I shudder to think of the monsoon of insults that automotive purists’ might hurl at Duaív’s custom Ferrari 458 Spider and Lamborghini Aventador Roadster. The renowned French artist’s exotic car concoctions may not be for everyone (especially those prone to seizures), but if you look at his resume, you might just think twice before passing his vinyl-wrapped Italians off as an acid induced accident.
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Duaív, a contemporary impressionist and classical musician (cello), received his education at two of France’s most prestigious art schools, the Conservatoire Nationale de Musique and the École nationale supérieure des Beaux-Arts, both in Paris. No hack is getting accepted to these institutions. Think Juilliard, MIT, Harvard.
He’s more known for his work as an artist, but Duaív is also no slouch as a cellist. Yo-Yo Ma definitely took notice as he sponsored the native Frenchman’s immigration to the US in 2003.
His list of accomplishments goes on and on – and I suppose you would need a pretty killer resume before someone lets you go town on a $440,000+ car – but now we return to his two works we car junkies are most interested in: A Ferrari 458 Spider commissioned by Ferrari of Palm Beach, Fla. and a Lamborghini Aventador Roadster created in conjunction with Lamborghini Miami.
With the 458, Duaív paid tribute to the country he now calls home by covering the rear of the two-seat convertible with a red, white and blue motif resembling the American flag.
The Aventador is inspired by one of Duaív’s paintings and is wrapped in a combination of bright, lively colors, which I can best describe as a bunch of mashed up Skittles left to sit out in the heat too long.
With the prevalence of distasteful, gaudy, vinyl wraps adorning certain exotic cars today (The F40 above is definitely not one of them!), it’s easy to label Duaív’s creations as just one of the same. But cars are an expression of our passion, our soul. You don’t buy an Aventador Roadster because you’re a modest person, why not do it up? And when the one to do it up is one of the contemporary era’s most influential impressionists?
Well, let’s just say ‘art in motion’ never made more sense.