ARTOXIC Official Catalogue

Critical texts by Art Curators

Alessia Maniscalco

Angela Papa

Barbara Magliocco

Camilla Gilardi

Chiara Rizzatti

Eleonora Varotto

Erika Gravante

Federica Acciarino

Federica D’Avanzo

Federica Schneck

Francesca Brunello

Francesca Mamino

Giulia Battisti

Giulia Della Valle

Giulia Fontanesi

Ilaria Falchetti

Irene Mannarino

Laura Faccioli

Liliana Sánchez

Lisa Galletti

Mara Cipriano

Maria Giulia Briganti

Martina Stagi

Martina Viesti

Matilde Della Pina

Salma Eltoukhy

Sara Cont

Sara Grasso

Silvia Grassi

Vincenza Ursillo

Curated by Art Directors Carlo Greco and Alessandra Magni

What is toxic translates as a craving that mixes in the veins with the blood and reaches directly to the heart, obscuring all rationality. If on the one hand the term is generally used in chemistry to refer to a substance that is harmful to the organism, on the other we realize that there is no limit to the areas in which it can be applied. It is curious, in fact, that it is found in almost every branch of knowledge: in the scientific world we speak of toxic matter, of toxic air, of toxic water; in the psychology of toxic behavior, in the literature of toxic feeling. The Greek poetess Sappho, referring to the "love sickness", described the psychophysical reactions of an affective addiction, which crawls under the epidermis, clouds the eyes, shaking the body with tremors. It is the irrepressible reaction provoked by the toxic substance, whether understood in its strictest or figurative sense, and by its sudden lack, which generates obsession and affection. The more harmful it is, the more upsetting the thought of doing without it. The contribution of the idea of toxicity is as endemic as its vicious consequences, and does not spare the artistic sphere, in which it hides. With the dualism of art and toxicity, we are faced with an apparently oxymoronic juxtaposition: how is it possible to associate the constricting and unhealthy tendency of toxicity with the intellectual autonomy that distinguishes the production of an artist? What looks like a daring Pindaric flight, turns out to be an integral part of numerous artistic forms, among which it is increasingly difficult to find the effigy of an inspired art, which is also a harbinger of a - so to speak - toxic attitude. At the base of this dichotomy, there is a difference between toxicity in art and toxicity for art. The first concerns the outer shell of the art world: its stringent dictates, its ephemeral fashions, its empty arguments. All this poisons inspiration and progressively suffocates it, harnessing it in predefined categories that reject everything that deviates from the canons. An evanescent carousel of self-centered inconsistency. The second, on the contrary, concerns the artist, and in particular the personal need of an artist to tap into the creative process without any filter. It is a vivid, throbbing necessity that fills the mind and does not stop until - finally - it is realized. In ancient times, it was believed that the Muses bestowed inspiration as a gift to artists, to allow them to rule men and show them new visions of reality. And this invested the artist with a semi divine stature. This concept - settled over the millennia - has always taken on different shades, but what remains unchanged is the priority of an inner thrust, capable of resonating within and shaking the imagination. It is in its own way an addiction, since it is impossible to resist its the call; but the artistic stimulus manages to elevate it to something higher. On the other hand, what means is more effective than art for processing negativity into something constructive? Constraint thus becomes liberation, addiction becomes self-affirmation, "toxicity" becomes a virtuous means to courageously follow the most authentic part of oneself. MADS presents ARTOXIC to entice artists to share their most subversive side, without any caution or prudence, and to dwell on the nature of the inspiration that ignites their soul, be it the bearer of gentle harmony or of dark dissonance, forcefully tearing the foundation of each rule.

Concept edited by Art Curator Chiara Rizzatti

AiMIN

A gentle, suave gaze is mirrored in ours. The well-pronounced, rounded eyelid guards within it a golden iris enveloping the black pupil. The expression is soft and belongs to a beautiful woman who has her back to us. She is quiet, serene in her stillness. From behind, a light illuminates her nape, ear and profile producing, moreover, a darting reflection on the ocular surface. The mysterious, diaphanous-skinned woman seems to want to listen to us, seems to be willing to listen and answer any questions we might have for her. There is no hurry, no agitation. Everything is calm and everything is seraphic. Not surprisingly, her face is not the least bit shaken, although she has been caught from behind; on the contrary, she extends her gaze toward us, giving us a moment of serenity. The mouth, turned upward and bathed in red dye reflects its peculiarities in the turban that covers the woman's head. The headdress gently encircles the girl's hair, letting out small unruly locks at the ears. The garment, characterized by a deep, red, sanguine coloring, effectively contrasts with the whiteness of the young woman's skin by going so far as to create a differentiation of volumes and subjects Small, plump roses peep out from the top of the headdress They too are red and, spreading their life force, are considered emblems of femininity. This calm, peaceful and gentle stillness we have seen and known before. There was a period in art history when this artistic canon was particularly in vogue and extremely widespread. The Renaissance is the father of warm and calm looks, it is genesis of majestic still women with a glassy gaze. One need only think of Sandro Botticelli and his splendid painted ladies and goddesses: it is impossible to erase from the mind the irises of the Venus he portrayed. AiMIN draws heavily from Italian Renaissance culture, assimilates its peculiarities and characteristics and makes it his own, adjusting and modifying it according to his sensibility. The colors become more saturated, adapting them to contemporary times, and the face becomes more rounded, softer and suave. The chiaroscuro is kept to a minimum and used exclusively to increase the feeling of depth of the depicted subject. Thus, the face is devoid of shading and expression lines, which causes this feeling of whiteness, peace and tranquility to increase out of all proportion The still gentleness in the woman's gaze instills calmness in our soul Let us mirror our eyes in hers to regain our serenity

Art Curator Lisa Galletti

AiMIN

The girl with the rose turban

Aiyushi

“Love the humble art you have learned and take rest in it. Pass through the remainder of your days as one who whole-heartedly entrusts all possessions to the gods, making yourself neither a tyrant nor a slave to any person.” (Marcus

Aurelius)

Art has the great power of healing the soul, finding comfort in the creative process, a sort of mindfulness exercise in which the senses come to peace. Brushstroke after brushstroke, splatter after splatter, the mind unwinds and slows down to focus on the inner emotions that thrive to be expressed on the canvas. This process is how the painter Aiyushi engages with art and explores her feelings. Vivid colours and abstract shapes are her way to communicate her vision with the world, which is deeply influenced by her architecture background and her travels around the world. Every medium, every collection is a way to express her freedom and investigate different parts of herself. For ARTOXIC, Aiyushi proposes Hazy Memories, a journey through her emotions to convey what creating means for her by means of colours.

Art Curator Francesca Mamino

Aiyushi

Hazy memories

Akari

Man is mortal. The matter of which human beings are composed, on the other hand, lasts a long time. Man-and with it the world and the entire universe-is made up of protons, neutrons and electrons, which were formed a fraction of a second after the Big Bang. This happened 13700 million years ago. Matter is therefore very stable. However, it still represents a major enigma. Indeed, it seems that the matter we know is only a part of the matter that makes up the entire universe. This is one of the many mysteries that populate our universe. The cosmos is governed by fascinating and obscure laws that order and regulate the entire system. There are many things that we know and can observe, such as gravity, electromagnetism and quantum mechanics, but there are still many more things that we do not know and that elude us However, it is precisely this uncertainty and mystery that make the universe so fascinating and drive us to try to discover more and more When watching "Ascending flowers," one gets the feeling that we are observing natural phenomena that we are not fully aware of. There is a remarkable amount of force in the work that we do not know where it comes from, where it is directed or what its purpose is. Yet it is there. It exists and is persistent. We can discern it in the color swirl at the top of the composition or in the brightness of the floral elements just below. Akari has painted in images something that we do not yet understand and that, as a result, fascinates us and draws us to it. The sky is characterized by a somber color, a very dark blue within which a chromatic spiral unravels, invading the entire celestial vault. The concentric rhythm is concussive, the vortex seems to loom over our heads. This mysterious force for some reason instills fear and dread within our souls, and yet, as soon as we turn our gaze a little lower, the feeling of concern vanishes to give way to awe. Are they fireflies? No. Their shape is so peculiar as to be instantly recognizable. Just below our noses, large yellowish flowers are about to soar skyward. They seem to glow incessantly with their own light. This is the magic I mentioned earlier, that mysterious force that we do not understand but which fascinates us We don't even have time to ask ourselves a question and these floral elements begin to rise into the sky, propelled by a current of air that carries them directly into the vortex. The color, so saturated and rich in contrast, perfectly expresses the energy that is ceaselessly being created. It is an extremely saturated, dense and textural color that goes to cover the entire work without leaving an empty space. The flowers, hovering in the sky go on to compose the serpent-like rhythm of the vortex, and the only thing we can do is stand astonished watching the celestial spiral tinged with a splendid golden color.

Art Curator Lisa Galletti

Akari

Ascending flowers

Alejandra Haro

Alejandra Haro (b. 1997, Mexico City). Since she was a little girl, she has had talent and fascination for working in creative things. She always loved making fantasy a reality by painting, creating 3D models and more. She realized that the future lies in technology and that is why she wanted to focus on developing those fantasies with a physical and digital mix. Thanks to that she studied Interaction and digital media at Centro de diseño, cine y televisión university, where she was able to learn to transfer her art to virtual media, creating new areas in which to develop. Nowadays she works in an agency dedicated to experiences where she can create elements of augmented and virtual reality worlds and interactive art, combining digital and physical mediums, and she keeps traditional painting as a hobby in her free time.

Alejandra Haro believes our imagination is the limit and with creativity, art, and technology we can make dreams come true. Fantasy doesn't have to stay like that, we can make it happen with our ideas. When she thinks of limitless, extraordinary, greatness she sees space and imagination. Both equally infinite. With this piece she intends to show that we all have infinite creative freedom that allows each one of us to explore that immense space, growing new ideas and expanding each of the galaxies our mind has. The pirate of the southern skies intends to push the viewer to abandon the patterns traditionally accepted as norms to be followed. An astronaut is the protagonist of this canvas, and mushrooms-which seem to have sprouted from his body-are the antagonist that creates confusion and mystery. A combination of elements that together one is not used to seeing and that in this space atmosphere manage to coexist in a balanced and harmonious way.

Art Curator Alessia Maniscalco

Alejandra Haro

The pirate of the southern skies

Aliénor Bereder

Aliénor Bereder is a French-Danish artist whose work is extremely dynamic and eclectic

In the works exhibited in "ARTOXIC," the artist's ability to use digital manipulation techniques and experimentation with light is evident Her works, such as those exhibited with ink dripping in liquids on a black background, have a strong visual presence and are highly evocative, creating an engaging sensory experience for the viewer. The dripping ink is the central element of all three works, but it is used differently in each. In "Contamination," the ink is highly illuminated and presented in a dense and blurred manner. The dominant color is a green that blends with blue, turquoise, and pink, creating a sense of depth and mystery. The title "Contamination" suggests a kind of visual contamination, as if the ink had spread into the photograph and influenced the entire composition. In "Fumigation," the artist has placed the work horizontally so that the ink passes more directly through the image Here the dominant color is yellow, which creates a strong contrast with the black background The title "Fumigation" suggests the idea of an action of purification or purification of the air, as if the ink were a dense smoke that spreads into the image. Finally, in "Sporulation," the ink is used more delicately and lightly. The central color is pink/fuchsia, but it is less dense than in the previous two works. Here the title "Sporulation" suggests the idea of asexual reproduction, of spores spreading in the air. In this case, the ink seems to float more lightly, as if it were floating in the air. The technique used by Bereder in these works is very interesting and engaging. The dripping ink has been illuminated with a strong light source, creating a kind of three-dimensionality that gives a sense of depth and volume to the image In addition, the artist seems to have used different techniques of overlap and digital manipulation to create gradient and transition effects between the different colors of the ink In summary, the works of Aliénor Bereder that feature dripping ink in liquids on a black background are highly suggestive and engaging. The colors used in each work are very different from each other, but all evoke a sense of mystery and depth. The technique used is very interesting and creates an engaging sensory experience for the viewer.

Art Curator Martina Viesti

Aliénor Bereder

Contamination

Aliénor Bereder

Aliénor Bereder

Sporulation

Andreas Angleitner

Andreas Angleitner is a self-taught artist who specializes in creating multilayered works of art His works are characterized by a combination of colors on different foundations, such as canvas and limestone, which create harmonious and interesting effects In his latest exhibition "ARTOXIC" organized by M.A.D.S. Art Gallery, Angleitner exhibits five large vertical works of art that bring to mind abstract expressionism.The first work, titled "Loss of control", uses green, white, brown, and blue as its main colors. These colors have been carefully chosen and can be interpreted in various ways. Green represents nature and freshness, while white can be interpreted as purity or emptiness. Brown represents the earth and blue the sky, together creating a sense of balance and harmony."Mental Strength", the second work, uses emerald green, black, and white as its main colors. These colors together create a cold and mysterious atmosphere, but at the same time strengthen the feeling of stability Emerald green represents wisdom, black represents strength, and white represents purity, together creating a sense of inner strength "Resistance", on the other hand, uses brighter colors, with pink, red, blue, green, and white as its main colors. These colors create a sense of energy and vitality, which brings to mind the power of nature. Pink represents tenderness, red represents passion, blue represents peace, green represents growth, and white represents purity. Together, they create a dynamic and vibrant work of art."Embrace me!", the fourth work, uses ivory white, dark green, and red as its main colors. These colors create a sense of intimacy and warmth, bringing to mind the feeling of an embrace. Ivory white represents sweetness, dark green represents nature, and red represents passion Finally, "Time to Vanish" uses dark blue, white, elements of black, and yellow tending towards brown These colors create a sense of solitude and detachment, but at the same time represent beauty and inner peace Dark blue represents loneliness, white represents purity, black represents sadness, and yellow tending towards brown represents the earth. Together, they create a work of art that brings to mind the beauty of nature. Overall, Andreas Angleitner's works are dynamic and engaging, with intense colors and decisive brushstrokes. The use of multilayering creates depth and texture, adding further interest to his works. His works bring to mind abstract expressionism, but have their own unique and personal identity. His exhibition of five large vertical works of art shows his ability to create works that have a strong presence and leave a lasting impression

Art Curator Martina Viesti

Andreas Angleitner

Loss Of Control

Andreas Angleitner

Mental Strength

Andreas Angleitner

Resistance

Andreas Angleitner

Embrace Me!

Andreas Angleitner

Time To Vanish

Angela Keller

""The world of the artist is in her eyes," as Marianne Werefkin once said, and these words help explain and understand the creations of Angela Keller, rich in suggestive and fascinating atmospheres. Her technical skill is visible in the works Relocation and Joie de vivre, which are characterized by a chimeric world that appears immune to the passage of time Both paintings experiment with Angela Keller's revolutionary pictorial expression, capable of creating an environment where there is cohesion between imagination and reality. The work Relocation creates a visual tension that attracts the observer's eye into a vortex of emotions and invites them to look at the world with new eyes to discover the beauty of fantasy.

Angela Keller

Joie de vivre, on the other hand, is the creation that manifests creativity without boundaries, and through the skilled use of colors and forms, gives life to a work with a unique and strong artistic identity. In conclusion, the paintings described here demonstrate how creativity and imagination are still an inexhaustible source of inspiration for artistic production, because they have the power to speak directly to our soul With her artworks, the painter invites reflection and the discovery of new creative perspectives, demonstrating how creativity knows no limits and the expressive possibilities of art are infinite.

Art Curator Maria Giulia Briganti

Angela Keller

Relocation

Angela Keller

Joie de vivre

Anita Mathe

“The World doesn’t make sense, so why should I paint pictured that do” (Pablo Picasso)

The artist Anita Mathe has found her passion but also self-affirmation in art. On a path of inner research, she was able to give voice to her emotions through drawing and painting. Thanks also to her interest in architecture, her personality and colour palette have been enriched with cues, styles and interpretations through the study of history and time. Anita Mathe tries to express the contents of her paintings in the free composition of lines, shapes and colours, with references to the outside world. The lyricism of her work African Beauty stems from the poetic use of colour which, like music, produces emotions and moods. In this way, the artistic research develops on two distinct planes but which run in the same direction, the search for emotions of the artist himself and the search for emotions of those who are involved in looking at his creations. Through the deconstruction and modification of reality, the artist arrives at proposing a meaning based on the evocation of the senses; she starts with primordial signs and investigates their perception within us, the artist of the abstract, then skilfully coordinates the elements to amplify one sensation at the expense of another. Anita's art tends to tell a story behind any image of which we can imagine the moment, the before and after. We feel a mysterious familiarity through her strokes. The more one is able to detach oneself from the figurative, the more one can be drawn into a code of sensations and moods. The depiction of reality remains but concerns an invisible and personal sphere. These are more existential concepts, in which we place ourselves with our sensitivity and in a certain sense respond to sensations that we do not normally have the opportunity to listen to carefully. Finally, we can say that in order to communicate, the artist tries to break down certain recognisable natural forms, to introduce a meaning made of colours and shapes that follow a design made up of visual sensations in which emotions are let through the canvas in a more concentrated manner and without intermediaries, in a different and more interior language that concerns emotions and the very idea of life.

Art Curator Giulia Fontanesi

Anita Mathe

African Beauty

Anna Elisabeth

Anna Elisabeth gives us the suggestion of two sceneries that seem almost like the representation of extraterrestrial lands. Beautiful Decay and Virulent Celadon are the textural representation of decay at the international art exhibition ARTOXIC in the international art gallery M.A.D.S. To describe Beautiful Decay Anna says "My artworks are influenced by the toxicity of the intensity of the activated decay process. The layers and textures of color that combine with decaying materials can be beautiful," and she continues on Virulent Celadon

"In my works I have used vibrant brushstrokes of color that mix warm incandescent shades of yellow ochre and burnt sienna, which result in celadon green. Creating a feeling of organic toxicity in a colorful environment of decay." Certain aspects of these two works should be emphasized because they describe the artist's authenticity and extreme originality. First of all, the choice of colors used for the two canvases, which hook into the theme and suggest emotions close to toxicity, is crucial. Fundamental is the combination of yellow and green and blue and purple/orange.

Anna Elisabeth

Anna Elizabeth dances among the colors to express herself in a strong, decisive and lively way. In this way the communication presses and becomes very powerful, so her works therefore arouse strong emotions. Thus, as the artist herself states when talking about her art, the use of colors to represent emotions is Anna Elizabeth's method of bringing enlightenment to others. In the case of the two works under analysis, moreover, it is clear that the choice of colors is combined with the material component: the second key element in reproducing decay and toxicity. These devices used by our artist are indicative of a strong communicative drive; the two scenarios presented are the projection of emotions and moods that the artist needs to communicate. The need for communication results in an inevitable and profound dialogue with the viewer. The 'goal is to educate and bring joy to the world by creating art from ideas gathered from personal and social issues. Anna Elizabeth is a modern visual artist. From an early age she discovered that she was best able to express her feelings through artistic activity. Viewers can find a comforting interpretation of the beauty and ugliness of our everyday world through the heartfelt use of various media.

Art Curator Mara Cipriano

Anna Elisabeth

Beautiful Decay

Anna Elisabeth

Virulent Celadon

Antonietta Grimaldi

Five wonders from the pictorial universe of Antoinette Grimaldi. Our star of M.A.D.S. art gallery, a leading artist, highly anticipated in our exhibitions and much loved. The reason is simple, Antonietta with her canvases brings to light universal human emotions. Her talent is evident in her works and her originality is developed through a highly abstract component. To understand her art, it is useful to think about the infinitude of the universe and universes and to project these boundless and unknown universes within the human soul. Antoinette digs into people's souls, into their souls and produces a huge amount of frames, still images of it Her production is prolific because our interiority, our emotionality is infinite and different every day Antonietta is always careful to communicate messages through her art, they are messages of great impact because the communicative medium she uses is color That is why to date Antonietta Grimaldi is defined as "the genius of color" in contemporary art of our days Color tells, aided by movement That is why her works have three characteristics: strength, depth of message, immediacy of the transmission of it The understanding of Antonietta's works is immediate because it does not pass through rationality but is directly internalized; our artist works in a dimension different from the spatio-temporal, perspective, rational ones Antoinette communicates directly with our deepest self through emotional vibrations On the occasion of the international art exhibition ARTOXIC at the international art gallery M.A.D.S. Antonietta Grimaldi presents Colore, Foresta, Planet, Tulipano, Universe. The first work, Colore, uses a palette consisting of the three primary colors, black and white: warm and cold tones intersect with each other conveying a powerful energy. Planet presents a singular architecture of composition that pivots on matter; it is a re-imagining of the world that stems from a given experience and point of view. Tulipano is the interlocking of two parts, a specular interpenetration representing the dualism of human nature. Universe is a "metonymy of thought that does not find a single solution but shows itself open to infinite variables, as many as the number of minds before the painting will question." Foresta is a place, an enchanted place that lies within the soul.

Art Curator Mara Cipriano

"I am still searching for new stimuli and my own style that lead me to experiment with new techniques in my canvases". Antonietta Grimaldi

Antonietta Grimaldi

Planet

Antonietta Grimaldi

Antonietta Grimaldi

Colore

Antonietta Grimaldi

Universe

Antonietta Grimaldi

Foresta

Aösora

A clear blue sky stands out before our eyes. Small white dots interrupt the color area to go to stain the cerulean surface. They are white clouds that, lightly, travel across the sky. The coloring of the sky and the clouds seems to lead the time and space of the work back to a clear, clear summer morning. The sun is already high on the horizon, and the only impediment that prohibits us from losing our gaze in the blue sky are the strands of electricity that branch out at the bottom of the work. Precise black marks spread throughout the composition and that contrast with the sense of freedom sprung from the turquoise space. Their shape is subtle, they are parallel and extremely refined, and they are the only sign of human presence within the work Yet, if we look closely, this portion of the sky covers only part of the representational space If we shift our gaze to the right we notice the presence of some globiform elements that stand out against a completely black backdrop. These elements are characterized by a whitish outline that at times becomes consistent at other times becomes more faint, and they have a bluish-white halo within them as if to highlight their actual proximity to the portion of the work first examined. What are we observing? What is that whitish lattice expanding at the edge of the sky? Widening our gaze, we immediately understand: we are facing the pictorial representation of a turtle. Those globiform elements are nothing more than the scales covering the animal's little head and two front flippers. And its body? The sky crossed by clouds and high-tension wires is its carapace. Through a game with a distinctly Surrealist flavor, Aösora sets in motion a decomposition of the planes of reality by relating a landscape view and making it a part of an animal's body. This formal device is the signature of the artist who, both in this work and in the others, produces this connection, this bond between the animal represented and the blue sky. "Sky Sea Turtle," through the representation of the vault of heaven and the sea animal, creates a profound connection with nature through the expedient of amazement and surprise that is slowly manifested by looking at the work and its colors Yet, if we look closely, there is an incongruent element present and one that, with regard to the discourse on nature has very little to do with it. It is the electricity wires rising into the sky. These wires, traceable to human handiwork can be seen as a warning, as a trace that indicates the rooted human presence even in such natural and pristine environments-and works.

Art Curator Lisa Galletti

Aösora

Sky Sea Turtle

Ayuart

In examining Ayuart's works, we have already discussed how the artist uses and explores the digital medium to make it ductile and malleable, adapting it to her expressive needs. In this critical text, I want to focus instead on the artist's peculiar ability to create new worlds and new universes, each infused with unprecedented emotionality and sensations. In fact, the color, line, shape and layering process in the artist's works produces not just mere physical places but actual mental and emotional states that feed incessantly on color and form. Like a continuous cycle, a silhouette invites observation of the form next to it and so on in a perpetual motion that produces thoughts and associations. In "SAMURAI" a claustrophobic and looming space ignites our eyes. The atmosphere is rather dark and characterized by rather acid tones that tease our vision by creating and accentuating points of interest. Flame-like elements of acid green color are contrasted with purplish patches and splashes characterized by red and blood pigment. The formal rendering of the latter color is a clear reference to violence, to the splashes of blood spilled incessantly throughout human history. A saying goes that wars will never end as long as men exist, and, "SAMURAI," is meant to be a warning, an invitation to observe all the pain, all the blood and lives, that have been broken, during battles. From the multifaceted color sea rises a filiform and elegant katana, the Samurai's favorite weapon and firm symbol of honor. The weapon stands displaced from the center of gravity of the work as if its formal elegance and slender beauty could not counterbalance the horror and terror caused by the blood spilled during battles. Effectively, Ayuart does not skimp on the inclusion of stains, splashes, blotches and smears of reddish elements, evidently referable to the concept of death and despair.

Ayuart

"SAMURAI" narrates the destruction, the stupid futility of a war and serves as a warning for the times to come. Those green elements in fact, which contrast with all the darkness in the work, are a sign of hope, a glimmer of light to be followed to eradicate the darkness of war from this world. The denunciatory and pedagogical character of the work means that "SAMURAI" can be understood and assimilated by every human being having every age and every culture. Instead, there are works that carry with them a milder and calmer soul; reserved and personal. Works that are self-referenced and take their cues from events that occurred in the artist's life. "True Love My mother" is metabolization of bereavement, it is transposition through images of the mutual love between a mother and a daughter that unhinges the rules of space and time to last in eternity. A multicolored space divided into three large blocks accommodates floral and plant elements that creep into the work, creating plays of transparency and overlapping. Again, although the color is extremely bright, the atmosphere is decidedly smoky, and this is evidenced by the presence of elegant rivulets of white smoke moving slowly across the compositional surface. Yet, if we look closely, we discern an element of interest. Exactly in the center of the work stands a female figure. She is Ayuart's mother who, from unimaginable places and other dimensions, constantly watches over her, infusing her with the same love that she has always given her. "True Love My mother" is metabolization of grief and distillation through color and form of the spark of love and the unbreakable bond that exists between a mother and a daughter. Ayuart is capable of transporting us to new places and new dimensions by making us experience unprecedented emotions and sharing feelings with the sole but inescapable power of color, form and layering.

Art Curator Lisa Galletti

Ayuart

Dragon Gods

Ayuart

Let the dead trees blossom

Ayuart

SAMURAI

Ayuart

True Love My mother

Begoña Cubero Marcos

Begoña Cubero Marcos is the mother of Cuberism. At ARTOXIC, her second exhibition with the international M.A.D.S. art gallery, Cubero Marcos introduces five new works. A real revolution in abstract art is the one implemented by our artist who shows her creative process without any filter, shows her pulsating need to make art and to communicate with the world through a completely original and very direct linguistic code. Celula en hibernación, Girasol nocturno are the first two works taken into analysis: they present a central core that seems to release a centrifugal force whereby the color subsequently tends to expand towards the sides of the work. Certainly these two works present a force, a very powerful energy given by the union of color and the reproduction of a rapid and powerful movement. Origen de una estrella possesses the same centripetal force that causes rays of color to develop toward the outer sides of the canvas. Here, although it is there, the central core is deliberately unremarked. Exactly as in Origen de la vida. Pelea de Gallos has in common with the previous works the expressive force of color and rapid movement, Begoña here adds a very important material component. The goal of each of the talented artist's creations is to reach the audience in an impactful way, creating special sensations, evoking untamable emotions. Her gift is that of synthesis, capturing thoughts that expressed in words would need pages and pages, mentally photographing them and reproducing them through an image that is thus figurative synthesis.

Art Curator Mara Cipriano

"Through the canvases I express my deepest thoughts and emotions, trying to capture everything that would be impossible to say with a few words. That is why “cuberismo”, as I like to call the style of my creations” (Begoña Cubero Marcos)

Begoña Cubero Marcos

Girasol nocturno

Begoña Cubero Marcos

Origen de la vida

Begoña Cubero Marcos

Origen de una estrella

Begoña Cubero Marcos

Pelea de Gallos

Begoña Cubero Marcos

Celula en hibernación

Candi Soul Sparkles

Candi Soul Sparkles is a young Icelandic artist, with various origins (a bit Irish, French, British). Candi Soul Sparkles is developing an increasingly particular style, introspective, joyful, colorful, free from all the schemes, thoughtful. The spectacularity of her works must be sought first of all in the use of color and shapes that generate a palpable energy. Secondly, her investigation of life, human feelings, the inner personality of all of us. In the exhibition "ARTOXIC" in M.A.D.S. Art Gallery Candi Soul Sparkles presents us just this stylistic trend: in one of her new artwor titled "Pièces de personnalité" (2023), starting from real forms of a face and natural elements breaks, mixes, overlaps, the tangles, colors them with different textures and colorful creating a wonderful harmonious composition, but cheeky and fun. And she speaks to us of what she sees inside the subject: the face is as if it were divided in half a symbol of the continuous metamorphosis of the human soul and of the many universes that live in one person.

"Personality is the awareness that we are separated from the rest of the universe" (Dimneto Ernest)

Candi Soul Sparkles

The same inner search is also found in the artwork titled "La bellezza di alcuni contiene veleni" (2023) also exhibited in ARTOXIC exhibition. In this painting on a very bright red and pink background, we see a shape of a flower, graceful and beautiful, but at the same time a little gloomy with a veil of melancholy with two candles in the foreground. It is a symbol of apparent beauty that, as the title says, hides something: a flower like a rose is gorgeous, but at the same time it contains thorns. As well as the external appearance of a soul, a heart, pure but also full of contrasting vibrations. Candi Soul Sparkles' works tell us about life, emotions, ways of being human with a language of impact, colorful, direct and energetic.

Art Curator Giulia Dellavalle

Candi Soul Sparkles

Pièces de Personnalités

Candi Soul Sparkles

La bellezza di alcuni contiene veleni

Caroline Herck

"By imagination we abandon the ordinary course of things. To imagine is to be absent, to launch oneself into a new life " (Gaston Bachelard)

Caroline Herck, a Belgian artist, gifts us with two new works in the ARTOXIC exhibition which continue her research, her thematic content and her pictorial style. “Underground resistance” brings the handling of materials such as fabric and charcoal, creating a dialogue between the drawing of human anatomy and her own embroidery technique and alternative process. In her work, the figure appears lying down and sleeping; on their body, functional elements can be seen printed on glued fabrics, elements that represent the roles that human beings play during life. In an unfolding of ideas in which sleeping plays a fundamental role in the process of reorganizing and recreating human life, Caroline Herck plays with the movements and structure of the lines of the human body.

Caroline Herck

As such, “The Shape” is the characterization of a child's face. The child has an unpretentious way of dealing with daily aspects, a perceptive and cognitive freedom that is lost over time. Gaston Bachelard supports this way of seeing the child due to the concept of wonder that consciousness creates; to him, it is the conscience of the artist-poet itself. Caroline Herck creates and walks through endless expressive possibilities in her work. The construction of the figures that her painting represents allows us to walk through her extremely particular languages. In her mixed technique, Herck dialogues with line, texture and collage, while creating brushstrokes with oil paint composing an analogy. The tones and shades of red and pink are a strong feature on her oil paintings, along with the figure of the lobster which in this exhibition is included in counterpoint with an earphone, a scenario where a game of shapes, proportion and mirroring is observed.

Art Curator Barbara Magliocco

Caroline Herck

Underground resistance

Caroline Herck

The Shape

Chen Gao

Chen Gao participates for the first time in an exhibition organized by M A D S Art Gallery on the occasion of "ARTOXIC" She explores the fantasy of ideal freedom that extracts from the real world and asserts the power of unconsciousness and dreams This is all about her emotional life of being. Investigating ourselves is not easy, because the inner conflict is always around the corner and we never know what we are going to encounter: we could find ourselves in the middle of a jungle, go along a winding road, be in front of an endless climb or inside a dark cave. With Chen Gao and her "Growth & Resides", our interiority becomes a black and white space, populated by undefined figures that recall something that is born in conditions of rich humidity: mushrooms. In winter, the mushrooms go to a sort of hibernation, and then begin to reappear close to spring, when there is a gradual increase in temperatures It is what very often our memories and thoughts, which are born especially in the most difficult situations, do so that they are concealed in us and then recur, asking us to settle the bill. We human beings are containers of the best and the worst, we grow and regress at the same time, we are residues of our experiences and seeds for the future. Chen Gao teaches us that we are work in progress, that we need time and care: and it is worth it, especially not to leave our inner world that will never stop being populated and inhabited, day after day, because we are buildings under construction, and we will always be.

Art Curator Sara Grasso

“Things always get entangled. Something came, something left. Something I like, something I really hate... But eventually, no matter how, things gather in my body. They reside in me, grow with me, and form a being of 'self'”.

(Chen Gao)

Chen Gao

Growth & Resides

Chen I-Chun

Chen I-Chun manages to communicate her emotional experience through the synthesis li lines, perspectives and metaphysical atmospheres The artist is originally from Taiwan, a small island nation 180 km from China, and her works are influenced by an Eastern component but are distinguished by having important Western influences, and this is no coincidence In fact, our artist has traveled to the European territory and was formed here Her narrative is synthesized through two series of masterpieces exhibited at ARTOXIC, the international art exhibition at the M.A.D.S. International Art Gallery.If we want to place her Space and Chromatic・Mysterious York in an artistic current, we can consider great references such as De Chirico and Magritte The settings belong to a dreamlike context, reality is certainly filtered by the artist's emotional stimuli and mental suggestions He thus presents surreal images on canvas that combine different elements of reality The artist's words are very important "When I was studying for a master's degree in the UK, I was often unhappy because of the pressure. I met a good friend there. She is a Korean girl. She knew I was often in a bad mood, so she often explored the surroundings of the school to see if there was any interesting place to take me to relax. The Walmgate Stray is a meadow near my dormitory that I used to walk across to get groceries, although I never noticed that there were other paths in the bushes next to it. One day, the Korean girl told me that she had found a path in Walmgate Stray, through which we could reach the center of town. So we crossed that path and walked toward the center to get out. The path is a slope." Space and Chromatic・Mysterious York

・Walmgate Stray depicts the artist standing looking back at the scenario just described "At the top of the painting is a very thin blue line, representing the path I usually take when I go to the supermarket. I used an eye-catching color to accentuate it, because it made me think that I could see myself differently than I was used to." Space and Chromatic・Mysterious York・ Path near Halifax・1 tells of her Korean friend's discovery of a new path near her dorm "She often went for a walk there, so she took me to have a look The forest on this path was very dense, but as we walked it became a meadow It was evening and I saw the setting sun illuminating the meadow and it was quiet "

“Dreams can express reality in a certain distant time and space. Through the transformation of dreams, the former reality becomes another kind of reality” (Chen I-Chun)

Chen I-Chun

Finally, Space and Chromatic・Mysterious York・Path near Halifax・2 "is the scene I saw on the path near the Korean girls' dormitory. In my impression, there were some houses and trees on the lawn, but I gradually eliminated them in the process of simplification The three paintings have one thing in common, which is the only curved part of the painting The orange semicircle is the sun Maybe it is because I live in the city, with all the skyscrapers, or maybe it is because, being indoors, I rarely notice the sun in the sky, but I remembered seeing these scenes with the sun far away." The second series has expressionist tendencies and, following the lesson of the great master Mark Rothko makes color and shapes the expression of moods. The series is set in Italy and is named Chromatic・Venice・Fondamente Nove e San Michele: "I studied Italian when I was in college. I went to Venice, Italy, as an exchange student. It was very frustrating for me to leave home for the first time and face many difficulties in life and study abroad. I really like the island of San Michele. I have often wondered, if I sat on Fondamente Nove and looked at St. Michael's Island, could I slowly regain my composure when I feel depressed? One day, after a long time, this memory came back to my mind and I tried to draw it, but all I saw in the painting was loneliness Later, I began to look for the variation of space and color I tried to simplify the graphics and use color to represent the meaning These three paintings are transformed from this memory and research." In the first work, the artist selects the main color of each object to represent it. The yellow ochre is the island of San Michele. Blue is the lagoon. Purple and black are the state of mind. Brick red and orange are the floor tiles. The four off-white rectangles and the pink and purple frames are the clouds and the sunset glow and their reflections. The second image shows different reds, as always some colors are due to the artist's visual perception and others to his moods. The brick-red rectangle in the center is the island of San Michele, embedded in the lagoon The reddish brown at the bottom is Fondamente Nove "The many red lines at the top represent the joyful atmosphere of the Venice Carnival and the time when I found something interesting in Venice. In addition to showing the aforementioned meanings of red, I try to make the different reds overlap and permute so that the colors themselves can have their own meanings and new combinations and changes." In the last work, the artist seeks contrast between the lagoon and Fondamente Nove, between the island of San Michele and herself. "I chose opposite colors. The lagoon is cold gray and black. Fondamente Nove is warm gray and white. The island of San Michele is red. I am blue."

Art Curator Mara Cipriano

Chen I-Chun

Chen I-Chun

Chen I-Chun

Chen I-Chun

Chromatic・Venezia・Fondamente Nove e San Michele・1

Chen I-Chun

Chromatic・Venezia・Fondamente Nove e San Michele・2

Chen I-Chun

Chromatic・Venezia・Fondamente Nove e San Michele・3

Christiana Bauman

Christiana Bauman is a young artist who started to dedicate herself to art during quarantine, forced to live alone at home. This condition led her to engage in a profound dialogue with herself, made up of struggle and understanding, until she nurtured such a strong communicative urge that it led her to approach artistic creation. Using different mixed media, the artist is inspired by everyday life, emotions and the deepest of feelings, love. Her surroundings and the season that surrounds her are all elements that suggest tones, colors to be used and, above all, energy to be released during the artistic act. Her art is like her, spontaneous, aggressive and decisive: without a precise representative plan studied beforehand, Christiana Bauman relies on experience, on the violence of the creative act that gives her energy and serenity, but also strength and passion. Her art, like the colors she uses, is powerful and is a clear invitation to find ourselves and to shout to the world who we are without fear.

"Life is a huge canvas: pour all the colours you can onto it."

(Danny Kaye)

Art Curator Federica Schneck

Christiana Bauman

Pink

Christine El Ojeil

Christine El Ojeil is an artist who believes that every painting tells a story, and each brushstroke is a reflection of her deepest emotions, thoughts, and feelings. With every new painting, there is a new challenge, a new story to tell. Her works of art are not just mere paintings, but they carry a piece of her in them. During the "ARTOXIC" exhibition organized by the M.A.D.S. Art Gallery, she showcased two of her exquisite artworks, "Elegantia (Elegance)" and “Florere (Blossom) ""Elegantia (Elegance)" is a painting that depicts a pink flower, and the petals seem to be swaying in the wind It almost appears as if you are looking at a ballerina dressed in a flowing gown, and her movements create the shape of a flower. The painting captures the essence of nature, and the use of the color pink symbolizes femininity, tenderness, and grace. The petals are painted with varying shades of pink, with some being light and delicate, while others are bold and vibrant. The green stems and leaves add a touch of freshness and vitality to the painting. The background of the painting is black, which creates a striking contrast, highlighting the beauty and elegance of the flower

Christine El Ojeil

"Florere (Blossom)" is a painting that portrays a face, rendered in black and white, and framed with red, orange, and blue flower petals. The use of black and white creates a sense of mystery and depth, and the petals add a pop of color to the painting. The petals are painted in various shades of red, orange, and blue, which create a vibrant and eye-catching contrast against the black and white background The colors seem to be in motion, almost as if they are swirling around the face, creating a sense of movement and energy In conclusion, Christine El Ojeil's paintings are works of art that not only represent the beauty of nature and human faces but also tell a personal story. Each brushstroke is an emanation of her deepest emotions, thoughts, and feelings that blend together to create a unique and authentic artwork. The paintings "Elegantia (Elegance)" and "Florere (Blossom)" are examples of how the artist successfully conveys her inner world through her works, evoking emotions and thoughts in those who observe them.

Art Curator Martina Viesti

Christine El Ojeil

Elegantia (Elegance)

Christine El Ojeil

Florere (Blossom)

Clara Diebler

Clara Diebler's modus operandi, with which she has been experimenting since she was a teenager, is that of superimposing photographic negatives. Through this particular technique, Clara has built her universe, transporting us into a world of ghostly characters, like the artwork presented at "ARTOXIC", the new exhibition by M.A.D.S. ART GALLERY. The work is entitled 'Wilde roses' and is an analogue surimpression printed on fine art paper. From a wall of beautiful, white, delicate flowers, the bust of a naked woman emerges, looking at us intensely. Her gaze is melancholic and bewitching at the same time, as if she wanted to invite us to enter that magical world, made of delicacy, sensuality but also strength and power. Using the juxtaposition of two photographs, in particular portraits, nudes, architectural references or floral motifs, Clara Diebler intends to magnify the alchemy of two visions: those of the model and the photographer, of the receiver and the transmitter, of the seer and the perceiver. And thus, perhaps, the universally romantic dualityfemininity - that resides in every man. Her aesthetic universe is therefore essentially feminine and universal, while remaining singular thanks to his original vision: anachronistic and melancholic, brutal and magnificent.

Art Curator Matilde Della Pina

Clara Diebler

Wild roses

Cordula Kaiser VISUAL DIALOGUE | °

The Greek philosopher Empedocles in the 5th century BC. is the first to define the "four elements", the roots of all things: "First of all, know the fourfold root of all things: Zeus is the bright fire, Hera mother of life, and then Idoneo, finally Nesti, at whose sources mortals drink.” The English artist Joe Tilson (1928), after a long period dedicated to pop art through prints, dedicated himself to alchemical elements starting in the 1970s This change corresponds to the deliberate choice of 1972 to return to a simpler lifestyle, thus taking an interest in natural cycles and the elements. In Alchera, Tilson carries out a schematic study of the symbology of the four elements. The decision to tackle the four elements at the same time may seem difficult to make. Not many artists have taken on such a complex challenge. Despite this, the well-known American artist Bill Viola (1951) engages in one of his video installations Martyrs (Earth, Air, Fire, Water) which is presented for the first time in 2014 in St. Paul's Basilica in London and tells, in four separate screens, men and women slowly overwhelmed each by the four elements.

Cordula Kaiser VISUAL DIALOGUE | °

The whole that is created is a unique syncretism, which we find in the expressive language of Cordula Kaiser, an artist who decides to tell her authentic relationship with the natural elements that take shape in her works. Her brushstrokes are deeply characterized by the abstract element. The blue color recalls water as a source of life which, from its source, transforms into a stream, then into a river to the sea, overcoming the obstacles it encounters on its way, penetrating into the depths of the earth. Red recalls fire, a purifying and life-giving element, and embodies the principle of life that originates from its energy. It gives heat but also burns, destroys. The green of the solid and luxuriant Earth symbolizes the primordial matter that welcomes life and nourishes it. It is clear how the expressive power of these elements leads the artist to transmit a profound energy, vitality, rebirth and sense of metamorphosis to the viewer who becomes the protagonist.

Art Curator Federica D'Avanzo

Cordula Kaiser VISUAL DIALOGUE | °

Cordula Kaiser VISUAL DIALOGUE | °

Escaping Through Shadows

Cordula Kaiser VISUAL DIALOGUE | °

Europe?

Cordula Kaiser VISUAL DIALOGUE | °

Cristiana Vettor

The works of Cristiana Vettor represent a deep reflection on the current state of the environment and the harmful consequences that our modern lifestyle has on the world and future generations. Her technical ability places her among the most innovative artists of our time. In her artistic creations, there are visionary images of the Earth, as visible in both the work entitled "Pink Symphony" and "She takes care of us" The power of the image placed at the center of the composition in "Pink Symphony" is able to bring out the beauty and fragility of the environment to which we often do not pay the right attention.

Cristiana Vettor

The artwork "She takes care of us", instead, invites reflection on the negative impact of humans on the planet and the urgent need to act to create a more sustainable and just future. In these works, the attention to detail, rendered so masterfully, allows us to understand the beauty and complexity of the world that surrounds us and in which we are fortunate to live Her artistic vision inspires and fascinates the viewer, allowing them to perceive the importance of living in a more conscious and sustainable way.

Art Curator Maria Giulia Briganti

Cristiana Vettor

Pink Symphony

Cristiana Vettor

She Takes Care of us

Dan Aug

Dan shows his daring side at ARTOXIC, an international art exhibition at the M.A.D.S. International Art Gallery. Daniel Augusto Chiesa has a repertoire of exclusive works with special characteristics related to astronomical science, cosmology and mysticism, is an active member of the IAAA (In-ternational Association of Astronomical Artists) and actively participates in conferences and forums related to Art and Astronomy On this occasion he chooses to shed his more conventional professional profile to show and explore more risky and unconventional topics. This leads to the exploration of ideas and topics that are often considered strange or not accepted by society at large-exactly the salt of artistic creation. Dan then decides to "look at the world another way" and convert toxicity into a virtuous means to pursue a kind of intellectual honesty. EGO SUM QUI SUM responds to an abstractionist style that nevertheless remains anchored in a figurative tendency contaminated by neo-impressionist influences. It is the face of a very ill-defined but easily recognizable "alien" and represents an alter ego of the artist, as he himself states "depicts the image of the artist from another life in another place within this space-time of our universe." Following dozens of exhibitions held over 20 uninterrupted years of artistic activity Dan decided to shed his canonical garb and embrace another side of his self, the more irrational, transgressive, rebellious side. "To achieve this, I had to set aside some of my more habitual habits and thought processes: The scientific method, astronomical science, cosmography, mysticism.... Instead of focusing on logic and rationality, I allowed myself to experiment with my emotions and ideas that he had always considered too strange or inappropriate, I also had to accept that my artistic choices might be misinterpreted or disapproved of by some members of my audience." Dan accepted the challenge and embraced the risk by introducing social "taboos."

Art Curator

Mara Cipriano

"My characteristic saturated colors and my logic pragmatism, often painting with geometric figures and symbols, lead me to abstraction. It is here that I mainly find the most appropriate vehicle to leave my message ” (Dan Aug)

"Creativity is a complex and multifaceted process that can be influenced by a variety of factors, both internal and external” (Dan Aug)

Dan Aug

DG@RT

Daniele Paoni has a singular talent for conveying messages; in art DG@RT, he exploits an ironic bent that he combines with renewed Pop art hinges and a clear Post-graffiti style. Leo cover graffiti seems to be a work created to embrace the idea of ARTOXIC, an international art exhibition at the M.A.D.S. International Art Gallery. The term Post-graffiti refers to those stylistic trends rooted in the culture of Graffiti and Street Art and manifested in different forms of artistic expression. DG@RT creates something completely original because he combines a knowledge of the big names in art history, icons and popular culture of the last century and the new millennium, comic books and Japanese cartoons with his life experience and the people he met in every corner of the world. Daniele adds to this his great creative vein that explodes on any medium at hand, where he pours everything he has learned, creating a harmonious mix of components. In this specific case DG@RT uses the Pop vein to represent Leonardo da Vinci as the icon protagonist "With the dreadlocked hat I wanted to symbolize his freedom; the choice of bright colors is to praise his work in the different arts. The armed Mona Lisa shooting a paper airplane with the word peace to represent the double meaning in paintings (what the artist wants and what the buyer sees)." The Post-graffiti component is not only present at the graphic level but also in the stylistic sphere, Daniele embraces, in fact, the polemical tendency of the current. His denunciation is clearly linked to the art world, as suggested by the protagonist subject and the images associated with him. One creative peculiarity to dwell on is the Vitruvian Snoopy, a brilliant epiphany on the author's part.

Art Curator Mara Cipriano

"Art is being able to remove ideas from my head and give them a shape on canvas, with colors, thoughts and slogans is my idea of art” (DG@RT)

DG@RT

Dolphin Brown

Mandala is a polysemic term and indicates in particular a round-shaped object, referring to the Sun or the Moon. The origin of the term is still debated today, but in any case it refers to spiritual sacredness. In Buddhist and Hindu religious traditions, the mandala is the symbolic representation of the cosmos, often created with interwoven threads on a loom or with powders of various colors on the ground, painted on fabric, or frescoed on temple walls. In the artistic research carried out by Dolphin Brown, a contemporary American artist, on the other hand, the mandala takes on new guises, inserted within a context that breaks away from religious tradition and enters contemporary video art. In her works, the mandala becomes alive and moves in space, accompanied by music and sounds that contribute to creating a meditative, calm and entirely spiritual environment around us. The multiplicity of symmetrical figures that move in front of our gaze are reminiscent of the effect created by the kaleidoscope, leaving us at the mercy of a perpetual movement that becomes hypnotic and estranging. In Dolphin Brown's artistic research, the relationship with the observer is fundamental, as the aim is precisely to create an intense bond through the visual experience itself. The artistic medium thus takes on a new value, becoming a meeting place between ancient religious traditions - which find new life and new interpretation here - and a consumerist and materialistic reality that needs to find itself in spirituality.

“Art is the path to being spiritual.” (Piet Mondrian)

Art Curator Francesca Brunello

Dolphin Brown

mandala.1

Dolphin Brown

Dolphin Brown

Dolphin Brown

mandala.5

Dolphin Brown

mandala.6

Donato Nitti

A famous statement by the renowned Wassily Kandinsky stated that the artist was a child of their time, but could neither become its pupil nor its darling. The idea of not anchoring oneself exclusively to the present and the reality one lives in is visible in the works of Donato Nitti, a lawyer, poet, writer, and self-taught artist, currently one of the most promising figures on the contemporary scene thanks to his works depicting human figures portrayed with great sensitivity and delicacy. The artist's extensive culture has made possible the creation of "Satyricon" and "Liquid Time," watercolors characterized by an intense, intimate, and mysterious atmosphere that makes these two artworks truly unique. The subject of "Satyricon" is freely inspired by the love triangle described in Petronius' Satyricon.

Donato Nitti

The love triangle, a common desire for many, is perceptible in the faces of the three subjects of the work, namely a man, a woman, and another figure whose features break free from the rigid labels imposed by society. And it is this last subject that is the symbol of love unconditioned by archaic rules and free to exist. "Liquid Time," on the other hand, questions the toxicity of artificial intelligence on art Artificial intelligence in "Liquid Time" has only been used as a tool in the creative process, allowing the artist to explore new possibilities to enhance their creativity. Donato Nitti uses art as a means to invite the viewer to reflect on their own feelings, leading them to look at their inner world with new eyes.

Art Curator Maria Giulia Briganti

Donato Nitti

Donato Nitti

Dziuginta Didziokaite

“Art evokes the mystery without which the world would not exist.” (René Magritte)

The kiss, the main theme of artist Dziuginta Didziokaite's work is emotion, where movement, colour and romance become the focus of the work. It is a simple, figurative and colourful work that leaves the viewer with a feeling of joy and hope. Dziuginta Didziokaite paints portraits, characterised by the human figure as well as love. Her subjects can be interpreted from a twofold relative perspective. While time in its threefold facet conditions the subject, it is the artist herself who chooses the type of intervention. Her paintings reflect this dual choice by fixing something flowing on paper, such as a bike ride or a loving glance. Experience, and therefore also life, is not an option, but the certainty necessary to act in reality and find meaning in it. A goal, this, which is resolved by bringing back the lived without compromising the form and substance of the paintings. The artist presents us with reality and the human as it actually manifests itself, without forgetting its origin. A double meaning, therefore, in her works, encompassing being both as it really is and as it shows itself. Dziuginta Didziokaite, therefore, through her women and men, aims to reveal the real nature of reality and its determination that she paints. In this case, the dignity revealed is that of the purest feeling a human being can experience: love. Dziuginta's skill is expressed precisely when she manages to isolate the context and focus fully on the figure. The context, however, remains present and helps the artist to define the soul of the subject. Finally, the paintings of couples, where love and tenderness triumph.

Art Curator Giulia Fontanesi

Dziuginta Didziokaite

This is raining

Eduardo Ramirez

Eduardo Ramirez (b. 1971, Monterrey, Mexico) lives and works in San Antonio, Texas. He spent his childhood and formative years in different places between Mexico and the USA. He started painting professionally when he was 18 years old. He has a bachelor’s degree in architecture from the Autonomous University of Nuevo Leon (UANL). Even though his main creative method is painting, his new series brings together disciplines from different art forms: painting, sculpting, graphic design and some aspects of architecture. His work has been shown in many group and solo exhibitions in the USA and Mexico, the most recent being 'Corazón', at the Blue Star Arts Complex in San Antonio, TX USA; the city where he currently resides. His work borrows concepts from the realms of the Mysticism, the spiritual, and the intangible, to try to capture his impressions of the time and events he lives and experiences. Eduardo Ramirez with Radioactive Death unveiled his more subversive side and dwelt on the nature of what inspires him. In the center of this panel, framed by symbols reminiscent of the hours written on the clock, stands a red skull surrounded by a yellow halo, as if the skull itself could emanate light. Rays that become even more concrete in the background of the work. Certainly, Mexico emerges as part of the work; in fact, the skull has always been linked to the holiday "El dia de los muertos," which occurs on November 1 and 2. The dead are celebrated both with love and nostalgia and with fear and terror. The viewer is asked to try to figure out which feeling the work represents most. Love or fear?

Art Curator Alessia Maniscalco

Eduardo Ramirez

Radioactive Death

Emily McKenzie

(Leo Burnett)

Time passes, habits change, people and spaces are revolutionised. Contemporary artist Emily Mckenzie paints slices of reality focusing on the fashion of different eras and the tastes of the crowd that are shaped by trends. 'Life Drawing Living Rooms' is a digital collage made in 2023 in which Emily juxtaposed five different drawings. In the top left, a man depicted in a country style sports a cowboy hat; to his right, a woman wears sportswear and shows her belly, evoking the fashion of the 1990s. At lower left, a man is depicted in his bedroom wearing baggy shorts. In the center, the artist has painted a smiling girl wearing a nurse's hat. Finally, at the bottom right, a woman wears classic blue jeans with a simple t-shirt lying in an armchair. Not only the clothes, but also the houses and their furnishings change over time. Coloured walls, classic and modern furniture, figurative and abstract paintings: fashions change, die, but sometimes return. Emily takes viewers on a journey through time: looking at her works will be a moment of discovery, reflection and, at times, nostalgia.

Art Curator Camilla Gilardi

“Curiosity about life in all of its aspects, I think, is still the secret of great creative people.”

Emily McKenzie

Life Drawing Living Rooms

Enrica Toce

Enrica Toce, a dynamic artist always in search of new modes of expression, finds her highest form of artistic communication in colour and form. On the borderline between figurative and abstract, what predominates in her canvases are the colours and the curious relationship that is generated with the numerous shapes that populate her works. In the artwork "Tempo di libertà", there is a strong reference to a dualistic imagination, contrasting concrete reality with the imaginary and inner reality of the artist, a metaphor for freedom. The two forms that are the protagonists of the works, with very different colour tones, stand as an exchange relationship that is generated between the constraints of everyday life and the desire for freedom, which burns within every human being. The vibrant, energetic colours recall the feeling of frenzy and euphoria that pervades us when we approach that goal we call freedom. Enrica

Toce, once again, contrasts colours and shapes to create strong visual contrasts, encouraging the active participation of the observer who almost manages to enter the work and, as if they were the roads of a labyrinth, to follow them to reach the goal

"Freedom lies not in choosing between black and white, but in escaping this prescribed choice."

(Theodor Adorno)

Art Curator Federica Schneck

Enrica Toce

Tempo di libertà

Fuego

Glitch art is an artistic movement that uses digital errors and technical imperfections as a source of inspiration and creativity. It is a digital art form that originates from the manipulation of images, videos and sounds through the introduction of errors and technical flaws. With his images, Fuego narrates a new and original way of conceiving digital art, which breaks with the traditional canons of beauty and perfection Instead, the glitch artist focuses on the beauty of imperfection and the creativity that can arise from error. By corrupting digital files, which consists of introducing errors within the binary code of the image or sound, one has the sensation of entering a completely unknown and magnetic space-time dimension.

Fuego

These errors can produce surprising and unexpected effects, creating new shapes and textures that challenge traditional aesthetic canons. The author is therefore concerned with capturing and guiding the moment of magic born from these very actions. He puts himself at the head of an imaginary team of minds and hands working to describe the complex process of intellectualising external information Emotionality seems to find no place in all this compactness. Fuego's artworks represent an innovative and original art form, which stands out for its ability to transform mistakes and imperfections into sources of creativity and beauty. Waves of pixels form impossible waterfalls, unthinkable meadows and mountains of colour and liquefying lines. These images mark a new line between dream and reality.

Art Curator Erika Gravante

Fuego

The mountains shadow

Fuego

The unyielding river

Gabriella Orion

To connect means to unite two or more things and thus to create a bond of close relationship and interdependence between two or more subjects. Without connection it would not be possible to evolve, especially in today's world, where everything functions thanks to constant contact and exchange of ideas and emotions. It is precisely from this concept that the artistic research by Gabriella Orion, a contemporary visual artist and filmmaker based in Milan, takes shape. Her main objective is to build a connection between earth and sky, between low and high, merging together what appears to be too different to communicate. What transpires from her work, which is mainly photographic, is precisely the need to exist, tracing a deep furrow in the ground, in order to make visible what escapes in the frenzy of everyday life. In the work "Revelation", Gabriella Orion introduces us to a moment of profound intimacy, showing it under a new guise. In fact, the artist transforms what may seem to be the banal custom of washing dishes, into a magical moment imbued with beauty, where matter evaporates, leaving us at the mercy of a slumbering emotion. The photographic post-production work carried out delivers a new reality to our gaze, one that goes beyond the visible, enriched with new meanings that now exist here, on earth, right in front of us. The blue-azure tones instead transport the mortality of our flesh towards the sky, enveloping us with that impalpable and pleasant ancestral feeling of inner peace. Within her work Gabriella Orion searches for this union, where the fleetingness of life on earth is impregnated with that immortal ancient essence, connecting these two worlds seemingly so distant, but in reality profoundly intertwined.

Art Curator Francesca Brunello

“Invisible threads are the strongest ties.” (Friedrich Nietzsche)

Gabriella Orion

Revelation

Gayle Printz

Gayle Printz is an internationally recognised artist with notable exhibition participations. Looking at her artworks, it is possible to understand why. The force unleashed by her instinctive brushstrokes is evident. The rhythm of colour envelops the viewer, projecting him beyond reality. Gayle invites to inner recollection, to explore the hidden feelings that man tries to hide within himself. Gayle's painting is instinctive, spontaneous and emotionally driven. The brushstrokes are as energetic as the bold choice of colours that fill the spaces. The artist is able to translate human emotions through the universal language of art, extrapolating from everyday life that magic that only brushstrokes of colourful paint can capture. She allows herself to be inspired by the everyday, by any element that surrounds and inspires her. She examines important themes, focusing on communication, the social situation and human psychology. She explores human emotions, analysing the environment in which people make connections every day.

Gayle's skill lies in expressing contemporary ideas, concepts, fears and situations in an artistic and not at all obvious way. Her artistic process leads her to the final realisation of the work. Her creations are well thought out, both technically and visually. Each added element communicates a certain meaning. Strongly influenced by the perception of colour, she creates images that lead the viewer to deep thoughts of meaning.The artist gives these works value and allows the viewer to create a relationship with them, bringing them closer to art through an atmosphere that is familiar and not as distant as art might seem.

Art Curator Ilaria Falchetti

Gayle Printz

Gayle Printz

Gayle Printz

One

Gayle Printz

Gayle Printz

Gerry Yasui

"The ocean is a place of enjoyment and appreciation for me. It is my playground, my source of inspiration, and an important place to think and make decisions. Ocean is a place that represents Aloha to me. ” (Gerry Yasui)

He lives in Oahu, Hawaii, the talented Gerry Yasui, driving his beloved Volkswagen bus and creating ocean-inspired art. As evidenced by the works presented at the international art exhibition ARTOXIC at the M.A.D.S. International Art Gallery. What Gerry gives the viewer are great soothing sensations that reference everyday lived experiences, his works are still images reworked in a narrative-figurative key.

AFTER SUNSET is a reminder of the "hours after sunset when she enjoyed the waves, the air was so still and the light so beautiful. And she cherishes these moments and looks forward to tomorrow's waves".

EDDIE WOULD GO "was a member of the Hokulea, who took his surfboard out to sea to save the ship and crew, only to lose it in the raging sea. Eddie Aikau was a lifeguard at Waimea Beach. At the opening ceremony of the Big Wave Surf Contest at the beach, the competitors will honor him and the ocean by forming a circle". About LAVA DANCE the artist states "Under a cold sky/ A feast of moonlight, starlight, and lava light./ The light mixes with the fog, making it appear even more beautiful./ I feel the breath and heartbeat of the earth with my whole body". Our artist's art represents a great work of dialogue between Japanese and European artistic traditions, taking Hokusai Katsushika and Tiziano as references. The atmospheres are clearly Western, as is the bright color choice that matches the tradition of Tiziano. The two-dimensional, synthetic style and graceful, stringy human figures derive from the wake left by Eastern art. Exactly like the attention to detail in some subjects and environments.

Art Curator Mara Cipriano

Gerry Yasui

AFTER SUNSET

Gerry Yasui

EDDIE WOULD GO

Gerry Yasui

Girgin Songül

Girgin Songül, Turkish artist, designs and creates sculptures that combine pure geometry with optical art and examine the relationship between shapes, nature and sounds. Nature is the research field and the first source of inspiration for the artist; observing biological species such as seeds, plants, marine creatures, cells and bacteria, Girgin "translates" their essence into perfect geometric shapes, through a process of abstraction. The geometric shapes are complemented by a multitude of thin lines, geometric entities that give movement and dynamism to the sculptures; the alternation of empty and full spaces, as well as creating surprising optical effects, allows the artworks to relate to the surrounding landscape, a complementary element, and to produce sounds. Each element, shape, material used, colours, arrangement of solids and voids in the space is decisive, affects the final result, visual and acoustic, and, for this reason, chosen with care. The artist has conducted research on the different intensities of the sounds produced by the various types of metal, the predominant material in his artistic production; the sound is also intensified and propagated by the pedestal, designed by Girgin with a dual function: to support the sculpture and act as an amplification box. "Autumn", made in 2019 in stainless steel, represents six leaves that detach from the branch and, dancing in the wind, fall to the ground nourishing and fertilizing it. Metaphorically the autumn leaves symbolize death, conceived not as a disappearance but as a necessary and natural change; the cycle of nature repeats itself, suggesting that what we think is the end is nothing more than a new beginning. The artist, therefore, observing the silent life of trees and inspired by the ancient tales of the shamanic tradition, draws profound and comforting lessons on the meaning of human existence.

“Art is a powerful tool, it affects many areas, beautifies and makes them magical"

(Girgin Songül)

Art Curator Vincenza Ursillo

Girgin Songül

Giuseppe Fontana

All of Giuseppe Fontana's artistic work revolves around Pop Surrealism. More than a simple artistic current, the latter is a real cultural movement that was born in Los Angeles around pop and underground comics in the 70s. Subsequently he traveled around the globe with his ironic and mocking tones towards the contemporary world, with which he tried to grasp the most hidden nuances, amplifying them to the limits of the absurd, the surreal "Surreal" is the first word that comes to mind when looking at Fontana’s art. Giuseppe throws his sculptures onto the canvas and manipulates them with all his imagination and personal experience, deforming reality and pushing it to the edge of the surreal. The canvas is full of a dense and dark wood: we can see in the foreground a wounded egg, bleeding while holding a live flame in one hand and his heart in the other.

Giuseppe Fontana

Perhaps these might be the human qualities with which, since birth, the individual relates to the world: the ardent passion and the visceral side of him. On the sides, two other very strong figures impose themselves on the space: a red snake and a duckling with wheels and large, enlightened eyes. The images are strong but not bothering, indeed like a magnet they keep you attached to the canvas, as if you’re trying to understand every single detail. The egg portrayed in the canvas then appears to leap out and materializes into a gleaming blue ceramic sculpture. The blue egg seems to be different from the previous one, as to represent an individual rebirth that takes color. All of Giuseppe's work is diversified in both technique and theme, ranging from conflicting emotions: tenderness and anger, pain and rebirth. Each work is a new story and a new discovery. There is a famous quote from Frida Kahlo which I think perfectly represents it: "Surrealism is the magical surprise of finding a lion in that closet where you wanted to take a shirt."

Art Curator Irene Mannarino

Giuseppe Fontana

Ritratto di Famiglia

Giuseppe Fontana

Ritratto di Famiglia

Haubi Haubner

“Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.” (Andy Warhol)

"An invitation to reflection": these are the words used by Haubi Haubner to describe his art. In the works of the ICON series, the contemporary German artist combines pop art, surrealism and urban art to shape his worldview. In particular, the three works analyzed are part of the ICONdata series and are united by the theme of human, artificial and social media. The world is full of contrasts and Haubi tries to give a face and his own interpretation to each side of the coin. In ICONdata6 the protagonist with Asian features turns his serious gaze towards us while a hand touches his face. A struggle is going on in his head: it is crowded with many conflicting thoughts to which he tries to give order. In ICONdata8 in the center we see an elderly man sporting a boyish style. Defying the passage of time, going beyond all possible judgement of others in order to feel alive. Remember: not giving importance to appearance is the key to achieving freedom. In ICONdata9 a woman's big eyes stare at us: what lies behind them? A deep world in which emotions alternate and make her vulnerable. In each of these works there is a white and a black: two opposing elements that do not necessarily have to clash but can also coexist in harmony. Haubi invites us to immerse ourselves in his works and begin a journey within ourselves to get to know in depth what is hidden in our souls.

Art Curator Camilla Gilardi

Haubi Haubner

Haubi Haubner

Haubi Haubner

Izabela Krajnik

Only a few artists transformed the aptitude to truly express art into an identity, a personal symbol, which in one way or another allowed them to bring out their own, personal talent - Izabela Krajnik is surely one of those. Their works of art seem pure in a broad sense, as they appear incredibly fluidic in their absence of a precise genre, yet "controversial" in decrypting the meaning behind them that is deeply connected to her personality and emotions. “Holding On” represents a woman with her pink arms crossed in front of her gray chest. In this way, the color celebrates the diversity of sensations, fears and doubts, speaking directly to the observer’s soul as a universal means of communication. From a compositional point-ofview “Holding On” is incredibly dynamic: the painted surface shines with a marvelous airiness, aided by the cut of the composition that opens up the female body in a genuine dialogue with the emotional aspect of the message conveyed by the whole canvas. Finally, the most striking aspect of Krajnik’s art is the way she enhances her stylistic language within deep and meaningful themes strongly connected to her soul and personality.

Izabela Krajnik

Holding On

Jamy Kahn

Jamy Kahn is a visual artist who began her career during the peak of the Neo-expressionist movement. She feels closer to abstract art, which represents her preferred artistic language. She exhibits five works of art, among which "EXOTERRA XI" is an abstract but at the same time figurative work, as color is used to form an X. It is made with laminated metal and the central colors are black and white, which are spread using the fluid art technique. "EXOTERRA II", like "EXOTERRA XI", uses the same technique, but with a different range of colors that are arranged together using different geometric lines In summary, Jamy Kahn's works represent her talent in using abstract art and demonstrate her ability to create powerful and fascinating visual images "KYS HOUSE" is the union of painting and collage The artist has created a stylized house and has affixed letters that create the word "KYS" onto it "TIMING OPEN AND CLOSE" seems to be the union of nine unique works that are combined to create something totally new, in which each element highlights a detail The colors are bright and vivid Finally, "VOIX" seems to be the union of four unique and apparently abstract works that, upon closer examination, reveal the word "VOIX " Jamy Kahn's art is characterized by a strong use of abstract shapes, which nevertheless maintain a certain figurative aspect thanks to the use of color. Her "fluid art" technique allows her to create very interesting effects on her works, in which color seems to blend and flow over the entire surface. "EXOTERRA XI" and "EXOTERRA II" are an example of how the artist has been able to create a complex work that is also very balanced, in which the shape of the X emerges clearly from the play of colors. Overall, Jamy Kahn's works are fascinating and visually stimulating. Her use of abstract art and her ability to combine various techniques and materials to create something new and exciting is impressive. Each work of art has its own unique character and style, yet they all share the common thread of being powerful and captivating. The artist's ability to convey her ideas and emotions through her art is a testament to her skill and talent as a visual artist.

Art Curator Martina Viesti

Jamy Kahn

EXOTERRA II

Jamy Kahn

EXOTERRA XI

Jamy Kahn

Jamy Kahn

TIMING: OPEN/CLOSE

Jamy Kahn

Jen Davis

Jen Davis is a photographic artist who manages to convey intense emotions and create a surreal atmosphere through her self-portraits. In each shot, her attention to detail and aesthetics emerges as a means of communication for her inner world. Her photographs express a strong emotional component, which emerges from both the subjects and the colours used She often depicts herself in moments of great vulnerability and fragility, but does so with an expressive force that strikes the viewer and invites him to reflect on his own emotions. What is most striking in Davis' works is her ability to create an imaginary gate that is also a mirror and to transform reality into something different and mysterious. The artist uses light effects and funny elements and details to create a distorted image of reality that seems to come straight out of a dream.

Jen Davis

Jen Davis is an artist who communicates an intense and complex inner world with her photographs. Her dreamlike aesthetic invites us to look beyond the surface of things and seek the deeper meaning of our emotions. The self-portrait was one of the first photographic genres, used by many artists throughout art history and it still has a lot of power Its value lies in the fact that the artist becomes both subject and object of the artwork, creating a unique connection between the artist and his or her audience. Davis' photographs, with their graceful aesthetics, manage to go beyond the surface of things and touch the deepest chords of the human soul. Through selfportraiture, the artist manages to communicate in an intense and direct way, embracing herself and the other in one place.

Art Curator Erika Gravante

Jen Davis

Inapprehensive Terror

Jen Davis

Sufferance

Joachim van der Vlugt

The pictorial style of Joachim van der Vlugt, a Dutch painter who lives in Luxembourg, is decidedly contemporary, although inspired by the Dutch classical masters, with a personal reinterpretation of the two traditional registers of landscape and portrait. At "ARTOXIC" exhibition hosted by M.A.D.S. ART GALLERY, Joachim presents "The aftermath", an oil on canvas. The artwork is characterized by very layered and well shaded backgrounds in shades of blue that make up a gradual transition from the white of the upper part to the midnight blue of the lower one of the canvas. To space out this suffused composition, Joachim places well-defined geometric figures which, while giving a strong contrast, harmonize well with the background landscape, creating a beautiful balance. In fact, Joachim van der Vlugt's technique provides for a constant stratification of the paint, which allows him to work with light, its nuances and its intensity, integrating geometric shapes that refine the composition of his paintings until he reaches, as he likes to define it, "an orchestrated chaos". This cultured painting with multiple references has a spiritual and almost esoteric dimension: in fact, the artist loves to introduce hidden and almost invisible images into the underlying layers of his paintings. It is therefore a work that is discovered gradually, in front of which the viewer's gaze is constantly renewed.

Art Curator Matilde Della Pina

Joachim van der Vlugt

The aftermath

Joelle Gargour

Joelle Gargour is a self-taught visual artist who discovered her means of expression through painting as an escape from academic and emotional stress during her university years as a business school student. This artistic revelation has enabled her to make life-changing decisions that have helped her better understand her true value system and convictions. Her discovery of art has opened the door to new life experiences that have led her to who she is today. These experiences have taught her to be calm but resilient in the face of challenges, to never be ashamed of failure or vulnerabilities, to embrace your own personal story and baggage, and to understand that the ability to love and forgive yourself is one of your greatest strengths in life. Following a two-year process of exploring these sentiments in her art, Joelle has created the new series A Fleur de Femme. The works are depiction of feminine resilience. These feminine portraits are painted with poignant looks and hardship, but also with inner strength and the desire to build a better future. The larger than life turbans represent the battles braved by these women and are proudly worn as crowns. The work states that the woman should be proud of their own journey, no matter the difficulties encountered, and should continue to be their own hero. The work titled Nawal is a portrait based on arabic writer Nawal El Saadawi. .

Art Curator Giulia Battisti

Joelle Gargour

A Fleur De Femme - Nawal

Joshua Scranton

Joshua Scranton is an American digital artist who draws great inspiration from Chinese and Japanese culture, as well as the cyberpunk and science fiction genres. His works are characterized by a focus on detail and a mastery of digital image manipulation. One of Joshua Scranton's most representative works is "Forgiveness Babylon". In this image, two figures wearing astronaut suits stand in front of a touch screen panel with Chinese writing on it The sunset creates a suggestive and mysterious atmosphere, evoking distant and futuristic worlds The two figures appear to be bound by a strong bond, as if they were trying to protect each other in a hostile environment. The work highlights the importance of communication and solidarity in a world where cultural and linguistic barriers can create divisions. "Surrender and Rise" is another work that highlights Joshua Scranton's passion for science fiction and Japanese anime. In this image, a woman holds a luminous sword and is kneeling on a cross in a cemetery. The cross symbol evokes Christian symbolism, but the sword and the woman's outfit are clearly inspired by Japanese anime characters

Joshua Scranton

The work suggests that the struggle between good and evil is a universal theme that spans different cultures and epochs. In both of Joshua Scranton's works, one can notice the great attention to detail and chromatic contrasts. The warm tones of the sunset in "Forgiveness Babylon" alternate with the cold fluorescent light of the panel with Chinese writing, creating a tense and contrasting effect In "Surrender and Rise", the luminous light of the woman's hair illuminates her face, highlighting the determination and strength of her character In conclusion, Joshua Scranton's works are a testament to the ability of digital art to create fantastic and suggestive worlds, which can evoke universal themes such as communication, solidarity, and the struggle between good and evil. His inspiration from Chinese and Japanese culture and science fiction allows him to create original and captivating works that can appeal to both art lovers and fans of animation and science fiction.

Art Curator Martina Viesti

Joshua Scranton

Forgiveness in Babylon

Joshua Scranton

Surrender and Rise

Jungwon Park

Jungwon Park is a South Korean photographer currently living near Busan, a place that provides him with comfort and artistic inspiration. His works have a delicate, ethereal, and emotionally rich aesthetic and atmosphere. One of his most notable works is "120412 004," in which he captures a moment of a woman's face in a three-quarter view, but in the foreground is a red flower. The colors and lighting are perfectly calibrated, and there is a sense of rarity and antiquity provided by the aged effect of the photo In "130608 2 2," the central color is a bright red, which creates a striking contrast with the female protagonist's black hair

The work is created using layers and transparencies. The choice of colors in Jungwon Park's works is significant in conveying the emotions and atmosphere he wishes to express. In "120412 004," the use of warm and muted colors, such as yellow and beige, creates a nostalgic and tranquil atmosphere, which is amplified by the aged effect of the photo. The red flower in the foreground provides a touch of color that catches the viewer's attention and creates a sense of contrast and vitality. In "130608 2 2," the use of bright red as the central color creates a bold and dramatic atmosphere, balanced by the black hair of the female protagonist, creating a striking contrast

Jungwon Park

The layering and transparency technique used in this work further enhances the depth and complexity of the composition. The choice of representing women in these two works by Jungwon Park is also significant. The delicate and ethereal aesthetic he uses in his works is often associated with femininity and emotional sensitivity. By capturing women in moments of introspection or contemplation, Jungwon Park invites the viewer to engage with the emotions and inner worlds of his subjects In "120412 004," the unfocused woman's face and the use of the flower in the foreground create a sense of intimacy and delicacy, often associated with feminine beauty. In "130608 2 2," the bold and dramatic atmosphere is balanced by the feminine beauty of the protagonist, creating a sense of power and strength. In conclusion, Jungwon Park's works are a testament to his ability to capture emotions and atmospheres through the use of color, lighting, and composition. His focus on women as subjects and the delicate aesthetic he uses in his works invites the viewer to engage with the emotions and inner worlds of his subjects.

Art Curator Martina Viesti

Jungwon Park

Jungwon Park

Justin Chan

On the occasion of the new exhibition organized by M A D S Art Gallery, "ARTOXIC", the photographer Justin Chan exhibits five works with a common theme: the face Deformed, fragmented, geometric, bright, defined, bloody There are various ways in which we see these faces, which give us looks from different colors, shapes and points of view: after all, what means is more effective than art for processing negativity into something constructive? Constraint thus becomes liberation, addiction becomes self-affirmation, "toxicity" becomes a virtuous means to courageously follow the most authentic part of oneself. In "YOU ARE MY DREAM" - between polka dots, colored lines and geometric games that seem to fade the subject and, at the same time, redefine it over and over again - Justin Chan shows how our minds open up to suddenly revelations about other existences in the world we thought live in Observing "OLD FRIEND", that shows we have been visited for ages all along, we see a multiplicity of pink, blue, blue and orange microstructures, arranged in a symmetrical and sometimes non-linear, as when we place the eye at the end of a kaleidoscope. "WELCOME HOME" which, according to the artist, is Able to depict the belief that 'back to the future' is not a dream, has as its protagonist a skull that carries a military plaque around its neck, which keeps the theta bent over a purple and pink background. "WE MEET AGAIN" shows the arrival of negative emotions that is somehow governed by external influences, con un serpente dai contorni bianchi che avvolge la testa del teschio, tra macchie rosse che delineano la figura. In "THE GODDESS OF LOVE", where love actually comes in the form of a goddess, the artwork is between grey, white and black, with flowers that surround her figure and that seem to embellish her elegant shape even more Justin Chan manages, in this case too, to fully grasp the concept of conflict, showing subjects that struggle between present and future, between colorful and dark, between terrifying and fascinating.

Art Curator Sara Grasso

“We all participate in a collective consciousness around us, which dictates and governs our shared common reality.”

(Justin Chan)

Justin Chan

YOU ARE MY DREAM

Justin Chan

OLD FRIEND

Justin Chan

Justin Chan

WE MEET AGAIN

Justin Chan

THE GODDESS OF LOVE

Kae Takashima

"Generate and disappear, existence and absence, resonance with the human spirit with them. The work expresses their coexistence” (Kae Takashima)

Kae Takashima gives voice to silence, a very powerful form of human communication indeed; there is no louder thing than silence, and there is no more poetic thing. If we talk to a musician, he or she will tell us how crucial pauses are to any piece; well, artist Kae Takashima succeeds perfectly in representing this in what is the extreme opposition of "horror vacui". Here there is no fear of emptiness but courage in representing it. Our artist explains how silence would be highly communicative. Rich in information, prodigal in personal meaning. Something that conveys deep aspects of a person, which probably even words could not express. In describing her works, Kae states, "I think the poetics are strongly extracted from other societies. I express this invisible interaction. These works express the memory of the sea as a mental landscape, and express the existence of human poetry responding to it. Generating and disappearing, existence and absence, resonance with the human spirit with them. The work expresses their coexistence."

Kae Takashima

A mental landscape, then, the seascape, and if we look carefully we can hear the sound of the sea. Seascape and untitle are the works of extreme poetry presented at ARTOXIC international art exhibition at M.A.D.S. international art gallery. Another key aspect to bring to light: the primordial force and the spirit of beauty pulsate in matter: creation is taking place, the artist of matter redesigns the essentiality of space and form. An evolution to which Kae Takashima imprints the expressiveness of form: the material essence and dignity found in poor materials in space. As we know Kae is an artist from Tokyo, Japan. Her works are characterized by the communicative power of the question and the free interpretation of the viewer. "Poetry arises and disappears as one movement, and the colors of light and shadow arise and disappear along with that movement. Games of colors, games of matter: matter is the protagonist of the work, interruption is the key to understanding."

Art Curator Mara Cipriano

Kae Takashima

Seascape

Kae Takashima

untitled

Katja Lohmeyer

Colorful; dynamic and energetic are Katja Lohmeyer’ paintings, each of them representing different scenarios with the use of the same subject: the portrait of a young woman. The artist’s ability in showing different situations with the use of just some colors is accompanied with the choice to add to the scene just one element to remind the specified meaning. ‘Unconscious’, a vertical painting characterized by numerous brushes of colors, is the starting point for Katja artworks The freedom with which the acrylic has been applied confers to the whole scene an energetic appearance. The brilliant colors that form a painting to another one, seem to disappear in order to give space to the subject and main character Spots of colors are visible in ‘Sea of Flowers’ where the previous colored background has been transformed into a flowering meadow from which a beautiful woman is rising. With the same natural meaning are ‘Power of Thoughts’ and ‘Exploding Thoughts’, where instead of having a colored background, the explosion of colors is visible in the representation of the ‘thoughts’ fluctuating and coming from the ladies’ heads The artist often starts her work by closing her eyes imagining what her picture should look like in the end. In the meantime, she decides on colors and techniques and lets herself be guided by her feelings. This method of creation is evoked into her paintings that perfectly represent her way of work and, ’Why Not’ is a denouncement of this. A Denounce to the freedom of creation.

Art Curator Martina Stagi

Katja Lohmeyer

Unconscious

Katja Lohmeyer

Sea of flowers

Katja Lohmeyer

Power of Thoughts

Katja Lohmeyer

Exploding Thoughts

Katja Lohmeyer

Why Not

Kerstin Alice Hartfiel

Art is around us, always, every day, in every corner: we just need to have attentive and curious eyes to be able to see it. Art is able to transport, spread and amplify what it wants to express. Surrounding ourselves in the daily life of art opens minds and above all hearts. It leads us to reflect on ourselves and on the world every day. Through their works of art, artists convey a message that touches them deeply and that they want to spread, to raise awareness among those who observe their art. The artist Kerstin Alice Hartfiel, as she herself told us, has the mission of life to make people feel the essence of God, even through her art! According to the artist, each of us should feel this essence directly within the walls of our own home. Precisely for this Kerstin combines painting, design and artistic direction to create something extraordinary: transforming old houses into real works of art, able to strengthen, motivate and make the people who live there feel free. Kerstin puts her experience and professionalism at the disposal of those who are open and ready to welcome the essence of God directly within the walls of the house. For this exhibition the artist showed us one of her creations, in which her fantastic art meets design, dialogues and expresses itself through it. One of the furnishing accessories that really makes us define our house as a home, Le couch (sofa), has been transformed by Kerstin into an extraordinary work of art, which truly expresses incredible energy and strength. Every day we could thus come into contact with art in our intimacy, it would become our daily companion, with something that is unique, inimitable and truly only ours.

“Don't lose yourself in searching for support in other people. Devotion to the Creator of all beings fills all spaces of our hearts and soul, both inside and outside.” (Kerstin Alice Hartfiel 2023)

Art Curator Silvia Grassi

Kerstin Alice Hartfiel

Klaus Bröking

It is only when we are no longer fearful that we begin to create. (J.

M. W. Turner)

The illusoriness of the first impression is all the more transient the faster it is replaced with a plurality of perceptions, ready to change with every blink of an eye. Klaus Bröking's InsectFace is a clear manifestation of this assumption, as well as being a remarkable example of pictorial mastery. The logic that structures the composition recalls the articulated works of Arcimboldo, since on the one hand each portion of the canvas represents a figurative element in its own right, but on the other it constitutes a "piece" of a larger representation, which towers over the canvas. Klaus' kaleidoscopic style creates a hyperbolic flight of imagination, which however leaves nothing to chance. Every single detail is carefully studied to perform a precise function and to contribute - with the particularity of its shape - to enhancing the overall vision. If, on the other hand, we get closer to analyzing each of them, we will be able to perceive a progressive estrangement due to the infinity of meticulous details, which are hidden in every point of the canvas and which are emphasized by vibrant and high-impact chromatic hues. Through the title, the artist gives the observer an indication of what he can see in the work, but in reality it is only the starting point to then discover ever new details and interpretations, endowing InsectFace with its own vitality, which continuously evolves and transforms.

Art Curator Chiara Rizzatti

Klaus Bröking

InsectFace

Kyujin Cho

“You have to systematically create confusion, it unleashes creativity. Everything that is contradictory creates life.” (Salvador

Dali)

Kyujin Cho is a contemporary Korean artist who has been involved in the act of creating since she was a teenager, when she designed accessories prioritizing the originality of the shapes, textures and patterns of her jewelry. From this experience on, the artist has been following her artistic path, seeking to listen to her imagination and to enter into new discoveries which are free from logical and rational demands. In her new series of digital works, Kyujin questions the forms which have already been seen in the world and in nature: are there, and, if so, what are the creatures on earth that have never been seen? It is estimated that there are 8.7 million species in the world, most of which are cataloged on land, but there are several studies that prove that most of these species have not yet been identified. Scientists also warn that many of the species will become extinct before they can be studied. It is in this territory of the intriguing, the imaginary, the unconscious, the immensity of being and existing that Kyujin's work creates ties with surrealism. A philosophical work that seeks to float through the existential and unique potential of nature and its forms. Containing Photoshop techniques, the work called “Discovery: Space butterfly”, on display at ARTOXIC, represents one of those species idealized by the artist and materialized with shades of blue and purple, as well as traces of flower petals composing the animal, transparencies, textures and symmetry. Questioning the hegemonic representations of beings in nature, the artist not only faces the rhythm of discoveries of new potential beings on our planet, but also brings reverberations of the word “possibility” to the public. Everything that can be and that can exist and live among us human beings. In the dream, the conscience puts itself to rest so that the unconscious can work, in the daydream the conscience puts itself to work but the unconsciousness rests. Daydreaming is the work of the day soul, the dream of the night soul. According to Gaston Bachelard, artistic work is done in reverie, which is where there is communication and the subject is communicating. The work of art is the product of a creative daydream.

Art Curator Barbara Magliocco

Kyujin Cho

Discovery: Space butterfly

Lee Bramper

The aim of art is to represent not the outward appearance of things, but their inward significance. (Aristotle)

Lee Bramper's art resonates through her artworks as a courageous hymn to freedom of expression, which transcends the canonical consideration of art and beauty to approach non-institutionalized creative forms such as street art. The irrepressible force of Lee's verve has the effect of a powerful cry of self-affirmation, which is declined in dense and material brushstrokes. KOI LADY - the work presented by the artist during the ARTOXIC exhibition - highlights on the one hand the typical visual intensity of graffiti art, but on the other a great attention to the details that characterize the portrayed woman. From an indefinite background of gray and black, the splendid profile of a girl emerges, looking downwards. Her large dark hat covers most of her face, but this still fails to hide her perfect, almost sculpted beauty. The title of the work refers to the koi carp, which adorns the hat like a brooch, and lights up the composition with its shades of red. The artist seems to tease the observer with a daring similarity between the luxurious fish and the girl, alluding to the existential condition that unites them. As the carp lives her existence in a narrow aquarium, so also the woman feels constrained in a restricted vital space. With her splendid artistic representation, Lee Bramper manages to involve us from the first glance in a complex work, which attempts to push us to a profound reflection on the essence of freedom as a precious asset to be defended, to allow us to get out of a state capable of limit ourselves even more than the glass of an aquarium.

Art Curator Chiara Rizzatti

Lee Bramper

Liang Jiami

Liang Jiami has a graphic and comic style. His stories are realised with originality and his characters are extremely creative. The narrative blends with the art in a harmonious way and with vivid colours. A true interplay with alternating solids and voids. Liang is a talented young man and his graphic skills are reflected in his extremely youthful and fresh works, something. He takes traditional comics and reformulates them with new images with well-defined contours and vivid, full colour tones. The juxtaposition of several characters creates an animated scene, a dance of elements that tell a story that the viewer decides. The artist gives some key to interpretation through a visual representation but it is the viewer who decides how to interpret the image. Liang Jiami is a talented young emerging artist and his works create extraordinary interactions. The viewer feels involved, feels part of the work itself. The colours he uses are disruptive, passionate and energetic, the result of a mix of different influences and styles. The colours he uses are impactful, strong and dynamic. The colours are monochromatic, devoid of shades and 2D. The juxtaposition of several characters creates an animated scene, a dance of elements that tell a story that the viewer decides. The artist gives some key to interpretation through a visual representation but it is the viewer who decides how to interpret the image. Liang's works create extraordinary interactions. The viewer feels involved, feels part of the work itself.

Art Curator Ilaria Falchetti

Liang Jiami

Boy & Girl

Liang Jiami

Liang Jiami

Parade (2)

Lidija Commeça

Lidija Commeça is a magician of the image who, with photography and video, succeeds in creating a dreamlike and evocative universe, capable of capturing the viewer's attention and transporting him into a world of beauty and emotions. Her art is expressed in a surprising visual language, made up of images saturated with meanings and symbolism, which stand out forcefully but gently at the same time against the black and white background Her works appear as a sort of dance between photography and video, in which the subject, often the artist herself, moves with grace and elegance in an urban context of Brutalist buildings and anonymous spaces. All this takes place against a backdrop of black and white that amplifies the feeling of a suspended and enchanted universe. Commeça's images are able to arouse a curious admiration for their ability to enrapture the viewer's gaze, with an art that knows how to be simple but at the same time profound and full of meaning. The beauty of her works lies precisely in her ability to transform banal and everyday elements into an artistic dimension that speaks directly to the soul. Her artistic experimentation often takes the form of short animated clips, like GIFs, becoming true moving pictures. In these very short videos, the artist manages to capture the viewer's attention thanks to their dynamism and ability to capture the essence of an emotion or moment in a fleeting instant. Lidija Commeça's art presents itself as a fascinating and enthralling journey into a universe of images and sensations, in which beauty manifests itself in unexpected and surprising forms. A celebration of life and its essence, a dance of light and shadow that enchants and surprises, leaving an indelible imprint in the mind and heart of the observer.

Art Curator Erika Gravante

Lidija Commeça

Goldberg Groove I

Lidija Commeça

Goldberg Groove II

Lidija Commeça

Boule Beatnik

Lidija Commeça

Paname Punch

Lidija Commeça

Lopyu

Man's life is nothing if not an inexorable "going from the wedge to the grave," Man often feels, and in his own way, the need to give a goal, or if you will, as Viktor Frankl would say, a meaning, to this flow of his. It is a trajectory, that of life, that pushes us inexorably forward, toward what we call the future: something we can only imagine, because it is not yet there. And we do so coming from a past, ours as individuals embedded in a more general one that we share with all of humanity, of which we cherish memories and which we can call history: something that was but is no longer. And it is precisely this concept of letting go of the things of the past, because they have now passed and will never return, that makes us move toward the future, curious about what is to come. Lopyu, setting out to create art, sets no limits and no aesthetic intention. Leaving aside the value of art as a mere aesthetic element, deliberately ignoring the academic canons and laws that, over the centuries, have all too much immobilized the creative and artistic process, the artist succeeds in his intention to slowly produce and construct a work rather than simply imitate the world around him and transport it into images. Mimesis in this sense, does not exist as the work is created and changes at the same time as it is created. There is no intention, no final image that resonates in the mind but rather a natural gesture followed by lightning-fast intentions that slowly, bit by bit go into creating the artistic product. There is no judgment, no written, historical rule. There is intuition and self-criticism that Lopyu exercises at the end of the exercise, at the moment when he has to choose whether, what he has produced, could be considered art or not. The fate of the work and the elevation of the object to the golden status of the work of art is thus decided by his free will and never a priori. Lopyu creates the future, shapes and modifies it without expectation or anxiety to his liking. What comes out are works that smell of extreme freedom of expression where experimentation and mixing of influences, styles and mediums is advantaged and pleasantly exploited. In "Shock Corridor," belonging to the series called "Afternoon Opium," we can dimly glimpse the artist's typical experimental streak In this case, traditional drawing and processing through the digital medium come together creating a totally unprecedented result The real then, is deconstructed, reconstructed and infused with new legitimacy through the use of digital technology. What emerges is a work that acquires a new meaning and depth otherwise impossible to achieve by drawing and speed of execution alone. The digital medium then is a tool for examining the real drawing by implementing a slow and careful reexamination of the previously sketched stroke. From the speed of the real to the slowness of the digital, a phrase that sounds almost "out-of-time" with respect to our everyday life but which in Lopyu's work allows for the continuous creation of unprecedented experimentation, with an eye toward the future.

Art Curator Lisa Galletti

Lopyu

HOLY MOUNTAIN

Lopyu

Lopyu

Shock Corridor

Luisa Giannone

Luisa Giannone (Rivoli, Italy, 1980) is a portrait painter who studied at the Liceo Artistico Cottini in Turin. At "ARTOXIC" exhibition hosted by M.A.D.S.

Art Gallery, Luisa presents "Passion", an acrylic on canvas. The artwork is a realistic half-length self-portrait of the artist while she holds in her right hand, and pressing it towards her face, a tube of tempera. Luisa looks towards us with a determined and proud gaze, transmitting, with a strong gesture, all her dedication, love and passion for painting and for art in general. "Painting has certainly revived my love, desire, devotion to art", she says herself. Through a very skilled ability to paint in an extremely realistic way, Luisa manages to resist a strong emotion and the deep bond between her and art.

Art Curator Matilde Della Pina

Luisa Giannone

Marek Silka

If I create from the heart, nearly everything works; if from the head, almost nothing. (Marc

Chagall)

The artwork Death and Maiden retraces one of the most famous topos of art in a new and contemporary key, that of the juxtaposition between a young woman and the personification of mortality. It is a Leitmotiv that has become proverbial, starting from the medieval allegorical representations that depicted the "triumph of death" over all humanity, up to the works of Klimt. Marek Silka does precisely this theme with a composition that is both "classic" and atypical: in fact, if on the one hand there is the reference to the symbology of youth undermined by the shadow of death, on the other there is a completely new and peculiar, starting with the choice of flat and material colors, which outline the figures in their essentiality. In a certain sense, this stylistic choice brings the two figures even closer, making them similar in shape as well. The woman's features are defined by white outlines, which simply sketch her face and body. Traditional representations of youth used to highlight the physicality of the young woman, who appeared even more energetic and voluptuous right next to the skeletal figure of death. In this case, the boundaries are less evident, and indeed death stands out more than the maiden. The artist seems to suggest an even more radical perspective, that of a death that not only hovers as a future threat, but also as a warning to the present capable of reducing even the most luxuriant living energy in an instant.

Art Curator Chiara Rizzatti

Marek Silka

Death and Maiden

Mark

Art is one of the most beautiful and profound manifestations of life, of what is truly beautiful and important in it: the feelings we feel for the people who are close to us every day, the strong emotions we feel when faced with the beauty of nature , but also the simplicity of small gestures. Through art, artists can truly express and communicate themselves, without filters, without brakes, and we who observe their works can reflect ourselves in them. The works speak directly to those in front of them, in such a powerful way that sometimes it is really difficult to explain in words. But in fact, if you stop for a second to reflect, what really excites you deeply can never be explained or reduced to words alone: you just feel it. Colors, paper, natural materials are the means through which the art of Marco Grechi, aka Mark, comes to life, through which he expresses and shares his emotions. This is really clear when you look at his works, like the ones on display here. In the work La vie est belle the energy and movement of color is overwhelming: a real life force imprinted between the brushstrokes. We really read the strength, liveliness and beauty of life in this work. In the work Pool, on the other hand, the shades of colors transport us completely inside the work, in a dreamlike landscape in which we walk bewildered by wonder. The colors of the earth are the protagonists and discussed, shaped by the artist's mind and emotions. Finally, in the work entitled Lighthouse we are faced with the strength and incisiveness of color and matter. As the lighthouse illuminates the night and shows the way to boats traveling on the sea, so Art shows us the way to follow in order to truly express ourselves and get excited. The artist himself told us that colors and their shades are able to brighten his days, accompanying him on the journey of life, in which he walks hand in hand with his art. Through art we communicate. Through art, new places and new perspectives are created. Through art we feel free to express ourselves and our reality.

Art Curator Silvia Grassi

"Everyone is an artist sometimes even without knowing it." (Marco Grechi, aka Mark)

Mark

Mark

Mark

Lighthouse

Mayada Shibir

“Art should be something that liberates your soul, provokes the imagination and encourages people to go further.” (Keith

Haring)

Contemporary artist Mayada Shibir's artistic journey, influenced by her family's creative biosphere and the influences of African and European cultures, investigates the vital and material force that human life can express. His professional life influences his conception of the painting as an expressive and experiential place, where one can find feelings and life stories, but also different traditions and cultures influenced by music, poetry and art, with their respective parallels and controversies. In Self-Consciousness, the painting with an abstract vocation, we witness a veritable explosion of life and matter. Thick, light touches of colour define warm chromatic surfaces, where the artist speaks of the joy of living and its benefits. At times, however, this vitality stretches and expands into large, well-tuned colour fields that call the viewer to relax and surrender to the painting. The work experience, but also art history. Colour, light and psychic automatism: these are the components of Mayada Shibir's abstraction, which ranges from the psyche to matter, from physical reality to transcendental reality. Many masters and movements can be traced in her work, but she always maintains an artistic personality. In the abstract painting in particular, she selects emotions and conveys them. Large colour fields meet the layers of human emotions both guided by the artist's direction. Hers are experiential, living and emotional paintings, which present themselves in their purity and simplicity. They are stories told and lived, thought out and divulged that find their point of arrival in the present matter. And it is precisely matter that speaks and tells, thanks to the technique of painting and on spatula, the artist succeeds in conferring volume and relief, with glue, dye and paint.

Art Curator Giulia Fontanesi

Mayada Shibir

Self-Consciousness

Mayu

All of us have secrets. Sometimes we hide characteristics of our personality that we are ashamed of or that we consider flaws, convincing ourselves that others would reject us. In other cases, these are past traumas, something we have done or suffered that we believe could turn people away. All these constitute "our demons." We hide these so-called demons from others because we are the ones who do not want to see them, who refuse to live with them This is normal Demons, traumas, remorse, complexes, shame, are all part of the negative aspects of life that hurt us to see, that cause us suffering There is no denying the fact that living with one's demons is completely normal Absolutely no one, not even the purest people you can meet, is devoid of inner struggle. Human beings are built on their conflicts and contradictions. The problem is not in having demons, but in eternally ignoring them, not knowing how to accept them. If we fear our reactions, our anxieties, our anger, our depression, our rejection, but never dwell on them, they are likely to grow bigger and bigger, coming to overshadow even the areas of your life where serenity used to reign. Mayu, with "Ogre," sheds light on the darkness by going on to create a work whose protagonist is precisely the demon that lurks within her soul. Digital collage is a perfect medium for representing associations, disturbances and phobias that animate the artist's soul. Indeed, its heterogeneous nature allows it to best represent all that is inherent in her heart and give a face to what did not have a face before. For the first time, Mayu confronts what is inside her by giving her inner self a transposition in images. This helps the process of assimilation and awareness with respect to the shadows in the artist's own soul. This process, however, is not violent or even bloody What we see in "Ogre" is a sad and melancholy demon who perhaps, underneath, regrets his dark and equivocal nature Surrounded by piles of dried soy beans, framed by a wreath of blooming salmon-pink orchids, is the demonic being. One eye stands at the top of the composition. The eyelids are wide open and guard a shiny and highly expressive iris and pupil. It is not a hate-filled eye, it is a gaze filled with sadness, and to testify to this Mayu applies glassy, precious drops below the lower eyelid. Tears flow copiously from the demon's eerie physiognomy. Never did we think that such a fierce and disturbing figure could cry. Yet, he does. For the demon of "Ogre" is not something evil but a sad being who only wishes to be understood, understood, and listened to in order to continue to live silently in Mayu's soul.

Art Curator Lisa Galletti

Mayu

Michael W. Surber

“Art allows you to express things that you want to say, how you feel, and what’s on your mind in that moment when you create, but most of all it is freedom from failure” (Michael W. Surber)

Michael W. Surber is in his second exhibition with M.A.D.S. International Art Gallery and demonstrates his versatility. He is able to successfully engage in different art forms that embrace different fields of interest, and different themes. We all remember the delicacy, elegance and poetry of Juliet's Balcony. His art today becomes scratchy and provocative for the international art exhibition ARTOXIC. The artistic matter mixes with the blood in his veins passes through his limbs and is transmitted on the canvases. Michael comes direct, expresses himself without filters, explicitly telling his thoughts, his insights. Epiphany underlies all his artistic production and creates continuity in what is the variety of his themes and styles. An interesting aspect that should be emphasized is that Michael finds the artistic language best suited to express his thoughts.

Michael W. Surber

If with Juliet's Balcony the expressive style was Romantic, regarding his works Slut Lust and Bottle Caps and Broaches the artistic search is close to the world of Graffiti and Ready Made. Slut Lust was born with a "black and white photo that I liked. However, when I looked at it, I felt there was more to the store. After pasting the photograph, I started painting it with a hot pink acrylic color. It immediately gave me a punk rock/sexual vibe. I added the two punk stickers to the pieces and added black and gold acrylic paint." The artist also talks about his work Bottle Caps and Broaches "When I started this piece, I wasn't really sure what direction I was going to take. I knew I wanted to make a 3-D work. I started gluing random objects found around the house. When all the pieces were finished, it looked almost like the bottom of a child's toy box, so I started painting the silhouette of a little boy over some of the objects. That wasn't enough for me, so I painted a raincoat over the silhouette. The motif of the skull face was to represent the end of childhood. Those little trinkets that we cherish as children, lost and forgotten in time."

Art Curator Mara Cipriano

Michael W. Surber

Michael W. Surber

Bottle Caps and Broaches

Mihaela Ioachim

The artistic experience of Mihaela Ioachim ranges between different currents and techniques, while the poetics of the artist lie in expressing one's emotions, messages, and ideas. Mihaela Ioachim thus participates in the exhibition "Artoxic" held by M.a.d.s. Art Gallery with two artworks that show a first but well-aware artistic experience of painting. In "Complete Madness" we can perceive the feeling of disorder, of going beyond the schemes, of following one's instincts. In contrast, "Free Spirit" presents very precise contours, a more realistic and visually more defined image. On one hand, we have an abstract work, on the other, we could catch the expressionistic and realistic influence. The colors chosen for the artworks are both vibrant and bright, leaving no white spaces.

Art Curator Angela Papa

Mihaela Ioachim

The strokes are sinuous, sometimes dotted, which mix with various shades of color, giving life to nuances and points of light. In her artworks, the artist prefers female nudes as the object of works that emerge centrally in the canvases highlighting the sensuality and shapes of the latter, without ever showing the faces. The sinuous lines that caress the figures are the same that we find in abstract drawings or naturalistic landscapes.

Art Curator Angela Papa

Mihaela Ioachim

Mihaela Ioachim

Free spirit

Mihoko Onodera

The habit: a tendency for continuation or repetition of a certain behavior, which can be linked to natural or acquired factors and can be traced back to the concept of habit or habituation. Habit can develop through and within interpersonal relationships, objects and even physical spaces. The everydayness of living in the home, the habit of looking out the window as soon as one gets out of bed, the habit of taking off one's shoes as soon as one crosses the threshold of the dwelling. Our life is made up of routines and customs, and often, because of this, we forget the real shape of things, the real characteristics of the world. We have become disaccustomed to observing the world because we have become accustomed to its shapes and colors, its cycles and repetitions. Observing "Selfish" a clear space stands out before our eyes. The air is clear, almost rarefied, and everything seems to move in slow motion. Globular elements sometimes rounded sometimes faceted bounce slowly and softly within the compositional space. Grayish, pinkish, blue, and purplish backgrounds characterize these elements. Their slowness is such that their movement and trajectory is almost imperceptible. The feeling is that of being in the presence of an ordinary everyday life where things and elements move according to rigid and stable rules that are always the same. Slowly we begin to move and in a flash we are catapulted in free fall into a kind of tunnel. Everything is clear and bright, and the walls of this passage between dimensions are characterized by blue and purple spots that follow one another, changing their position every second.

Mihoko Onodera

The still ordinariness is beginning to change more and more. We have reached the end of the tunnel and, in front of us, we discover a completely unprecedented scenario. A cloud with labile and ethereal boundaries is silhouetted before our gaze. First we glimpse gray vapor, then purplish smoky swirls and finally an almost transparent whitish mist. Where are we? Where have we ended up? This is not normal; we are in a place we have never seen before. Everything is new, everything offers itself to our eyes to be discovered, experienced and savored. The swirls of color invite us to touch these new vaporous formations, urge us to observe the reddish spots that stain the lightness of that cloud. Turning our gaze abruptly, we are confronted with a warm, muffled atmosphere. Here rises from clouds of blue and purplish vapor an organic form resembling a trilobite. Indeed, it is possible to glimpse the characteristic curvatures of its exoskeleton and its small head. In the blink of an eye we find ourselves catapulted into a new universe, this time infinitely small compared to normalcy, and we are amazed by this new world that, in everyday life would be difficult to see. Mihoko Onodera through her ethereal and dreamy works teases our imagination to distract us from the normality of things by catapulting our limbs and minds into unseen universes that are difficult to decipher. The everyday landscape no longer exists, new sceneries and landscapes have opened on the horizon, and our hearts are intrepid to know new atmospheres and new worlds.

Art Curator Lisa Galletti

Mihoko Onodera

Mihoko Onodera

Gaze into the abyss

Mihoko Onodera

Learn to walk on one's own feet

Mihoko Onodera

Trilobite

Miiko

“I found that I could say things with color and shapes that I couldn't say in any other way — things that I had no words for.”

Art can be felt, appreciated and understood through its expressive meaning, its aesthetic composition and the personal experience and connection with the artwork. For artists, their creativity and final works are their own expression and manifestation, their own voice; those are elements that cross the space-time barriers to reach the deepest part of the human beings and move something inside them. Miiko, a Japanese artist, in this exhibition presents five alcohol ink artworks full of sensitivity, flow, vivid colors and exceptional details that take the viewers to look at, confront, be aware and make visible their own "toxicity". For her, toxicity "adds depth and dimension to art and is an element that attracts people". From this starting point, the artist is courageous in exploring, feeling, expressing and sharing some negative emotions, which, as a result, encourages her own liberation, self-affirmation and authenticity, as well as those of other people. Thus, Miiko's art shows a particular style, aesthetic and meaning that serve as a reminder of how spontaneous could be life itself, how necessary is to refer to, contemplate and appreciate the power and range of colors, opposites, shades and grayscale that synthesize or give rise to contrasts, nuances and harmonies which give a unique meaning and compound human's life.

Art Curator Liliana Sánchez

(Georgia O'Keefe)

Miiko

Miiko

Pale Blue Dream

Miiko

Miiko

First Love

Miiko

Butterfly Effect

Mina Nagao

In the rapid and indistinct flow of the much exalted race, typical of modernity, we many times pose the problem of imposing ourselves in the best possible way: our personalities, our passions, our affections, the hierarchies of relationships that we build and destroy constitute the plots of a subjectivity that we are all too used, in the wake of the 'extremely individualistic approach proper to us children of modern times, to flaunt loudly without dwelling too much on an articulate and profound investigation of ourselves. The reality in which we live wants us to be quick to dialogue, quick to solve problems, pragmatic, multitasking, flexible, and well disposed toward sudden changes that, certainly can be an asset, but should never be considered from the perspective of an iron imposition that risks turning any of us who feel compelled to protect our roots into a hopeless doom. Art making these days is something that takes too much time, too much reasoning, and, like all things that are not immediate, let's drop the idea of creating. Too many times the ingenuity and the spark of creativity is swamped by the disturbing speed of everyday life. Yet, when one listens to one's need to make, works are born that reveal within their peculiarities all that wave of inspiration that has remained suppressed for too long. This is how Mina creates her works. Moments of pause and ordinary everyday life followed by creative explosions that ignite her soul with color. The need to create does not stop and it is in these moments that Mina lets out creative intuition. Thanks to this extemporaneous and temporally limited act of creation, her compositions are so expressive, so violent in the force of color.

Mina Nagao

The eye is in rapture at the formal and chromatic diversification that the artist applies within her works. "Creation" is emblematic of this feeling of liberation and the need for the creative act. High waves of color follow one another side by side, creating a veritable chromatic vortex. The light blue pigment is clothed in brownish and sometimes pinkish hues. The rhythm is tight, the speed concussive. Gradually, the wave motion expands and within it we glimpse a light source. A golden spot peeps out of the amorphous chromatic sea. It is she, the shimmering, labile creative intuition. And mina, this glow of inventiveness grasps it wholeheartedly, without flinching. From this moment, the artist gives all her inwardness and gestures to the goddess of art, producing highly expressive works characterized by unusual chromatic and formal expedients. "Ego" is a swirl of colors and sensations. The layering of pigment produces a violent yet vivid chromatic outcome. Chromatic ghosts rise from the background. Greenish, yellowish, red, and fuchsia pigments follow one another, creating an extremely diverse and heterogeneous mass of color. This sense of a multifaceted element is intuitively mitigated by the presence of a subtle scratch that winds its way through the entire color cloud. Curves, parabolas, straights, peaks and troughs go to form the outcome of an inhomogeneous electrocardiogram that unifies the entire work. The result is thus a compositional unicum that is a direct representation of the artist's interiority. "Ego" mirrors Mina and is but one of the many images that make up her heart. Images that, after a period of stillness emerge with the force of an explosion, coloring themselves with pigment.

Art Curator Lisa Galletti

Mina Nagao

Creation

Mina Nagao

Mina Nagao

Mina Nagao

Miyabi Tanaka

Music has always been an inspiring muse for art. Caravaggio, Paul Klee, Braque are just a few artists who have ventured into painting works of art in which music is the protagonist. The artistic production of Paul Klee, for example, is boundless. There are about nine thousand works including engravings, drawings, paintings, colored sheets, bas-reliefs In addition to painting, he was also very attentive to other fields of knowledge, such as philosophy, poetry and music. Here is an example of interpenetration between the different expressions of the human mind. It is very important to dwell on the connections between different arts as they allow you to understand them deeply. The analysis is complete if several aspects of different artistic products are considered, the vision broadens and the works on which we focus take on a new light. The great composer Pierre Boulez (1925-2016) elaborates a very important reflection on the relationship between Klee and music. One of the most important assessments to make is linked to the passion for music and the perfect knowledge of the processes of composition, elements that allow us to understand and interpret Kleian painting. Music becomes an intellectual stimulus of a certain value for the artist. The same one used by the artist Miyabi Tanaka to express his mood through notes and melodies. It clarifies the essence and meaning of a work, which consist in finding useful elements to make inspiration concrete. This therefore does not imply that there is a change of language just to meet the tastes of the public, or to say something in the traditional way. The artist must express his feelings according to an inner need. This is an essential rule of the art.

Art Curator Federica D'Avanzo

Miyabi Tanaka

The Notes of peace

Mochi

There are many reasons why poisonous things might be fascinating to us human beings. In some cases, this fascination might be due to the mystery and uncertainty surrounding these substances. For example, the fact that a poison may be invisible, odorless, and tasteless may arouse a feeling of mystery and interest that, even for a moment, makes one forget the lethal danger. This fascination could also be due to the human being's false perception that things that are dangerous or deadly are more powerful or intriguing than those that are not. The human being, confronted with something that makes him feel vulnerable acts by making a kind of challenge arise between himself and the deadly substance. Human beings have always sought to challenge death in various forms, whether through the pursuit of longevity or through the pursuit of extreme and dangerous experiences. There are many reasons why human beings might want to challenge death. One of the main reasons is the fear of the unknown and the end of one's existence. Human beings have always tried to find answers to the big questions about life and death, and the fear of the unknown might push them to try to push their limits and try experiences that make them feel alive and in control Mochi, with "Vortex" examines that subtle and sinister fascination that we humans feel for those things that might hurt us but that we persist in experiencing, trying, tasting and experiencing. Whitish blotches with blurred and indefinite boundaries unravel before our eyes. The patches are heterogeneous. At first large and articulated, then small as tiny dots. Then again, candid elements that seem to stretch across the compositional space and others that seem to be printed on the backdrop. Yet, focusing the view and going beyond the whitish blanket that characterizes the entire surface of the work we glimpse a new scenery. A vaporous space begins to take shape and acquire autonomy. Golden flecks contrast with ultramarine blue patches. Purple pigment makes acquaintance and merges with a vital blue color. Behind the white blanket there is literally a new world characterized by its formal and chromatic rules. A question then arises: is the multicolored space glimpsed below the white patches the poison itself? It could be. A fascinating substance that has been studied since time immemorial, it brings with it imagination and reveries that tantalize our minds. "Vortex" is the transposition in images of that feeling of awe and fascination that poison creates It is that moment of poise where the heart, driven by curiosity and inflamed by worry is engaged in deciding whether to cross the threshold of the poisonous boundary or to remain still and motionless in everyday ordinariness.

Art Curator Lisa Galletti

Mochi

Nadia Monte

Nadia Monte is a young artist who, from an early age, has always nurtured a strong love for art. Born in Tursi, near Matera, but resident in Berlin, her artistic poetics range from drawing to photography to digital art through a storytelling that is always well-defined and related to strong social messages. Today's society, which we live in every day, has become her muse: from the depths of her soul, thoughts and theories are elaborated that then feel the need to come out, to explode and to be shared with the outside world through artistic creation.

"Art has spoken many more languages than man himself has ever created."

(Davide Sallustio)

Nadia Monte

Nadia Monte's artworks, although so subjective and loaded with messages, must be seen as works open to comparison, to external identification, and the constant presence of human figures only accentuates this desire to create a bridge of communication between the artist, the work of art and the observer. What surrounds her, people and, above all, their lives are a source of inspiration and profound reflections, linked above all to the superficiality that pervades today's society. Nadia Monte talks about emotions, experiences, small details, but also about small but important improvements and contributions that every human being can make to humanity

Art Curator Federica Schneck

Nadia Monte

Red shoes

Nadia Monte

Listen to your body

Nami

Art has the ability to make people travel while standing still. Color, as well as forms, give rise to sensations, emotions and perceptions that can be considered as foundational elements of new worlds all to be explored. There is a profound synesthetic capacity that characterizes painting. Although based on visual representation, pictorial art not only solicits optical perception, but is also capable of Intervening on other sensory channels, moving different dimensions of perceptual experience. In this way, art works with lines, shapes, colors and figures to gratify not only our gaze. It thus builds configurations that appeal as much to sight as to hearing, touch and taste. Through this mode, art has the power and means to create real settings, real universes having their own autonomy and characteristics. In this sense, Nami's works become the bearers of glimpses of new worlds that are decoded through the use of form and pigment. In this sense, the element that serves as the architectural and spatial structure of these worlds is the line. A dry, black, highly expressive line that winds within the artist's compositions. Like a thread of string, the line moves, insinuates itself between the pictorial matrix, divides, arches, expands and retracts going to delineate little by little the skeleton of the composition. Looking at the black line already possible to glimpse the distances, the volumes that form the represented space, the subjects and the horizons. Yet, there is a need for that element that infuses emotionality, that is made to be savored and tasted, that is made to be looked at closely in all its nuances.

Nami

It is the oil color that, like skin and like flesh goes to cover and modulate all around the black lines. The pigment bathes the canvas and reveals to our eyes sensations and perceptions that add up to the spatial setting achieved through the blackish skeleton. The outcome is diverse each time. In "A Corner of the World" we have the feeling that we are surreptitiously observing a slice of the world. We are hidden behind a color curtain characterized by highly expressive lines and patches of earthy pigment with bluishgreenish tips. The air is still, motionless, and a heartening warmth warms our limbs. Slowly we focus toward the horizon and see three reddish elements. Perhaps people, perhaps objects rising from a flat surface, a corner in fact. The feeling is that of finding ourselves random visitors catapulted to the edge of the world, to observe infinity in calm and tranquility. Entirely different is the perception evoked by "Hell." The work portrays a cramped space with a smoky air that is difficult to breathe. The line that in the previous work was segmented and ordered is now a swirl of curves and swirls that unravel and expand within the work. The claustrophobic feeling is also heightened by the presence of large masses of reddish pigment. Glowing lava that, if we are not careful, can burn our limbs. Incandescent magma and thick, whitish clouds rise above a bluish backdrop that, rather than a sky, resembles the wrinkled, dark ceiling of a cave. Nami, through the skillful use of compositional space and oil color creates true atmospheres and corners of the world. For a moment, looking at her works, we seem to have telestroyed ourselves inside them.

Art Curator Lisa Galletti

Nami

A Corner of the World

Nami

Nami

Nami

Plant

Nicholas P. Kozis

Once again Nicholas Kozis demonstrates his versatility and graphic/artistic skills through a careful selection of works. From landscapes, copies from life of female bodies, animals to more abstract works. It is impossible not to be speechless at the variety of subjects that the artist is able to realise in an original and creative manner. Often his copy subjects from life are women. The artist makes a true homage to femininity and women, creating stunning, elegant and refined images. The atmospheres created are enveloped in magic and exude beauty.

Nicholas P. Kozis

The colours are bewitching, metallic and vivid. He creates images that know no limits, locked in an indefinite space and time. Nicholas' art is characterised by the interpenetration of the character in the environmental context; in his creations, man and nature merge, becoming one. Colours blend perfectly with light, creating unprecedented plays of transparency and superimposition. Nicholas finds inspiration in his surroundings, observing the world with a different perspective, letting himself be captivated by small things, finding beauty in the everyday.

Art Curator Ilaria Falchetti

Nicholas P. Kozis

Nicholas P. Kozis

Nicholas P. Kozis

Pelican

Nicholas P. Kozis

Nicholas P. Kozis

Muse 2, Salacia 3

Nicholas P. Kozis

Saint Katherine

Nobu Hozumi

Photography is the image of an object fixed, by optical projection, on a medium-analog or digital-that is sensitive to light. The word photography is derived from two Greek words: photo (phos) and graphis (graphis), photography thus literally means writing with light. The photographic technique thus allows an object or image of the world to be drawn with light. But is this really the case? Nobu Hozumi reminds us that photography can go beyond the concept of merely recording the world and enter the universe of art and the fantastic. In this sense, the artist is clearly talking about photographs that are not photographs. Looking at Nobu's works, we immediately understand what this strange phrase means. The artist's works do not record objective reality, they do not portray images that can be traced back to the everyday world. What we see is anything but. Upside-down worlds, intersecting planes of representation and objects that change their connotations losing, in certain respects, their attachment to the real world. In "City of Emotions," a colorful universe looms before our eyes. What are we observing? We cannot scan a horizon line, we cannot tell if what we see is traceable to the outline of a room or an entire building. Our vision wavers as do our emotions. Tile-covered walls, walls, ceilings, and even dried tree branches are here. Their real features reverberate in this representation but of their wholeness only the form, the outline, has remained. Everything is intersected, everything is of dubious understanding, and our brains keep thinking, ceaselessly producing connections and associations, to no avail. This is not the real. This is not the everyday world.

Nobu Hozumi

The elements that populate our days are recognizable here but transformed into something else: bricks and concrete that go to build a new world, a new city. Nobu grasps the real and transforms it, disintegrating the latter and then sublimating it into something new. This city, built through planes, mirrored elements and colors that follow one after the other and one inside the other is the emblem of the art matured by the artist. Shifting our gaze we find ourselves in another world. Perhaps it is a space that is part of the city of emotions or it is in a different place altogether. Only the artist knows the truth. "Chilly Place" is a place where the below and above lose their connotations to know each other and merge, creating representative laws and unseen views. And so it is that the silhouette of a house characterized by a television antenna and skeletal silhouettes of railings is reflected in the sky. There is no above, there is no below. What we see is another reality. What we are observing in amazement is a space that twists the rules of physics and the four canonical dimensions to embrace laws of its own. "Chilly Place" is a cold place, characterized by bluish tones and large glass walls that reflect the surrounding space, creating an effect of estrangement. Yet, imagining ourselves leaning against that railing that wraps around the house, we can sense tranquility and peace. There is no noise, everything is muffled, and the cold, though biting, does not penetrate our bones. It is a still place in its natural stillness, it is a calm and peaceful space where our thoughts intersect with the multiple planes of representation. Nobu Hozumi creates photographs that are not photographs; they are literally new worlds waiting to be discovered.

Art Curator Lisa Galletti

Nobu Hozumi

Chilly Place

Nobu Hozumi

City of Emotions

Nobu Hozumi

Poolside

Nobu Hozumi

TWO THINGS

Oleg Gant

The art of photography has often been misunderstood in the past, and regarded as an objective representation of reality. Nothing is further from the truth, since it turns out to be an extremely versatile tool, which allows at the same time to analyze a fragment of the sensible world and to project itself into a metaphysical dimension. Oleg Gant's career as a photographer has spanned both extremes, ranging from a documentary filmmaker to an artist. Oleg's creative flair, however, best expresses its essence precisely in this last aspect, as evidenced by the works chosen for the Artoxic exhibition. The artist - making use only of the camera - takes his cue from a bodily and material element to tell a story, capture a moment, induce a fantasy. A shy bather thinks about the fate of the world offers us a direct look at the thoughts that pile up in a tormented mind, which shatter the ego with divisive sensations and emotions. The focus of And bloody bunny in the eyes is an almost phantasmatic apparition of a rabbit, whose silhouette repeats itself obsessively, like the mirror of a recondite and remote fear, capable of suddenly emerging from the darkness in all its terror. Oleg Gant, however, manages to touch an even more intangible level, that of inventiveness, and above all of the incessant work of the imagination. If Firebird captivates the eye with the brilliance of its chromatic nuances, the observer's mind can only focus on the changing nature of the subject represented, which seems to be caught in a moment of transition, of metamorphosis. The artist manages to bring out his irrepressible verve through a masterful use of photography, even without the use of artificial alterations. And above all, it allows us to access his vision of the world, while leaving us free to find a new and personal interpretation.

Art Curator Chiara Rizzatti

A true artist is not one who is inspired, but one who inspires others. (Salvador Dali)

Oleg Gant

A shy bather thinks about the fate of the world

Oleg Gant

And bloody bunny in the eyes

Oleg Gant

Firebird

Paul Hartel

Paul Hartel is an American artist who expresses himself through abstract expressionism. On the occasion of the "ARTOXIC" exhibition organized by M.A.D.S. Art Gallery, he presents two works, "Picasso's Point" and "Untitled U22", which perfectly represent his artistic style."Picasso's Point" is an extremely fascinating work. The use of vibrant colors such as yellow, green, bordeaux, red, fuchsia, and blue creates a visual effect that immediately captures the viewer's attention The face in the center of the work, created with hard and direct black lines, is a powerful and intriguing image The artist requires the viewer to use their imagination to create the complete image in their mind. The color is applied unevenly, creating a sense of chaos and disorder that adds further charm to the work. The title "Picasso's Point" suggests a possible connection with the great Spanish artist, but remains ambiguous, leaving room for the viewer's personal interpretation. "Untitled U22" is a work with thinner and less harsh lines than the previous one.

Paul Hartel

The colors used are less bright and vivid (skin pink, blue, bordeaux, pastel green, and black), creating a calmer and less confusing atmosphere than "Picasso's Point". The stylized smaller faces add a sense of mystery and depth to the work. The color is applied more evenly, creating a sense of balance and harmony. The title "Untitled U22" offers no indication of the meaning of the work, leaving the viewer the opportunity to interpret it as they wish In both works, Hartel's use of color is remarkable Each shade has been carefully chosen and applied precisely, creating an effect that enchants the viewer The colors are used not only to create an atmosphere but also to express a deeper and more personal meaning. In "Picasso's Point", for example, red can be interpreted as a reference to power and passion, while blue can represent calm and tranquility. In conclusion, Paul Hartel's works are excellent examples of abstract expressionism. His colors and lines are expressions of deep emotions and thoughts, creating fascinating and stimulating works of art.

Art Curator Martina Viesti

Paul Hartel

Picasso's Point

Paul Hartel

Untitled U22

Pertti Ahonen

Yellow as the symbol of the international art exhibition ARTOXIC at M.A.D.S. art gallery. That which is toxic is transformed into craving, which mixes with the blood in the veins and goes straight to the heart, not giving a damn about rationality. While the term toxic is used in chemistry to refer to substances that are harmful to the body, on the other hand we note that being applied in any field, for an artist, for example, can mean expressing oneself unfiltered, explicitly telling an emotion. Pertti for this uses a color that is synonymous with a state of mind: the Finnish artist's works have the merit of conveying emotional stimuli. Alone in the forest, In the storm, Spider's web in the sun, The sun is waking up, Lonely rose. States of mind and mental images are the works analyzed here to create what is an emotion and action painting, as we like to call it. Energy flows, vibrations are transmitted from the painting to the viewer, this is Pertti's narrative for ARTOXIC that has as its common thread a color, the most expressive of colors, the most energetic the most powerful on a spiritual level and one of the most present in nature. The most suitable color for expressing abstract concepts, It has been noted how the different properties of colors go to act differently on people's minds and, likewise, on the body. Yellow instills confidence and energy. Not surprisingly, from a spiritual point of view, it is the color that represents the third chakra, referred to as the "power chakra." It is located at the height of the solar plexus and identifies action. Therefore, yellow is able to stimulate one's inner abilities as well as positivity and joy in life.

Art Curator Mara Cipriano

"Feelings are colors and colors are feelings. To the painter colors are the way to deeper selfawareness and open new dimensions, strengths and resources ” (Pertti Ahonen)

Pertti Ahonen

Alone in the forest

Pertti Ahonen

Lonely rose

Pertti Ahonen

The sun is waking up

Pertti Ahonen

Spider’s web in the sun

Pertti Ahonen

In the storm

Peter Mages

Peter Mages is a self-taught artist from Munich, Germany. Born in 1946, he discovered his passion in painting very late, but he believed that better late than never. Colorful, powerful, joyful are the adjectives that best describe his abstract artworks. He creates artworks using strong colors in a minimalistic approach, using just few brush strokes to reppresent the shadow and light in a vivid original way. Peter’s artworks transmit hope and joy, he sets a truely inspirational example of what an artist can be, joyful and free spirited. His motto for his art is "forever young", and the viewer can truely sense Peter’s personality through his artworks.

Peter Mages

Moving from one style to another is what characterizes the artworks of Peter Mages. In his latest artworks that he present in the international art exhibtion organized by M.A.D.S. Art gallery “Artoxic", he presents a series of four landscape artworks in which we can see a variety of styles expressed by the artist: ranging from neat abstract, powerful expressionism with courageous brush strokes, but what we can see in common in them are the strong vivid colors that bring joy to the viewer. The artist Peter Mages, through his paintings, invites the viewer to dive deep into his landscapes, which bring the viewer into a new colorful world that each viewer can interpret and imagine through their own experience.

Art Curator Salma Eltoukhy

Peter Mages

Toxic Chaos

Peter Mages

Cliff

Peter Mages

Waste in the ocean

Peter Mages

Utopia

Radem

Radem (b. 1980, Udine) lives and works in Venezia. Radem received the call to paint animals during a trip to Colombia. The Sierra Nevada de Santa Marta is a unique pyramid-shaped mountain range located at the northern end of the Andes in northern Colombia. On its slopes live four distinct but related peoples: the Wiwa, Kogi, Kankuamo and Arhuaco. Together they number more than 30,000 individuals. Radem's journey was taken together with the Arhuaco tribe and their spiritual leader, the Mamos. Their life is aimed at infinite balance: everything that happens is a consequence of the human attitude toward his or her surroundings. They explain that much of the evils that affect the world are feeding on and drawing strength from the unscrupulous behavior of a few and the indifference of everyone. Since that journey, the theme of the animal totem has grown and been deepened by the artist. A totem represents the wisdom, knowledge, and extreme strength of Mother Nature. More than a guide, the totem animal can be considered a true helper, a companion in life. In most cases it is both a spiritual and a real, flesh-andblood entity. Particularly in Amedeo e Pippo, Amedeo, the cat, represents in our subconscious independence, ambivalence, and elusiveness, while Pippo, the fish, represents abundance. Amedeo says, “Look at me and guess!” While Pippo flows with respect and confidence. The artist's lived experience has liberated her creativity, which is now moved from the representation of the unconscious. The painting is bright, vivid, realistic. The color is mellowly spread, and the materiality is clear. Radem has succeeded with this work in dwelling on what is daily the source of her inspiration and making it her main reference. The metaphor that the two animals represent digs deep into the characteristics inherent in the unconscious and represents them with intuitiveness and harmony.

Art Curator Alessia Maniscalco

Radem

Ric Conn

Ric Conn is an artist who stands out for his ability to use art as a tool for social criticism, denouncing issues such as gender inequality and discrimination through his works. Over the years, Conn has mainly focused on the condition of women, highlighting the difficulties that this social category is forced to face. Two of his most representative works are "nobody's business but her own" and "please not again” "Nobody's business but her own" represents the bust of a transparent woman, in which it is possible to see the female reproductive system in fluorescent red The title of the work is extremely significant as it suggests the need to respect the privacy and self-determination of women regarding their body and sexual life. The use of fluorescent green for the woman's bust can be interpreted as a symbol of life, hope, and vital energy. In this way, the artist seems to want to underline the strength and determination that women demonstrate in defending their rights, despite the difficulties they have to face. "Please not again" is a work that represents a woman lying on a bed with a sad and worried expression. Behind her, at the door, a man can be seen, but the artist has decided not to represent the facial features, thus suggesting the idea of an anonymous man without identity

Ric Conn

The green used to represent the female figure seems to suggest the vulnerability and fragility of women, who are put in difficulty by a social system that does not respect their rights. The emotional chaos represented by the work seems to underline the difficulty that women have in finding a way out of situations of discomfort and violence that they often have to endure. In both works, the use of color seems to be a fundamental element to underline the artist's message The green, used in both works, seems to represent the life, hope, and fragility of women The red, instead, used in "nobody's business but her own", seems to suggest the need to respect the privacy and self-determination of women, even in relation to their sexual sphere. In conclusion, Ric Conn's works are an important social criticism of the condition of women and the difficulties that this social category has to face. Through the use of art, the artist manages to convey a strong and incisive message, underlining the importance of respecting the rights and dignity of women in every social context.

Art Curator Martina Viesti

Ric Conn

nobody's business but her own

Ric Conn

please not again

RIE La

There is something fascinating about art that creates a connection with nature. Humans have always been drawn to their surroundings in order to reproduce or interpret them in a personal way, as if to celebrate the place where they belong. This inspiration is as old as the earliest cave paintings; it is so strong that it endures to this day, despite the fact that our home is far from Nature; it is so ingrained in us that it has become a universal, cross-cultural form of language with no limits of application, ranging from painting to sculpture, from singing to compositions, from poetry to stories, to photography and even beyond. In this sense, art connected to nature is as if it were a higher Art, as art that celebrates other Art. RIE La, through her works, tells the reality of a landscape, its characteristics and peculiarities by going on to create works that are the embodiment of the very nature of the place. Sea sand, water from the Sea of Hope and Yanbaru Forest, sacred oil and shell dust are all elements that, when brought together, go to make up the soul and structure of Rie's art. In "Crystal Blue Sea," it is possible to glimpse the ray of sunlight filtering through the surface of the water; it is possible to perceive the salty taste of the layer of saltiness covering the lips. The work smells of the sea and the fresh wind that cheers our sun-soaked skin. It mirrors the sea and is the sea itself. Looking at the work, from the snow-white full of light the eyes slowly move to a beautiful area of deep blue color.

RIE La

Everything is gradual, everything is slow just as nature intended. Rie's round and peculiar works each transport us to a new place and, expressing different sensations, transport us with our minds to those contaminated and nature-rich landscapes we yearn for so much. If art has become nature in the artist's works and if nature has become art, "Breath of Spring Air" is the most tangible example of the cyclic and inexhaustible life force. The work is a tribute to the arrival of spring, the time of year when everything awakens from its quiet winter slumber. The branches host green buds, the flowers begin to bloom, the grass is once again painted emerald green, and the sky abandons its grayish tones to embrace azure hues once again. These images associated with the springtime are all here in this work, distilled and decoded through the color that bathes the surface of the medium. Concentric circles tease our vision. A pea-green band introduces us to a cerulean space that softly turns to pinkish hues going toward the center of the work. These are the colors of spring, of the breath of life that awakens nature. In fact, the one represented by Rie is not just any spring. It has a definite place evidenced by the presence of fine sand that, when applied to the wooden support, creates a distinctly grainy texture. It is the fine, golden sand of Okinawa, her beloved land and always paid homage through her works. Rie's art becomes water, sand, salt and sea breeze, and we, looking at her works, can feel the smell of salt tickling our nostrils.

Art Curator Lisa Galletti

RIE La

Forest in the Sea

RIE La

RIE La

氣吹き Breath of spring air

RIE La

Crystal Blue Sea

Roberto Grosso

Through abstract art, the artist Roberto Grosso has been able to create works of great beauty and depth. His artworks are characterized by extraordinary emotional intensity, through which color and form blend into a harmonious and suggestive whole. Roberto Grosso's painting is made up of decisive gestures that create on the canvas a sort of dance of colors and shapes, in which each brushstroke seems to bring its own energy and vitality, as can be seen in the artistic creation entitled "Heat Waves." In the artist's paintings, the connection between art and music, which is his primary source of inspiration, because it establishes both the subject and the chromatic range of his works, is enhanced by the use of augmented reality (AR).

Roberto Grosso

Augmented reality is a technology that can simultaneously stimulate the senses of sight and hearing because it not only increases the real environment, thus managing to "enrich" it, but also allows audiences to listen to the song from which the work drew inspiration. Such novelties are testimony to the innovations that contemporary art can achieve, as seen in the artwork entitled "Of the Nature of Daylight," a piece that manages to speak directly to the viewer's soul. The artist's creations are therefore true sensory experiences, as color, form, size, and the arrangement of elements on the canvas create a unique atmosphere capable of evoking intense and profound emotions.

Art Curator Maria Giulia Briganti

Roberto Grosso

Heat Waves

Roberto Grosso

Of The Nature of The Daylight

Rossana Borzelli

Blinding light and deep darkness, subversiveness and pain, vitality and sweetness, embrace, slap but also and above all love. We speak of a woman, an artist, but also of all the others, past, present, and those to come. For Rossana, the silhouettes represent a profound research into the powerful biographical experience of female painters, sculptors, photographers, combatant writers, who have questioned absolute and secularised categories starting from themselves, from their own experience. Her works highlight differences and contrasts, such as strength, provocation and violence as opposed to femininity, acceptance and gentleness. Contrasts that as she herself says: "live in me and therefore in my work". Rossana starts with metal, a cold and hard material, and then traces the lines of these bodies trying to give them an image through vivid and pulsating colours. The choice of this material seems to be no accident, as if to represent the historical and cultural fabric they had to deal with.

Rossana Borzelli

The result is a new profile, a new identity often enriched by phrases or poems that connect with the woman's experience. There is a Dora Maar portrayed with two different halves of her face. One half represents how Picasso portrayed her and half of the face as she was, beautiful. Frida Kahlo with a hand over her heart, Rossana's, a strong gesture of protection and understanding. A very powerful Seraphin Louis, flooded over the eyes with a cascade of red, the subversive and provocative Gertrud Arndt with a cage over her face, Tina and Frida in the same position, sprinkled with words and with their eyes full of their names, and finally a self-portrait on individual thought. The artist, with extreme delicacy, makes giants of these women who have been considered so small in history. He does this through these silhouettes at least two metres high and one and a half metres wide. One cannot help but feel the presence of these works of art in a room. They impose themselves and look at you, they are alive and full of their lived experience. Rossana tries to give them back the space they would have deserved when they were alive.

Art Curator Irene Mannarino

Rossana Borzelli

Ritratto di Gertrud Arndt

Rossana Borzelli

Ritratto di Seraphin Louis

Rossana Borzelli

Tina e Frida

Rossana Borzelli

Ritratto di Dora Maar

Rossana Borzelli

Rossana Borzelli

Ritratto di Frida Kahlo

Rudiansyah

"Water has taught me to know the meaning of life, namely patience, determination, humility, every human figure always wavy brush strokes give the rhythm of water waves ” (Rudiansyah)

One question grips Rudiansyah and is at the root of his work. "Will the advancement of technology make noble traditional values disappear?" Digital Record Traces is a question for the future. And it is curious that our artist decides to exhibit this work precisely in an international art gallery, M.A.D.S., which uses precisely technology and digital to offer the world a futuristic spectacle of art. At ARTOXIC, an international art exhibition Rudi Asbount presents his work, "a portrait of the change that human life has faced with the advancement of technology today. Of course, this changes everything to be easier. People living in rural or urban areas are inseparable from digital tools as a basic necessity. But unknowingly this results in the displacement of traditional values that exist in society." The meeting of the rigid geometry of the "digital" side of the work and the fluidity of the human component is certainly poetic. What the great poet William Blake would have called "complementary opposites." Something completely opposite that absurdly completes itself, reality needs both components: rigid and fluid, geometric and liquid, digital and human. One reality does not live without the other while being completely opposite. Yet, it is precisely the geometry of algorithms that has helped convert society into fluid; it is as if the digital component has absorbed the rigidity of society and in return returned fluidity. The fluid component takes inspiration from Rudi's favorite natural element which is water, the electronic aspect is symbolic of the progress of knowledge achieved by man: all this is sublimated by the surrealist vein of the artist.

Art Curator Mara Cipriano

Rudiansyah

Digital Record Traces (Jejak Rekam Digital)

Sagado

Abstract art has always been seen as a territory where the artist's creativity has no limits, a territory where the mind can wander without restriction, a territory where personal expression and artistic freedom are enhanced. Artist Sagado seems to have embraced this philosophy, and his abstract art reflects his mastery of the use of digital techniques and sympathetic inks, which can then be revealed and/or concealed over time. His art is characterised by a certain geometric regularity and repeating patterns, which give the works a sense of harmony and a constant rhythm, a perpetual, circular movement. However, despite the regularity of the shapes, the mental path that leads to the creation of such works is by no means banal or obvious. The artist becomes a master at finding a balance between control and improvisation, between precision and spontaneity.

Sagado

The experience of contemplating these works of art can be described as a journey through the complexity of the human mind, a journey that requires the viewer's commitment to decipher the shapes, lines and nuances that make up the work It is an experience that requires an open mind and an ability to accept unpredictability, to be willing to embrace the mystery behind the abstract forms. n addition, the artist's ability to use digital techniques and to create GIFs (Graphics Interchange Format) give his works additional depth. GIFs, in particular, offer a unique visual experience due to their brevity and their ability to capture the viewer's attention immediately.

Sagado's art is a journey of discovery into the complexity of the human being, a journey that requires the commitment of the viewer but rewards with the beauty of abstraction and graphic synthesis.

Art Curator Erika Gravante

Sagado

Connecting Diversity No.01

Sagado

Origin of Life

Samia Rashid Hai

Art is not only seen with the eyes, but also with the heart. Samia Rashid Hai is a contemporary Bangladeshi artist whose works mirror her deep inner world. The brush follows the rhythm of her thoughts and emotions and the world around her is transformed into a precious source of inspiration. C H

A O S was created in 2023 using the technique of acrylic on canvas. The road cannot always be downhill: sometimes our soul is shaken and cannot recover, sometimes disorder looms and it seems that putting everything back in its right place is a mission impossible. Samia has represented this state of confusion through the juxtaposition of warm colours and cold colours and brush strokes that overlap in different directions. Yellow, orange and red represent the sunshine that illuminates our hearts and the love we receive from those close to us. Blue and purple identify with the coldness and insecurity that often counteract our positivity. C H A O S is a metaphor for the life of each one of us: we go up on a merry-goround that takes us upwards only to bring us down quickly and finally back up again. Samia communicates important messages to her viewers through her works: observe them, immerse yourself in them and start a journey within yourself.

“It’s not what you look at that matters, it’s what you see.” (Henry David Thoreau)

Art Curator Camilla Gilardi

Samia Rashid Hai

Sandra Lavall

Sandra Lavall (b. 1974, Bad Kreuznach, Germany). Since childhood she has had a passion for painting, which gives her the opportunity to express her fantasies, feelings and ideas with colors and shapes. Diving into the depths of creativity gives her immense inner peace and balance. In school, art was her favorite subject. She would get straight A's and her teachers encouraged her to attend art school. A shock to her parents because "You live for art, but you can't live off art." Sandra then pursued a commercial apprenticeship and worked for many years in a pharmaceutical company. Art has always been her faithful and hidden companion. But the time has come to bring it out into the open again. There are no limits to her creativity. Live her art and she will be able to live off of it. TOXIC THUNDERSTORM is a work that in its simplicity allows the viewer to immerse himself in an almost surreal atmosphere. One looks up and sees the sky take on shades of green and purple, as if precisely it were a toxic cloud, or rather, a toxic thunderstorm. One may wonder if this toxicity did not allow the artist to fall asleep and wake up as a new person. Ready to take on new challenges and devote himself to his art. Very often, indeed, it takes a clean break to decide to start again. These wave-motion clouds drag us metaphorically into a world where one is unable to master outside influences. This toxic arrogance Sandra Lavall has managed to defeat.

Art Curator Alessia Maniscalco

Sandra Lavall

TOXIC THUNDERSTORM

Serena De Pascalis

It’s just past March 8th, a day that celebrates the achievements of women during the fight for equal rights and focuses the spotlight on what still needs to be done. The work of the italian artist Serena De Pascalis speaks clearly and invites all women to listen to find their own voice and claim their power over a society that is trying to suppress it Every 72 hours in Italy a woman is killed by a person she knows, usually her partner, and the homolesbotransphobic violence does not stop. More than 80% of violence takes place within the domestic sphere, psychological, physical and economic violence. 88 victims every day, one woman every 15 minutes. Numbers that are frightening and that we must try to counter in every way. Serena makes use of art, always a powerful tool of struggle and social denunciation to make her contribution to this cause. In "Reclaiming my power" we see the naked and unarmed body of a woman that stands out against a backdrop of looks; grim eyes that are not limited to observe but judge and denigrate without ever stopping. The gaze gives way to action and here we see on the sides traces of dirty hands that touch, grab and try to dominate and limit the fundamental freedom of women. These actions, unfortunately, still contribute to the humiliation, objectification and sexualization of the woman’s body. Just think of the still widespread female genital mutilation or the conditions of Iranian women subjugated by the regime. It hurts to think that we are in the 21st century and all this is still on the agenda. In the work we notice how the negative meanings are characterized by a black and white color while the female organ, emblem of this struggle, blooms like an orchid full of color and hope. All men and women must fight in one direction to make known, disseminate, inform and help. Because it is not enough to say "I do not act", it is necessary to say "I contrast". Because violence is of many kinds and not all bruises are so visible.

Art Curator Eleonora Varotto

Serena De Pascalis

Reclaiming my power

Siegmund Angyal

"Do not copy too much from life - wrote Gauguin - art is an abstraction (...) think more about creation than about the result". Synthetic painting does not dwell – as happens in the works of academics – on details, shadows and all those artifices aimed at giving the illusion of truth. Instead, the painter wants to offer an essence of his vision, a concentrate of reality reworked in a mythical key Furthermore, if Impressionism had focused on the fleeting instant, the poetics of Gauguin and other post-impressionists seek the metaphysical dilation of time, eternity; not the representation of the ephemeral perception of nature, but the symbolic and mythical representation of man's ancestral relationship with nature. An art therefore that seeks to go beyond the visible, to draw on the foundation that underlies the reality of things. Rejecting the rules of traditional painting, and then of Impressionism, Gauguin continues to create his own individual style. The flat space, the rhythmic repetition of lines and shapes and the pure colors applied in large masses combine to create a highly decorative effect. With his synthesis of color and sign, he gives life to an art free from schemes and rules, finally in tune with the most primitive and authentic part of himself. The interpretation of this thought emerges in the work of Siegmund Angyal, "Sour" which immediately brings to mind the ideals of Gaugain. An allegory in which each element has its own symbolic meaning and all together form a story whose meaning the viewer can understand. Here we are faced with a complex vision, made up of overlapping and intertwined sensations of time, space, color and music. Rather than forcing it into an interpretative scheme, the best attitude in front of this painting is to let yourself be captured by its evocative power, made up of silence, mystery and movement.

Art Curator Federica D'Avanzo

Siegmund Angyal

Sonja Soller

Art is not a handicraft, it is the transmission of feeling the artist has experienced.

(Leo Tolstoy)

Sonja Soller's artistic expressiveness flows onto the canvas with an irrepressible audacity, ready to catalyze the mind on a whole of great impact. The artist has concentrated on acrylic mixing techniques, until she reaches a remarkable level of mastery, and distinguishable from her first glance. Abstract Nature - the work that we can admire during the Artoxic international exhibitionis a particularly successful example of abstract art, which involves the observer in a sumptuous chromatic dance, based on the juxtaposition of warm and cold colours. But not only. The complexity of the work is highlighted in a skilful layering of acrylics, which are arranged on multiple levels, achieving the illusion of three-dimensionality. However, Sonja also succeeds in a much more difficult attempt, that of making the work pulsating with life, and capable of transmitting a plurality of sensations through the alternation of colors and lines. It is therefore possible to recognize an admirable parallelism between technique and the possibility of speaking to the observer, and of directing him to grasp his own interpretation. The layers of color thus become a metaphor for the multiplicity of emotions and thoughts that flow one over the other, leaving behind an echo of past sensations and an omen of future ones. The viewer can only be guided by his own interiority, and see a mirror of it on the canvas. Sonja Soller encloses in Abstract Nature the infinite corollary of human passions, making the work a multifaceted portrait in which anyonein any emotional state - can recognize himself.

Art Curator Chiara Rizzatti

Sonja Soller

Abstract Nature

Talita M

The work of the artist Talita M is characterised by a lively cheerfulness that invites the viewer to immerse himself in an artistic dimension strongly linked to nature. Through the use of natural elements such as flowers, leaves and landscapes, the painter succeeds in creating harmonious and vibrant works that emanate a feeling of positivity and balance Nature represents for many philosophies a model of wisdom and harmony, which can offer important life lessons. Observing nature can help people understand the importance of balance, simplicity and essentiality, and find their way to serenity and inner balance. Talita M's technique is particularly effective in the use of bright, luminous colours, which convey an unstoppable energy. The artist's works explore themes of fraternity with the natural world, inciting the viewer to appreciate the beauty of life and to be part of it.

Talita M

The use of an abstract background in many of her paintings allows the painter to create an effect of light and movement that stimulates the viewer's attention, inviting them to immerse themselves in an imaginary world where nature is the protagonist and dancing force. Talita M's works have the power to stimulate the viewer's soul through their elegance and spontaneity A contagious tarantula bite that invites one to go wild and celebrate the beauty of nature and take care of it. Talita M's art is an invitation to discover the innate grace of nature and to merge with it. The painter succeeds in involving the viewer in a positive artistic dimension, stimulating attention and inviting contemplation of the real that is re-contextualised by her to offer its magical existence.

Art Curator Erika Gravante

Talita M

The Dance

Talita M

Teru

A pictorial work that looks like a film. A film that has the features of an opera. The union of film and painting has been present since the origins of the seventh art. In fact, early films were often inspired by painting, with many shots imitating the composition and style of works of art. Over time, the relationship between film and painting became increasingly close, with painting influencing photography, set design, and costume design in films. The influence then is also expanded in the use of color, light and visual composition. Many painting techniques, such as the use of shading, chiaroscuro, and perspective, were used by filmmakers to create an immersive visual experience for viewers. Some directors have used specific works of art as inspiration for their films, such as Italian director Federico Fellini, who was inspired by Giorgio de Chirico's surrealist painting in creating the dreamlike scenes in some of his films Or Stanley Kubrick, who used painting as inspiration for creating the set design and costumes in their films Yet, cinema itself has also had the privilege of influencing painting, particularly with the artistic current of Italian Futurism, which drew inspiration from the technology and speed of cinema to create moving and dynamic works of art. Cinema and Painting have always coexisted side by side taking inspiration and creative ideas from each other. Teru with "Attack Attack" uses the medium of painting to produce a highly dynamic and fast moving image. When viewing the work, one has the feeling that everything we are seeing is a summary in a single image of the many frames that make up a video shot. The work, having a staggered and looming perspective presents several points of interest all scattered within the work. To the left of the composition we find an architectural structure that welcomes a red-robed woman who is walking slowly toward us. Beside her, a figure from behind is raising her arm and leg as if imitating a dance step. Is she a dancer or a person hailing a cab? This we do not know. What is curious, however, is the presence of a yellow, dated car that is speeding down the street and heading in our direction As we get closer and enter the foreground of the work, the composition and meanings become more complicated A majestic eagle is spreading its wings carrying, via its beak and a string, a severed human arm still holding a credit card in its hands. From the arm come rivulets of blood that mingle with the purple rivulets dripping from a knife held by a girl who covers her face with her hands. Next to her is a packet of red Lucky Strikes and a monochromatic peacock. Teru's work is chaotic and extremely clear at the same time. It is distillation of the process of storytelling and representation through unchanging color and form of the evocative power of cinema, its timing and changes of perspective.

Art Curator Lisa Galletti

Teru

Attack Attack

Toby Vignati

The work "Apocalypse-1" by Italian photographer Toby Vignati is a digital photographic artwork that portrays an extremely dark yet dynamic atmosphere. The image was negative-processed in post-production and printed on transparent film using the Van Dyck technique. The final result is a work of art that seems to depend entirely on the medium on which it was printed. The work appears to be inspired by the apocalypse, as suggested by its title, and this theme is conveyed in a very strong and visceral way. There are many people in the foreground, all facing something that appears to be overwhelming and possibly dangerous. The fact that none of them are looking at the viewer, but rather have their backs turned, creates a sense of alienation and incomprehension towards what is happening The choice to use the Van Dyck technique further contributes to creating a suggestive and mysterious atmosphere This technique was developed in the 19th century and involves using a printing process that uses a dark brown pigment on a copper plate etched with the design. The final result is an image that appears to be engraved on a metal plate, with a warm, golden patina. The use of this technique contributes to creating a sense of antiquity and mystery surrounding the work. In fact, the image seems to come from another time and another dimension, almost as if it has been recovered from an ancient manuscript. The choice to print the image on transparent film adds further depth and three-dimensionality to the work. In fact, the image seems to float in the air, as if it were a window open to another world. In conclusion, "Apocalypse-1" is an extremely evocative and mysterious work of art. The dark atmosphere and theme of the apocalypse contribute to creating a sense of unease. In summary, the work "Apocalypse-1" by Italian photographer Toby Vignati represents an example of contemporary photographic art that, thanks to its evocative power and suggestive atmosphere, manages to capture the viewer's attention and stimulate their imagination.

Art Curator Martina Viesti

Toby Vignati

Apocalypse-1

Tonon

"My art focuses on bringing good vibes and beauty to the world. Colors, shapes, and concepts all working together creatively. I need to feel creativity running in my veins every day or I get depressed. But that depression can also be turned into beautiful art. Art is my way of live” (Tonon)

Disturbing and oneiric are Tonon's works on the occasion of the international art exhibition ARTOXIC, of the works that serve as the event's manifesto at the M.A.D.S. international art gallery. If we wanted to make an art-historical reflection related to these works, they seem to be in the wake of the art of the second Goya, when he tackles a drastic thematic shift that is dubbed "dark matter." Tonon's "dark matter" is innovative; the subjects belong to modern-day figurative culture and so does their application in video However, Tonon retains the insight of Goya's art and the contrast between light and shadow, dark and bright. Brilliant is the use of fluorescent green to create a direct, immediate reference to the theme of toxicity, as we know colors suggest feelings and emotions, and in this case the selected color is fil rouge that connects the three works to each other and links them to the theme. Tonon's expression is powerful that creates perturbing scenarios through the skillful introduction of details, his are surrealist visions that manage to give voice, with audacity, to that unconscious toxic corner that is in each of us with a kind of figurative hyperbole. Regarding the first of the works, Consumed by Toxic Habits, Tonon says, "Toxic habits can be like a hungry beast, gnawing away at a person's core until there is nothing left but a shell. They begin as small seeds, planted deep in the psyche, but they grow and grow until they consume everything in their path their creativity withers and dies, suffocated by the suffocating weight of their toxic habits Only by freeing themselves from the grip of addiction can they hope to find their way back to the light and recover their artistic spirit." Boiling Toxic talks about the emotions we hold inside "At first it may seem easier to bury the pain and ignore the thoughts that make us feel uncomfortable or ashamed. Over time, however, these emotions can flare up and grow until they consume you from the inside out...only by confronting these toxic feelings and thoughts head-on can you hope to find peace and move forward toward a happier, healthier life Find a way to express them: painting, music, sculpture, writing, hitting a punching bag...find yours and do it!" Born in Toxicity talks about toxic contexts "Being born and raised in a toxic environment can be a challenging and painful experience. When the early years of life are filled with negativity, abuse or neglect, it can leave deep scars...healing from the effects of a toxic environment requires patience, compassion and a willingness to face painful truths With the help of therapy, supportive relationships and a commitment to self-care, one can learn to break free from the cycle of toxicity and build a happier, healthier life "

Art Curator Mara Cipriano

Tonon

Consumed by Toxic Habits

Tonon

Boiling Toxic

Tonon

Born in Toxicity

Tula Noulah

The artist Tula Noulah was born and raised in Japan. She started to paint at a very young age. Her art is strongly influenced by the fascination of colorful things, animals and nature that the artist felt close to her and her art. She paints what she feels. She enjoy fort he second time on the occasion of the “Aroxic” exhibition at M.A.D.S. Art Gallery, she exhibits one beautiful acrylic painting. The dragon that Tula represents symbolizes the passion and energy which is in each of us. In some spiritual cultures, each of the energy centers present in the human body preside over the organic, psychic and emotional functions of the individual are called chakras (usually seven). These are depicted by the seven colored circles that surround the dragon. The energy that the dragon represents can give us unlimited potential and possibilities helping us to fight the fear of the unknown. The artist wants to tell us to follow this energy to be stronger, kinder and radiate a beautiful light. This light is the same that the dragon emanates from itself. It’s bright and clear and gives us safety. This is what we have to rely on when we start something new. To the security that this dragon gives us, this pure energy that is in all of us and that we must only learn to listen to. From this born the title of the work “誕 - Born”, when despite the unknown we want to put ourselves in a new life experience so that our passion burns in our hearts. Having the opportunity to admire Tula's works means being able to be invaded by the real feeling of passion. Tula really expresses the unique energy through this powerful feeling present in our lives.

(Wassily Kandinsky)

Art Curator Federica Acciarino

"Colour is a power which directly influences the soul."

Tula Noulah

誕 - Born

Ulrika Jonasson

Dreams are there to be fulfilled. Goals are there to be achieved. Both are fresh and changeable, but only you and no one else can make the choice. Because you always have a choice, so what are you waiting for?

(Ulrika Jonasson)

A decisive personality is that of Ulrika Jonasson who at the age of 7 decided the fate of her life, similarly the Swedish artist represents her emotional strength on the two canvases presented at the international art gallery M.A.D.S. on the occasion of the exhibition

ARTOXIC: Love-Passion-Life, Up-Coming. Our artist lives her emotions very intensely and this way of experiencing her emotionality is definitely represented on the canvases. Her passion is expressed through movement and matter. Ulrika's art is extremely textural, the artist uses different tools such as scrapers, brushes, sponges and even her hands to form and create the painting, her works are the result of the dialogue with paint and colors, she chooses very intense palettes and a direct, strong, out-of-the-ordinary way of expression.

Ulrika Jonasson

Her art is sincere, honest. What the viewer appreciates in Ulrika's art is the charge, the expressive and communicative force. The viewer is immersed in an emotional journey through sensations and feelings. Ulrika communicates through pure intuition, she communicates with the deepest being in a direct way, without passing through rationality, that is why she does not use pencil and preparatory drawings and does not have a concept in mind when she starts painting, apart from the choice of certain colors that depend precisely on emotional states. Ulrika is inspired by the different ways people express themselves, the way words, emotions and actions are communicated.

Art Curator Mara Cipriano

Ulrika Jonasson

Love-Passion-Life

Ulrika Jonasson

Up-Coming

Vaida Kacergiene

Vaida Kacergiene's talent is undeniable. The emotional force that her images unleash is perceptible even after the first glance. The artist experiments during the creative process, letting go of her emotions, following her instincts. All this is perceived by the viewer, who is drawn into an overwhelming emotional whirlwind. Vaida is able to describe human emotions through the power of colour and form. In his work 'Movement', she takes human frailties, fears and insecurities and transforms them into something wonderful, a message of hope. Her creations always have the central focus on the relationship between the individual and his inner self. The soul is an integral part of the human experience. She lets her feelings guide her in the creative process.

Vaida Kacergiene

Vaida paints by letting her instincts guide her and this is evident in the fluidity and harmony of her works. The hardness of the contours disappears, leaving room for the softness of the well-matched colour tints. With her creations, she realises a true inner journey, starting from the perception of the artwork through the juxtaposition of specific colour tints. The artist focuses on the interactions that can take place in the realistic and imaginary world, in soul and body. Nature communicates with her in an energetic and powerful way and the artist feels compelled to show these connections to the public through her vibrant and engaging works. Vaida is an artist capable of capturing the intrinsic beauty of reality. She investigates multiple visions, not limiting herself to a single point of view.

Art Curator Ilaria Falchetti

Vaida Kacergiene

Vaida Kacergiene

Vasco Grilo

(Picasso)

The artist Vasco Grilo proposed five works of art with a bizarre and surprising flavour. His artworks show the artist’s great ability to use collage, combined with the graphic design of artificial intelligence and acrylic painting. Vasco Grilo, painter with great talent, has been able to blend his technical skills and his passion for traditional painting and photography to create his works of art that collect from a multitude of styles. The algorithms of artificial intelligence become a means of telling stories that explore the depths of human consciousness, the nature of relationships told and the human body in its many facets and in its countless uses. The artist is strongly influenced by the Surrealist and Dadaist movements, by the European comics of the 1980s and 1990s and by the great photographers of the 20th century. His works of art, the result of the union of these differences knowledges and the fusion of different techniques create an interesting result, in which the figures represented are placed in environments related to the fantasy world, characterized by a metaphysical atmosphere and dreamlike images and mysterious features. The use of bright and vibrant colours recall those of Pop Art: bright tones are combined with different shades of turquoise, pink-magenta, energetic yellow, pastel blue. In his artworks there is a particular predilection and attention to the representation of the gesture, in fact his human figures are dancing and often moving. Vasco Grilo in his artworks does not stop at the aesthetic combination of objects but his works want to tell the story of human events that set them in magnificent, magical, fantastic contexts. Taking images, figures, scenes that are commonly found in everyday life, the artist has isolated them from the initial context and emptied them of their meaning by cutting them out and putting them in the space of his creations, creating aesthetically pleasing works of art. The result is surprising: his is a narration made of images in which, however, the aesthetic aspect is perfectly balanced to the deepest and most refined aspect.

Art Curator Laura Faccioli

“Faut-il que nous ayons été fous ou lâches pour abandonner le collage. […]. C'est fou!”

Vasco Grilo

Coke Fiends

Vasco Grilo

A Day at the Races

Vasco Grilo

Death Dance

Vasco Grilo

Gold Diggers

Vasco Grilo

Jumping Jack

Yuka Matsuzaki

A body is visible to the eye when it is illuminated by light. Without light, even a white surface is pitch black. Without light, even the moon that rises every night in the sky would take on the appearance of a solid, cold, black rock. It is light that makes the world visible, that makes tangible and measurable the things and elements that inhabit it. The latter is nothing but electromagnetic radiation with a wavelength between about 400 and 800 nanometers-visible radiation-that can be perceived by the human eye and transformed by the brain into visual sensations. Commonly we are dealing with uncolored, "white" light, such as sunlight. This is because ordinary visible light is a superposition of waves of various colors that result on our eye in white. However, with appropriate instruments, such as a prism, it is possible, and Newton first showed this through the phenomenon of refraction and its wavelength dependence. When the beam of white light hits the surface of a prism, a phenomenon that seems magical takes place. The clear, white light source breaks down into the seven basic colors. This results in a beautiful chromatic rainbow that, when united again, becomes white and bright again. Yuka's works present within them this magic, this color that breaks down and recomposes and goes to bathe the edges, backgrounds and backgrounds of her works. It is indeed possible to intercept, within the color, small flashes of light and yellow, fuchsia and greenish color pigment that go to stain the surface, creating a partial estrangement with reality. In this way, the subjects depicted distance themselves from the world we know, from everyday colors and from the physiognomies of recognizable things and animals.

Yuka Matsuzaki

What Yuka depicts through her art loses its strictly earthly and real connotations to embrace a fresh and colorful plane of representation, almost as if the artist sees the surrounding reality through a prism. In "Itadakimasu" this detachment from reality is very subtle, delicate and almost imperceptible. A ripe, juicy avocado is depicted in the center of the composition. Like a still life, around it are small tomatoes and cutlery, tangible memories of a breakfast or a small snack. Everything seems normal, everything seems to smell normal. The avocado is illuminated in a pea-green color, and the geometric plaid tablecloth accentuates the expressiveness of the fruit and cutlery on the table. Yet, there is something odd, something that catches our attention. Small fuchsia and orange color dots illuminate the brown rind of the avocado; violet elements are reflected in the stainless steel of forks and spoons; and, as if by osmosis, even the tomatoes are stained. The still life depicted here is moving away from reality to expressive outcomes that we can savor in "Stillness," "Dream Rabbit," and "Dekopon." In these works, animals are bathed in violet light. We are not observing everyday reality but rather a rabbit and an owl illuminated by prismatic colors. The feathers of the bird are no longer white and brown but are tinged with the colors of the rainbow. The rabbit's thick, soft fur is pinkish, yellowish in places and illuminated with green dots. What are we looking at? A new reality or rather, a reality in which light is not white and bright but broken down, in all seven colors. Yuka, through her works creates parallel worlds in which our sight can see the true nature of light.

Art Curator Lisa Galletti

Yuka Matsuzaki

Yuka Matsuzaki

Dream Rabbit

Yuka Matsuzaki

Itadakimasu

Yuka Matsuzaki

Stillness

Yukari

Rivulets of color unravel, smearing the white surface of the paper with pigment. What are we observing? Perhaps a flap of silk that, gently, moves at the slightest breeze of fresh morning wind. The fabric, almost iridescent changes color at the slightest change in movement, gently hovering in the air. Yet, changing perspective, a new image comes to mind. Are we observing a sea anemone that, from the rock on which it is anchored, tosses its limbs at the mercy of the waves to grab food? We don't know; only Yukari can know what lies in the delicate features that characterize "Untitled." All we know is that the lightness and transparencies that are emanated by the work spill into the interior of our soul making our hearts become light Yukari's art is able to connect with our heart and mind, making us lose track of time even for a moment by canceling, in a flash, the heavy boulders weighing on our heart. Looking at the work, our soul soars along with the patches of color; observing the work, our heart becomes light and transparent. A large blue-colored spot is revealed in the center of the composition. Its boundaries are faint and indefinite, and it is not possible to determine with certainty what shapes and movements it will make in the future. At some point, the ethereal spot changes color and its limbs are infused with violet pigment of sanguine hues. It is a cool color, which, thanks to the winey hue, contrasts effectively with the previous blue-bluish halo. Yet alongside the purple stain we find a singular element, something that tantalizes our vision and tickles our senses. A trickle of yellow pigment creeps in between the purple and blue spots, creating a somewhat novel color combination. The expressive effectiveness of this yellowish streak is enormous. It acts as a real structure of the whole composition, as the skeleton of a living and constantly moving organism. That golden rivulet is the precious element that conceals the soul of "Untitled" and, by reflection, that of "Yukari " It is light within a color palette of calm tones, it is color standing out against a surface of cold purple-blueish color That yellow line that creeps in, out and in within the patches of color makes the whole composition vital, giving it that faculty of movement that characterizes it. Now that we have deciphered the soul of "Untitled," we can open our hearts to the work by urging it to lighten our hearts, if only for a little while.

Art Curator Lisa Galletti

Yukari

Yulun Huang

We often believe that we have to travel great distances in search of what we aspire to; desires or needs that we consider fundamental to our happiness. This is how we launch into the search with great enthusiasm. We go forward with the hope of finding the solution to our inner conflict, the solution to explain what is happening to us. But on this path we do not realize that we are looking outside for what, instead, we should be looking inside. The temptation to look outside for what we do not at first glance see inside us is very strong. As strong as it is perverse. This is how we forget who we are; we are so busy looking out there that we forget what we have inside. That is, our essence. In doing so, our image appears blurred and we stop identifying with our actions. We turn into pure despair, which we do not want to include in our definition It is useless to look outside for what, in a past moment, we have assimilated and learned and which, after all, has become part of ourselves Yulun Huang wants to restore legitimacy to the interiority that lies within us She wants to make visible and tangible that dark, shadowy cavern that we so much keep hidden from other people's sight. The shame, the shyness to show what we really are contributes to creating a hard and shiny skin, a shell that hides and at the same time protects all that we are. "Freed" is an emblem of the power of interiority, it is vindication for what we are while ignoring what the world would like us to become. It is colorful and explosive inner energy that, finally and after a long time has been released. A globe of light unfolds from a shiny, raven blanket characterized by rapid, relief strokes. The brightness this element emanates is such that it illuminates the surrounding darkness, revealing to us its physiognomy and characteristics. Short, quick grayish brushstrokes introduce us to a chromatic dance characterized by blue and orange flashes and streaks of whitish and pinkish color. The density of the material is very high and the globular shape seems to move on itself causing small explosions on the surface and changes of light. Emotion and inwardness, full of energy and yearning to come out into the open take the form of a real star burning helium and hydrogen to keep itself alive In this sense, "Freed" is the pictorial transposition of an interiority that, despite the desire to obfuscate it, continues to burn, blaze and enlarge until it breaks through that steel armor revealing its wonderful colors to the eternal. The teeming sea of colors as living representations of the emotions and feelings that dwell Yulun's soul; the materiality of pigment to emphasize the expressive and vital force of what we have within ourselves. "Freed" is a mirror of Yulun's soul, but if we pay attention, among those spots of color, we can glimpse some emotions that are common to our own selves as well.

Art Curator Lisa Galletti

Yulun Huang

Freed