The Psychology of Money
This sculpture is an approach to the exercise of observing financial actions as an educational metaphor. Where we humans find ourselves between centrifugal forces, amid spiritual ideals and material ambitions; Between the possible freedom that prudent decisions and adequate financial actions can give us. Or the restrictions and slavery to the future resulting from improper money practices.

The artwork presents a torso dressed in a suit, with a lock and a handkerchief.  A symbol of prudent management, the safety of action, protection, and neatness of thought and action. It rests as a head on a torso, like a coin with dual symbolism on each of its faces. It is alluding to the permanent possibility of the transition from freedom to slavery or vice versa.  It depends on the actions and financial decisions of each individual.

Money as an asset of people's economy is reflected in this work of dual character, as evolution, or involution. Actions on money oscillate between human vibrations and energies, for good or evil.

Objects reveal things about us. In that regards, my current expressive itinerary is consistent with his interpretation of the human thought and reality. Plunging energy in the combination of universal ideas, as variants present in three concepts; myth, metaphor, and archetype.  Such is the case of my work in The Other Dimension series.

Up to date on the oil dashboard, black parachute silk curtains float six barrels, in a crude theater ensemble, OILTEATHER. Update’s planetary symbolism algaeifies an iron cross on life-support. CONCOMERSE  hungers  for  power.

I work diverse and mixed media in art.  Art has an excellent relationship with seduction. I like that art may alter our perception.  It scripts history and feeds the present to denounce the future. More than aesthetics, the art is history narratives.  There are two recurrent elements in my art: the object and the human form. I approach my research and artistic experimentation to create works that have the precarious balance and the possibility of collapse linked to the constant human concern for universal communication through form, symbols and codes.

BAILUT, 2012. MIXED MEDIA.

I want the observer to become part of my artwork.  Each new project bears an intention to touch the moment, to comment on man’s behavior and to awaken dormant zones within the ambiguity. As a universal artist with diverse approaches to my ideas and artworks, I am committed to being part of the creative community that energizes the cities of which we are a part. Be able to anticipate and create transcendental, playful and universal collective art goods.

MEN’S NATURE, 2003. MIXED MEDIA.

Antuan’s new proposal is consonant with his firm ecological, social and humanitarian discourse of over two decades, one which his artwork steadily addresses, though a powerful play with the object and
the human body.

Shoes figure often among Antuan’s recurring visual subjects. The shoe is an indispensable item of apparel that connects us to the ground and protects us from its dangers, and its wide array of designs and styles make everyday and extraordinary activities possible. Footwear can signal clan kinship, race, gender and sexuality, social and economic status. As a potent, often fetishized carrier of meaning in our culture, the shoe serves Antuan well in his art.

Antuan maintains his use of readymade. He fuses painting and sculpture—he paints, within contextual reference, achieving subtlety with the use of textile color and texture. Monochromatic fabric hides his subject matter. Stretching and adjusting the material, the artist profiles the volume of the forms.
He insinuates the object with the malleability of the material, complemented, at times, with
minimalist repetition.