman, framed by a lavish frilled white lace collar, is however intercepted, severed, and partially concealed by a geometric pattern of white and black diagonal stripes.
This graphic intervention is not a mere aesthetic overlay, but a powerful statement of urban poetics. Slasky introduces a pattern that immediately evokes the visual codes of contemporary road signage, Optical Art, and modern street graphics. The geometric crossbar acts as a barrier or censoring filter that fragments the face: one half remains faithful to its museum and historical dimension, while the other half dissolves into the cold rationality of the abstract code.
The work thus interrogates the perception of identity in the digital age. The face of the past, guardian of an intimate and solemn historical memory, is reactivated and compelled to dialogue with the syncopated rhythms and the brazen geometries of contemporary culture. To underscore this dichotomy, the choice of frame is decisive: a sumptuous black Baroque profile in relief that envelops the work, transforming the jarring pop contrast into a sacred object of museum-design.
With his unmistakable technical and editorial deftness, Slasky does not destroy the antique, but re-encodes it, proving that classical art belongs not only to the past, but is a living matter, ready to be traversed and re-signified by the symbols of our present.
Translated by Google TranslateUnity in Diversity: Marianne and the Students
This provocative digital artwork reinterprets Eugène Delacroix’s Romantic masterpiece, *Liberty Leading the People* (1830), immersing it in the turbulent context of recent protests in Paris.
The original work’s pyramidal composition is preserved, with the iconic figure of Marianne at its apex, brandishing the French tricolor and advancing over barricades of fallen bodies. However, the classical allegory is abruptly interrupted by the intrusion of modern reality.
On the right, a line of riot police officers, equipped with contemporary gear and shields bearing the word “POLICE,” confronts Marianne. In an ironic and shocking contrast, the lead officer wields a brightly colored water gun instead of a traditional weapon, transforming the symbol of state repression into something playful and absurd.
The Protests in Paris as Context
The work is saturated with details that anchor the scene in the protests in Paris. A burning dumpster, a common sight during demonstrations, bears inscriptions echoing the sentiments of the Yellow Vests movement. Slogans such as “MACRON DEMISSION” (Macron, resign), “GILETS JAUNES” (Yellow Vests), and “LA LUTTE CONTINUE” (The struggle continues) are clearly visible.
These graffiti are not merely superficial elements; they represent the voices of dissent and the heart of the conflict. The artist masterfully blends the visual language of historical revolution with the realities of contemporary civil disobedience.
*Unity in Diversity: Marianne and the Students * is a powerful commentary on the nature of protest and the persistence of revolutionary ideals in France. By placing Marianne in direct opposition to modern police, the work raises questions about who holds power and what “Liberty” means in the 21st century. The use of the water gun, in particular, challenges conventional notions of state violence and resistance.
In conclusion, this artwork is a powerful fusion of history, politics, and social commentary. It reminds us that while forms of protest may change, the human desire for freedom and justice remains a constant force.
2026
* CI-AO
30 April - 28 May 2026
Via Del Vantaggio 28, Rome
Piazza del Popolo
* FACE2FACE
Laundry Studios · 5 – 9 March 2026
⸻
2025
* Tokyo Open Art | Art on Loop Exhibition
Tokyo · 12 – 16 September 2025
Parallax Art Fair
Kensington Town Hall
Hornton Street
London
W8 7NX
2024
Solo Exhibition
CONTEMPORARY VENICE
Palazzo Pisani-Revedin
S. Marco, 4013A , 30124 Venice, Italy
ARTLAB
Benjamin Eck Gallery
Munich, Germany
2021
Mia Fair
The Information Photography Art Fair Italy
Milan, Italy
Lausanne Art Fair
Beaulieu Lausanne
Booth 59
Switzerland
Lille ArtUp 2021
Lille, France
StreetArt//UrbanArt
Legnano, Italy
2020
Woodward Gallery
WashYourHands Exhibition
New York City, NY
RedSheep Gallery
Work in Paper
Stockholm, Sweden
2019
Wopart Art Fair 2019 / Centro Esposizioni - Lugano, Switzerland
Lang Leve Rembrandt
Rijks Museum Amsterdam
#salvagecollection
#BreakthroughArtCollection
Seller's Story
Slasky once again begins to crack open the barriers of time with a work that acts as a refined visual and conceptual short circuit. At the center of the composition emerges the magnetic and indissoluble gaze of a classical feminine portrait, imbued with the meticulous realism typical of the great northern European painting tradition of the Seventeenth Century. The austere dignity of the noblewoman, framed by a lavish frilled white lace collar, is however intercepted, severed, and partially concealed by a geometric pattern of white and black diagonal stripes.
This graphic intervention is not a mere aesthetic overlay, but a powerful statement of urban poetics. Slasky introduces a pattern that immediately evokes the visual codes of contemporary road signage, Optical Art, and modern street graphics. The geometric crossbar acts as a barrier or censoring filter that fragments the face: one half remains faithful to its museum and historical dimension, while the other half dissolves into the cold rationality of the abstract code.
The work thus interrogates the perception of identity in the digital age. The face of the past, guardian of an intimate and solemn historical memory, is reactivated and compelled to dialogue with the syncopated rhythms and the brazen geometries of contemporary culture. To underscore this dichotomy, the choice of frame is decisive: a sumptuous black Baroque profile in relief that envelops the work, transforming the jarring pop contrast into a sacred object of museum-design.
With his unmistakable technical and editorial deftness, Slasky does not destroy the antique, but re-encodes it, proving that classical art belongs not only to the past, but is a living matter, ready to be traversed and re-signified by the symbols of our present.
Translated by Google TranslateDetails
Sold by
Agent
Edition
Limited edition
Edition number
3/5
Artist
Slasky
Title of artwork
Libertà
Technique
Giclée
Signature
Hand signed
Country of origin
Italy
Year
2026
Condition
Excellent condition
Height
60 cm
Width
33 cm
Style
Baroque
Sold with frame
No
Period
2020+
