|Transmission:||6 speed sequential manual|
|Engine:||4.3 L Ferrari F136 E V8|
ABOUT THIS FERRARI F430 CHALLENGE CAR
This 2007 Ferrari F430 Challenge Car is finished in Red with a black Interior. ANSA Motorsports created this Tribute to NART in their facility out of Carbon Fibre. The Majority of the car is made of custom fabricated Carbon Fiber parts. The rear deck lid, doors, front fenders, hood, front n rear bumper, rear diffuser, side mirrors, dash board are all in Carbon Fiber, leaving only the roof and rear fenders in their original Aluminum. It has approx. 7000km on the Engine and Gear Box. A true lightweight version and one of a kind performance race car.
Marquis Lewis, known by his internationally-recognized tag RETNA, accesses spaces betweentypographic, text-based imagery and abstract esoteric states using a singular, mysterious script.Each block of text is a sophisticated system of hieroglyphs, calligraphy and illuminated lettering.With influences extracted from Arabic, Egyptian, Hebrew, Anglo-Saxon (or Old English) andNative American mythologies, RETNA's unique vocabulary communicates a personal form ofpoetry; one that reflects the harsh realities of urban life, while granting itself access tometaphysical considerations. RETNA employs ancient totemic symbologies as a baseline,overlaid with rhythms from the urban jungle. These are sourced from his youth in Los Angeles,born from Pipil (western indigenous El Salvadorian), Cherokee, Spaniard and African-Americanbloodlines. These subcultures factor into the physical product of his labors, often accompaniedin the studio or on the street by a stream of sounds (whether it be music, ambient city noises oranonymous passers-by). It is this multimedia experience that is laid onto the painted surface forRETNA: auditory and visual content manifested in real-time.
As the dynamic of street art within the gentrified urban structure become increasingly blurredand complex, their foundational beliefs and symbols will take on new meanings. RETNAs workreflects these changes with every successive project. Whether staging an international travelingexhibition appealing to the perpetually anonymous, high-roller commercial collector or showingalongside artists such as Keith Haring, Os Gmeos, and Barry McGee on the famed EastVillage Houston-Bowery wall, RETNAs ultimate aim is carefully concealed. One certainty,however, is his dedication to an artistic practice rather than abandoning principle for principal.RETNAs language is markedly softer in tone and appearance than more traditional forms ofstreet graffiti: the elegant swoops of ink-like letters and the poetic statements themselvesseemingly adhere to messages of intellectual contemplation and restraint. RETNAs use of afeather-tipped paintbrush owes to the airy movement of the characters. According to the artist,this conscious choice of material is also a nod to the Spirit of the Falcon, an ancient Egyptiantotemic emblem signifying success and victory. A steady stream of references to victory andtranscendence of worldly hardships reside in his work, perhaps in and of itself a collective pleafrom the depths of the streets to the canopy of fame and fortune. At the risk of delving toodeeply into new-age philosophy or potentially alienating a base audience rooted specifically inurban environments, RETNAs messages are masked in ciphers: words and meanings that arenever immediately revealed nor capable of being accurately translated. Even those closest tohim have only inklings of his gleanings in concrete form, as he continues to develop a dedicatedlanguage straddling the aesthetic borders of street art and academic-grade contemporary art.
Apart from the letters being physically graceful and the content of his messages profound,RETNAs practice has grown beyond letters and words. His letters have been shaped into three-dimensional sculptures (similar to Robert Indianas stacked messages), they have graced thebodies of fashion models as body paint, and have served as textbook-like illuminations inconjunction with figurative images from longtime collaborator El Mac. Whether he will pursuestrictly abstract permutations of his signature style remains to be seen. For the moment, even ifthe content of RETNAs language evades the typical viewer, the instant connection to themystique of Antiquity is potent. The messages, themselves, are not meant to be overly cryptic.What RETNA asks of his audience is a heightened sense of aesthetic perception. Beyond theobject on its own, RETNAs work is meant (like any well-executed painting) to evoke immersivecontemplation. Narratives are present, but they are not immediately visible. The artistssensibilities and personal tastes are not immediately discernible in the work, which owes to aprofessionalism in distancing an artistic life from a private persona.
RETNAs studio practice retains the forcefulness found in the processes of making street-basedart. Sensations of conflict, loss and the shadow of law enforcement are all cited as RETNA'smotivations in creating work both on the streets and in the studio. All the while, his focus is seton contributing to the full spectrum (from academic to commercial) of contemporary art; a fieldthat, in and of itself, requires swift adaptation to ensure survival and longevity. RETNA notesthat his most common media formats are based in painting: acrylic, enamel, aerosols and oils.With the work anchored in typographic forms, the tools and methodologies of the painter arekey. The biography in RETNAs work lies in the persistence of the medium transposed to anarena outside of the closed gallery space. While the white cube atmosphere is certainly anappropriate venue for the artists oeuvre, it is neither prioritized nor preferred.Like other influential street artists such as Banksy, Shepard Fairey, Basquiat and Keith Haring,RETNA maintains a devotion to an aesthetic reaching further than the gallery or institution. Thesource, the spring for RETNA, is the city. He possesses a keen understanding of thecontemporary art world, while maintaining a measured independence as a practicing, andcontinuously developing, artist.