EMERGING Official Catalogue

Angela Papa

Erika Gravante

Federica D'Avanzo

Francesca Brunello

Giulia Della Valle

Giulia Fontanesi

Ilaria Falchetti

Laura Faccioli

Liliana Sánchez

Lisa Galletti

Mara Cipriano

Martina Lattuca

Martina Stagi

Martina Viesti

Sara Grasso

Serena Losorbo

Silvia Grassi

Vincenza Ursillo

Curated by Art Directors Carlo Greco and Alessandra Magni

Critical texts by Art Curators

It often happens that many artists, at the beginning of their careers, find themselves in a strange limbo, a dimension within which the evolutionary requirements of their career are closely connected to the complex mechanisms of the art market. They are the emerging artists, who try to appear, become visible and show themselves. To give shape and visibility to their thoughts through art. But the concept of "emerging artist" does not refer only to the artists of the new generation but also to that circle of artists who want to get involved again, trying to re-enter an increasingly competitive context. Artists who mix, collide and compare within a very innovative but profoundly complex experiential reality. But what does "emerging" really mean? Who are the rising artists today and how do you really stand out? Within a society increasingly based on the outward appearance, on appearances and on the distortion of true reality, diversification is the only key to be able to establish and show itself in a coherent manner, placing faith in our inner self. Nowadays the concept of "emerging artist" is very fleeting, volatile, and the two generations of artists, past and present, mix, often giving life to a relational experience that does not keep faith with the true essence of people, as characterized by a strong desire to feel and show themselves adequate and in step with the times. But what makes the individual a true emerging artist lies in the desire to break away from this infinite dance that involves everyone, to seek diversity. Emerging is whoever meets and collides with reality, who takes risks and struggles to be different. And it is also those who support all this: those who, through a great wealth of languages and techniques, research and promote a new wide-ranging creative tension, intimate, authentic and open to an artistic context in full swing. Those who look at their past with ease first, supporting a process of inner reflection and identity confirmation, to project themselves towards the future, letting themselves be seduced by modern phenomena, currents, ideas and trends, exploiting their potential but always and only keeping faith in what it’s hidden within one's soul. We are invaded, flooded with artworks thrown as objects added to the world, and nothing more. A stretched art that necessarily needs another type of space and interaction, which is not only related to the exhibition experience but aimed at creating a personal path focused on the discovery of one's diversity and on the creation of artworks that are free from the fear of the link with the past and with the obsession of the present, to project themselves towards a personal and introspective infinity. Through the “EMERGING" exhibition, M.A.D.S. asks artists to emerge, to break away from traditional artistic clichés and to seek their own diversity, transforming it into their battle cry. To clear all forms of artistic conformity to search for their own inner language, to reinvent themselves and mix with the context, remaining who they are. To exploit diversity as a resource and to create an authentically dangerous art, based exclusively on one's reason for being and disconnected from the needs and what society and the world of art impose. No classification, no label, only a profound inner research aimed at revealing one's own diversity. Because “Only dead fish go with the flow”.

Concept by Art Director Carlo Greco

Adib Haddad

Adib Haddad from Beirut, Lebanon is an artist who expresses himself in a primitivist style. The forms, which may be human or belong to a naturalistic strand, are simple, possessing only the main characteristics. Haddad therefore communicates in a direct, pure manner, and for this reason his creatures are rough, his technique is developed on a mode of aesthetic idealisation that emulates or aspires to recreate a 'primitive' experience. The artist describes Art in Heaven with these words "Amen.... No matter the beliefs, only 1 rule applies: be a good human'. One aspect that strongly characterises Haddad's art, his signature, is the strong spiritual component. His art is sincere and aims to convey positive messages, of hope, of goodness of spirit: we can therefore say that Adib's art is salvific and stimulates positive human emotions. And what is the utility of art if not that of trying to improve the human being? Our artist's aim is the noblest of all, it is a mission and it is to elevate the human soul. And he does this in an essential, simple way, through synthetic forms and the choice of a black and white palette. Adib knows how to be positive in some respects and reflective in others, bringing freshness and joie de vivre but also depth, profundity. Two examples are In Trans which he describes in this way "Dancing, like no one is watching..." and Dancing Sun which, through the selection of the subject and the movement created emphasises the artist's reflection on the cyclical nature of life.

Art Curator Mara Cipriano

“For me, to create is to feel alive – life and states of humanity are my inspiration” (Adib Haddad)

Adib Haddad

Dancing Sun

Adib Haddad

Art in Heaven

Adib Haddad

Akiyo Tsukamoto

“Art enables us to find ourselves and lose ourselves at the same time.”

(Thomas Merton)

Flowers in Japan have an important role. According to Akiyo Tsukamoto, a Japanese alcohol ink artist, they are part of the Japaneses' memories and they are also a symbol of comfort and peace. For this reason, Akiyo does not hesitate to paint them and in this exhibition she shares three of her artworks, where nature and beauty come together becoming essential principles, her main motif. The floral art created by the artist is full of color, brightness and contrasts. Its harmony and fluidity give rise to a special transition through different sensations and emotions enlighting the viewers about their own experiences. Akiyo expresses herself in a decisive way, she discovers her own language by observing and finding her own self. And just as it is possible to identify and connect with the individuality of each petal, it is also possible to do so with the individuality of each person. Therefore, Akiyo's artworks take the viewers to a moment of contemplation, peace and joy; the shapes and delicacy of her flowers gain strength by highlighting their own memories, their own introspective process and the enjoyment of life. Also, by encouraging the encounter and loss of one self, but, above all, the importance of their flourishing.

Art Curator Liliana Sánchez

Heart beats

Sprouting

Alla Boiko

The history of art is filled with examples of artists exploring the beauty and mystery of the human form from different angles and perspectives. These Alla Boiko’ s paintings of colourful feminine bodies seen from the back are just one example of this rich artistic tradition, and the enduring popularity of the artist is a testament to the enduring appeal of this style of painting These works of art are truly a sight to behold, they are not only visually stunning but also convey a sense of mystery and intrigue that captures the viewer's imagination. One cannot help but be drawn in by the vibrant and bold colours used in these paintings. The use of vivid pinks, blues, greens, and purples creates a striking contrast against the soft and subtle curves of the female form. The colours seem to swirl and blend together, creating a mesmerizing effect that is both enchanting and captivating.What is perhaps most striking about these paintings is the way in which they portray the female form. The fact that the bodies are seen from the back adds an element of mystery and allure, as the viewer is left to wonder about the faces and expressions of these beautiful women. This sense of intrigue is further heightened by the use of soft lighting and shadow, which creates a sense of depth and texture that draws the viewer in even closer. Boiko’s works are both beautiful and captivating, and offer a sense of wonder that is sure to leave a lasting impression on anyone who sees them. Whether you are an art lover or simply appreciate the beauty of bodies, these paintings are sure to delight and inspire.

Art Curator Erika Gravante

Alla Boiko

Alla Boiko

Alla Boiko

Mystery

Analvis Somoza Jimenez

“Who sees the human face correctly: the photographer, the mirror, or the painter?” (Pablo Picasso)

The face is the symbol of the irradiation of spiritual life, the manifestation of what is hidden deep inside each person. It becomes the place where the metaphysical meets reality, showing itself to the surrounding world. The entire artistic production by Analvis Somoza Jimenez, a contemporary Cuban artist, is rich in symbolism, where the face takes on a central role, introducing the spectator to a new transcendental reality. Indeed, the artist's works tell us of intangible experiences full of meaning, where entities represented at the edge of an abstract language, envelop the entire visual space. Influenced by the work of the young Picasso, particularly his pre-Cubist research, which includes the Blue and Pink Period, we note how the need to narrate emotions emerges strongly. Faces depicted in long oval shapes, at times reminiscent of African masks, where the apparently serious expression actually contains a mysterious strength, which is communicated mainly through the eyes. Intense, pure gazes surrounded by warm, earthy colors observe us, awakening ancestral sensations within us. Detached from reality, they live in a spiritual universe waiting to be reached. That of Analvis Somoza Jimenez proves to be an artistic journey deeply linked to the spirituality of being, with the intention of leading the viewer to rediscover a connection with his inner self. There are many emotions concealed in her paintings, but the calmness that transpires is synonymous with balance. Thus, the face, in these works of art, becomes a symbol of spirituality in all its splendor.

Art Curator Francesca Brunello

Analvis Somoza Jimenez

Dos Aguas

Analvis Somoza Jimenez

El Arcangel

Analvis Somoza Jimenez

Suelta y Confia

Andre Setiawan

The animated digital paintings that are shown explore the concept of purity. These works of art exhibit stunning visual aesthetics, the movement of the paintings add a sense of awe to what usually is displayed on screen. The use of digital technology in creating these paintings allows for a level of detail and precision that is truly remarkable without loosing its spontaneous touch The colours are vibrant and the textures are intricate, creating a sense of depth and richness. What is particularly fascinating about animated digital paintings is the way in which they bring the artwork to life. What is happening in front of this video, is the feeling to be listening to a story. Behind these paintings is the concept of purity that is a powerful and thought-provoking one. It imbues the artwork with a sense of clarity and simplicity that is both refreshing and inspiring. The washing hands is as simple as powerful. Purity represents a state of inner peace and harmony, in which the individual is free from the distractions and anxieties of the external world. This kind of purity is often associated with meditation, prayer, and other spiritual practices that seek to cultivate a sense of inner calm and serenity but surely it can be felt and lived in front of a true work of art. In fact, these paintings invite the viewer to contemplate the nature of purity and its meaning in our lives, encouraging us to strive for a sense of purity and simplicity in our own lives. They show the power of digital technology in the artist’s hands and minds in the realm of art.

Art Curator Erika Gravante

Andre Setiawan

Humanoid

Andre Setiawan

Washing Hand.

Andre Setiawan

Andrea Berthel

The artist Andrea Berthel has created a series of vibrant and original pop art pieces Her works showcase the koi carp as the main subject, represented in tuna or sardine cans. "Canned Koi Cannon" is a piece that shows the carp divided into two cans. In the first can, made in a bright red color, the carp inside are all armed with cannons that shoot other carp instead of bombs. The abstract background of intense and compact blue completes the piece, while the can's label bears the name of the artist and the title of the work. It is possible to notice that the carp in the second tuna can appear to be freer than the others. This difference could suggest a sort of hierarchy within the representation of the carp, with some holding power over others. This detail could add further depth to the work, inviting the viewer to reflect on the nature of hierarchies and power within a community "Canned Koi Celebration" shows the cramped carp searching for space to live, created in a purple tuna can with a central fuchsia label bearing the artist's name, the work's title, and a sticker with the words "Quality with Responsibility," which could suggest a focus on quality and sustainability in fish farming. However, considering the mass of carp depicted inside the can, the work could also be interpreted as a critique of the exploitation of the oceans and intensive farming. This detail adds further depth to the piece and encourages reflection on issues related to the management of marine resources and the sustainability of the fishing industry. Finally, in "Canned Koi Consumption/The Shopping Queen," the image of the larger carp surrounded by bags from high-fashion brands could be interpreted as a criticism of consumerism and the fashion industry The work could suggest that the desire to consume more and own luxury items can lead to a sort of social segregation, with some individuals living above the rest of the community. The inclusion of the carp inside the can could also underline the idea that consumer goods are becoming more and more similar to food products, items to be "swallowed" rather than used. All of this gives the piece a broader meaning, inviting reflection on consumer society and the relationship between people and luxury goods. In summary, Andrea Berthel's works present an original and creative pop aesthetic, using tuna or sardine cans as canvas, giving the works a unique and unusual appearance. The representation of the koi carp as the protagonist of the pieces is an original and attractive choice that fits perfectly with the artist's pop style

Art Curator Martina Viesti

Andrea Berthel

Canned Koi Cannon

Andrea Berthel

Canned Koi Celebration

Andrea Berthel

Canned Koi Consumption/The Shopping Qeen

Anna Elisabeth

Painter, photographer, commercial and digital artist, Anna Elisabeth brings innovation to the M.A.D.S. art gallery's international art exhibition EMERGING. Her works are the perfect combination of light, colour and emotion. Anna works a lot with suggestions and this time she gives us updated, psychedelic works, rich in colours, as if they were reflections through the passage of light on a glass surface. She reproduces the suggestion of light. A further suggestion is that of coloured fabrics. The colourful textures of the proposed works thus aim to transcend the humanly known dimensions for an alternative and stimulating sensory experience. We know Ana Elizabeth as the artist who dances between colours and emotions, she is one of a kind and today she is showing us something new again with Daydreaming, Elation, Morning Light, Ornamental Soul, Showstopper, Springtime. Anna is decisive, lively and extremely creative. The six works belong to the abstract strand of art but bring something new to it... in the wake of Pollock but with the personality of a woman, daughter in our times: innovative, interactive.

Art Curator Mara Cipriano

Anna Elisabeth

The flow of colours projects the artist's moods and aims to arouse complex and diverse emotions to the viewer. In addition, the use of superimposing the watercolours digitally makes the viewer have the impression of seeing another reality while experiencing the one they are in. Anna's philosophical basis lies in the relationship between colour and emotion: as the artist herself states "for example, red can indicate anger and frustration, while blue creates peace and tranquillity. Mixed, they become violet, a colour of illumination that represents the future, imagination and dreams. Viewers can find a comforting interpretation of the beauty and ugliness of our everyday world through the heartfelt use of various media”. Art, therefore, for Anna has an educational purpose that serves the well-being of the viewer.

Art Curator Mara Cipriano

Anna Elisabeth

Elation

Anna Elisabeth

Daydreaming

Anna Elisabeth

Springtime

Anna Elisabeth

Showstopper

Anna Elisabeth

Ornamental Soul

Anna Elisabeth

Morning Light

Annette Nolte

The noun intimacy comes from the Latin intimare, meaning 'to impress' or 'to make familiar', which is derived from the Latin intimus, meaning 'intimate'. Intimacy is a close bond, similar to family. This close bond becomes something fundamental to the artistic research of Annette Nolte, a contemporary German artist, whose works are dense, layered containers that conceal an emotional world, rich in nuance and detail. A yoga teacher, Annette Nolte uses this practice to get to know and expand her own being, approaching art with a collected approach and imprinting on her canvases the indelible trace of a profound sensitivity. Her works of art are an expression of what the artist experiences on a daily basis, an amalgam of sensations and experiences full of energy, leading the observer towards a reflective calm. Meditation is also part of Annette Nolte's artistic journey. She lets her uncontrolled flow of thoughts find a form through the act of creation. Soft backgrounds of color fade into each other, at times touched by thin lines or drips of paint, stretching across the canvas, slowly transported downwards by gravity. Cool tones accompany our vision, leading our gaze to wander in space between lilacs, blues, greys and pastel shades. The gesturality that characterizes her works remains linked to a spiritual sphere with a more controlled emotionality, moving away from impulsive painting, reminiscent of the artistic research conducted by Mark Rothko and the Color Field painting movement between the 1940s and 1950s. The scratched surfaces refer to the concept of time and a deep connection to nature in the beauty of its forms and sincerity. Order and balance, instinct and reflection reign in Annette Nolte's work: we see the artist's soul in all its purity.

Art Curator Francesca Brunello

“Beauty awakens the soul to act.” (Dante Alighieri)

Annette Nolte

A new earth

Annette Nolte

Cosmic moment

Annette Nolte

Moving into lightness

Arcadi Moradell

Arcadi Moradell's paintings represent an extraordinary visual experience, capturing the viewer's attention with their unique and evocative beauty. Through the use of digital technology, the artist creates an immersive and surreal experience, combining marine and abstract images in a kaleidoscope of shapes and colors. The effect is enchanting, like a dreamlike journey into a world that is both familiar and strangely fascinating Each of these digital paintings seems to reveal a unique and mysterious universe, full of surprising details and poetic suggestions. The depth and variety of the marine images that combine with the abstract forms create an intense sensory experience that evolves and transforms with the movement of the viewer's mind.

Arcadi Moradell

The fusion of original and found online images adds an additional layer of complexity and depth to these digital paintings, creating a unique and personal view of the natural world. The abstract beauty of these artworks is a form of beauty that is not limited to realistic shapes or colors, but those are seen as lines of the imagination, it evokes feelings and emotions in the viewer that are uncontrolled This type of beauty can be a sensory experience and perception, liberating itself from knowledge or the literal meaning of images. This marriage of dreamlike and natural images, united by digital technology, represents a bold and innovative synthesis of contemporary artistic creativity. These abstract, marine-inspired digital paintings go beyond traditional definitions of art. They invite us to leave the boundaries of imagination and explore the mysteries of the natural world through an amazing combination of technology and visual poetry.

Art Curator Erika Gravante

Arcadi Moradell

Núvols i coralls

Arcadi Moradell

Asuka Takahashi

And here we are, catapulted once again into a scratchy, vivid and energetic world. Asuka's works are a hymn to the purest creative spark, to the elaboration, through the language of art and art and its materials, of that desire for expressiveness inherent in the most hidden corner of the human soul. Not surprisingly, his works shout instinctiveness, producing in the viewer a whirlwind of emotions at times violent, at times calm. It is the force of the dull and vibrant color, of the quick and marked gesture, of the line that breaks, arches and then reconstitutes itself. Last time, I juxtaposed Asuka's art with examples of Art Brut. Talking about this type of art seemed like a compulsory choice as the artist is consciously inspired by that art movement. After the historical excursus, it is time to talk about the more private and intimate side of Asuka Takakashi's art. It is not easy to line up the feelings and sensations we feel when we look at her works. In fact, what we perceive is a kind of whirlwind of primal states of mind swirling in our souls. Emotions, at times inflamed like hurricanes of fire, at other times as light as fresh morning air add up on each other producing instinctive, archetypal feelings in us. These are states of mind that we, human beings, no longer remembered to perceive, too entangled in the monotony of daily living, too focused on categorizing sensations with sharp, precise words. Asuka, with her works, brings us back to a primitive status of disruptive, satisfying and swirling emotions that destabilize the human soul, because that is how it should be.

Asuka Takahashi

In "Little Bird," we soar through the air. The expressive heaviness of oil pastel does not suppress the feeling of lightness that the entire work brings. In front of a surprisingly blue sky, a pink bird is flying with outstretched wings. He stares at us, his eyes black and deep as the abyss; he looks at us surprised, as if our presence is not taken for granted but desired. The feeling is that of flying with him, with two outstretched wings attached to his back; his body light and aerodynamic. Quite another astonishment makes our senses vibrate in "Bless your Mane." The air is warm, indeed scorching and decidedly dry. All around us earthy, fiery colors ignite our vision. Two lions, with flowing, red manes stare at us with wide eyes. Looking at Asuka's work, we are not afraid. We perceive no sense of terror at the sight of the two fierce felines. In fact, what we perceive within our souls is the feeling of awe and pleasant discovery at seeing the two majestic animals and interacting with them through mutual gazes. If before we were hovering in the air, now we are on the ground; totally enfranchised by the red sand that litters our shoes.

If before our bodies were pervaded by graceful bursts of fresh wind, now our skin is warmed by the warmth of the sirocco wind. Asuka does not need to represent reality using mimesis and faithful reproductions. Asuka gets to the essence of things by extrapolating, from the elements of the world, their true nature. And that is how her works become pure sensation and pure instinct recorded in images through violent lines and saturated colors. It is an art free from all constraints and is wonderful for that.

Art Curator Lisa Galletti

Asuka Takahashi

100% charged sunflower

Asuka Takahashi

A steam locomotive through the galaxy

Asuka Takahashi

Bless your Mane

Asuka Takahashi

Little Bird

Asuka Takahashi

Asuka Takahashi

Roboto's carp streamer

Atsushi Ohta

Atsushi Ohta is a talented artist who is able to create works that are synthetic yet extremely meaningful. His creative process starts with a white, neutral background on which he later draws a square geometric shape, usually a rectangle or a square. He often uses the colour blue, an enigmatic and profound colour that recalls the inner soul of man. Atsushi creates a true visual experience, delimiting an infinite space. It is a true contrast because the artist outlines a form but invites the viewer to go beyond it, to cross the boundaries of real space to look into new perspectives. With an automatism of the mind, the viewer recognises the form and his or her mind goes elsewhere. The intrinsic beauty of Atsushi's works is unleashed in the powerful and at the same time immersive painting technique. Atsushi Ohta is an exceptional artist who has made a deep impression in the contemporary art world with his bold and innovative works. One of the most fascinating features of Ohta's works is his ability to combine traditional and contemporary elements. This unique combination results in works that are both nostalgic and futuristic. The intricate details and defined lines give his works a sense of depth and movement, transporting the viewer into a fast-paced urban world.

Art Curator Ilaria Falchetti

Atsushi Ohta

Drawing a square. c.p.67

Atsushi Ohta

Drawing a square. c.p.64

Atsushi Ohta

Drawing a square. c.p.68

Babita Shamji

“The artist must train not only his eye but also his soul.” (Wassily Kandinsky)

The canvases by Babita Shamji, a contemporary artist from Dubai, are born from a deep need to narrate the values of life in its most visceral aspects. Wrapped in an abstract language, influenced by the research of the great master Vasily Kandinsky, they speak to us of memories, encounters and emotions experienced by the artist. In particular, in the collection "Africa: Lives in Transition", Babita Shamji takes us on a colorful journey, made up of shapes and patches of color expanding in space. She takes us with her into her memories, showing us how contact with this land and its ancient culture awakened in her the need to discover herself and expand her horizons. Abstract language becomes the only way she can free our minds from standardized interpretation, leaving us at the mercy of color and movement, free to daydream. Emotion becomes the focus of her research and comes to life through lines, shapes and colors, bringing before our eyes a new Africa that we had never known before. Art, once again, becomes a place where cultures meet, and Babita Shamji's canvases want to annul all distinctions of race, religion and culture, in order to listen to ancestral emotions. A journey through time in search of inner purity, to shed light on the essence of life and search for that space where it is possible to see that connection between all living beings.

Art Curator Francesca Brunello

Babita Shamji

Roque Santeiro Market

Babita Shamji

Sartorial Debate

Babita Shamji

Their Alliance

Bee Jiraniratisai

‘The Earth of the Sea’ is the title of the two artworks presented at M.A.D.S. Art Gallery by the artist Bee Jiraniratisai. With these two scenes that at the appearance are very similar, Bee has decided to show to the viewers a new side of the Sea. Coming from a ‘dripping’ technique, close to the abstract expressionism technique, the pieces present an alcohol ink freely fluctuating all around the canvas. The way in which the ink moves into the scene, creates a sort of natural element representing some glass flowers.

Bee Jiraniratisai

Bee creates a soft atmosphere with the use of just some simple colors hiding a deep meaning: the sea and its majesty lets emerge some different emotions and feelings in each of its observers. The first artwork ‘The Earth of the sea I” shows a darkest atmosphere due to the use of an intense blue mixed with the green, that confers to the scene a sensation of immensity. On the contrary, also if it seems deeper, the Sea in the second painting seems to be more friendly and open to greet its public.

Art Curator Martina Stagi

Bee Jiraniratisai

The Earth of Sea I

Bee Jiraniratisai

The Earth of Sea II

Britt-Marie Tidemand

“There is a dark sensual fascination to Britt-Marie Tidemand’s paintings” also in the ones she presents at M.A.D.S. Art Gallery during the EMERGING Art exhibition. Similar in their colors and in the lines that compose the subjects, the three scenes are the representation of the Swedish artist’s artistic essence. Each piece shows a dreamland atmosphere in which throughout the colorful background some naked bodies easily fluctuate. Softer is the giving of the lines composing the characters, opposed to the ones of the dark and deep brushes creating the background. ‘Over my Bed’; ‘Hold Me’ and ‘Hanging Around’ refigure the artist’s emotions and feelings to which she wants the viewers to look at. The faces of the main characters of the scenes seem to be sad and grotesque absorbed in their feelings and emotions. Looking attentively at the bodies is it possible to enter the scene, to feel and hear the same sentiments. The sinuousness of the curves into the ‘sea of fire’ in which they lay, is something the artist has created in order to permit the viewers to see the positive also into the difficulties of life.

Art Curator Martina Stagi

Britt-Marie Tidemand

Over my Bed

Britt-Marie Tidemand

Hold Me

Britt-Marie Tidemand

Hanging Around

Briwé

Time and its inexorable flow, outlines the history of humanity, its passages and the actions that characterize the emotions. The German artist Briwé invites us to embark on an exciting journey through three unique works, each representing a distinctive perspective on the passage of time. The opera "Augusta Treverorum!" captures the Emperor Augustus in all his majesty and splendor, set among the historic buildings of his city The size of the figure is statuesque, as if to celebrate its greatness, but was its period of regency really good? The question the artist asks herself is: was he a good emperor? The rapid brushstrokes suggest exploring the different facets of his reign, which left an indelible mark on the history of the Roman Empire. With "Immortalis" we are invited to peer into the mystery of life after death. Through a unique combination of iconographic and abstract elements, the artist pushes us to investigate the existence beyond our earthly dimension. A mother who disappears with her child represents transience on one side and what remains on the other. This fascinating and disturbing work raises questions about our understanding of mortality and makes us reflect on the meaning of life. How many thoughts, experiences, conversations and emotions disappear when we die? Art is able to fix all this on a canvas and, through color, make them immortal. The latest work, "Arrival" catapults us into the fascinating depths of the sea. Through a palette of vibrant colors in shades of blue, the artist captures the changing beauty of the waves and reveals the secrets hidden in the unknown depths. This work transports us into an unexplored world and invites us to reflect on the passing of time in nature and the wonders that lie beneath the seemingly unchanging surface. Each painting urges us to reflect on the different temporal dimensions and to face profound questions about our existence and the choices we make in the course of life. Through the communicative power of art Briwé has managed to capture the immateriality of time and reveal its many facets.

Art Curator Eleonora Varotto

Briwé

Augusta Treverorum

Briwé

Immortalis

caco

“It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover, to your surprise, that you have rendered something in its true character.”

(Camille Pissarro)

As a child, it was enough for Japanese artist caco to have paper and pencils to draw pictures and create imaginary characters and stories. Now, inspired by the real world, caco creates new ones through a digital pencil, each inhabited by different characters, with their own face, look and voice. It is as if the artist were making many self-portraits and portraits of the surrounding world, thus composing mosaics of life that intersect with each other. Caco draws the world with images that start from self-reflection and that open up a relationship with the other, thus proposing a multiple vision of the world and of what the human being is “There are various problems and troubles that we encounter in life and through my artistic activities, I am able to recognize the beauty and preciousness of the true nature of human beings”, caco explains With the drawings “A Flower Blooming in A Snowstorm Is Beautiful”, “A Literature Girl” and “The Parade of Life”, caco proposes a storytelling that is both reflective and vital, sensible and energetic The narrative that the drawings suggest makes them appear as different chapters from the same storybook, with a crescendo of positive emotions Starting with “A Flower Blooming in A Snowstorm Is Beautiful”, a young, blond girl is portrayed with her nose and cheeks red due to the cold Her hair is covered by the hood of her vest and her eyes have a sad yet almost hopeful gaze This hope travels in “A Literature Girl”, which caco describes as “the story of a girl who encounters literature that was supposed to be lost in the distant future”. Up on a hill, a girl with a mask on her face is portrayed reading a book. What transpires from this drawing is the message that nothing is completely lost, even those things that should have been so. “All the creatures on earth that have held on to life since time immemorial are like a grand parade” is how caco presents “The Parade of Life”. Here, young girls hold hands dancing a happy dance, accompanied by birds flying different trajectories. The sky is blue and smile is in their faces. It is a celebration of people and discoveries, a celebration of staying together even with differences, a hymn to life that gives opportunities, happiness and adventures.

Art Curator Martina Lattuca

caco

A Flower Blooming in A Snowstorm Is Beautiful

caco

A Literature Girl

caco

The Parade of Life

Candi Soul Sparkles

Candi Soul Sparkles is a young Icelandic artist, with various origins (a bit Irish, French, British). Candi Soul Sparkles combines color, shapes, lines with emotions, deep values of human interiority, energy, positivity. She is a very sensitive artist and her sensitivity shines through in her paintings. We see these characteristics very well in the works he brought to M.A.D.S. on the occasion of the exhibition "EMERGING", all three realized in 2023. A very recognizable technique blends with thoughts, reflections on consciousness and sensations. In "La finestra delle anime" Candi presents us a drawing of a beautiful and delicate pink in the center of a blue rhomboid shape; all around a vortex of soft white brushstrokes like clouds. It is the condition of the pure and fragile soul, beautiful but also delicate that emerges from our being to show itself to the real world, that emerges and blooms. The second painting by Candi, "Nelle profondità della dimensione trovami", is an invitation to discover the many facets and dimensions that surround each of us. In fact, the subject is a sketch of a face translated twice, superimposed and of different color on a background to spots of all the bright colors. We are made of multiple traits, all locked in us, that we must let out releasing the best, the color, the vitality, the joy. The last painting on display is "レ イ ヤ ー ズ・オ ブ・ザ・ド ラ ゴ

ン" Japanese name meaning "Layers Of The Dragon, I just released!": for Candi "The pink is very calm and delicately exquisite and the turquoise is super delicious with wild spirit vibes to me". It is a painting with the typical traits and colors of Japanese prints: there is a vortex of turquoise bands that vibrate, making us enter the painting arousing so much energy and strength. We can feel Candi’s desire to stimulate us to go out ourselves, to emerge, to explode at the most in the best version of ourselves.

"Often there are more shipwrecked things at the bottom of a soul than at the bottom of the sea." (Victor Hugo)

Art Curator Giulia Dellavalle

Candi Soul Sparkles

La finestra delle anime

Candi Soul Sparkles

Nelle profondità della dimensione trovami

Candi Soul Sparkles

David Bustos

Born in Oeanside, California, David Bustos relates the human experience in a direct way. This is why his art stimulates self-reflection and reflection on the major themes of human life The factor that arouses the most curiosity is his minimalist, primitive style of simplifying forms More than an artistic style, it is an artistic philosophy The figurativeness of the composition, objective reality takes a back seat and consciously gives space to inner reality, which is therefore not visible and cannot be traced back to known forms. Emotions, exactly as in David's works, only have a semblance of reality, but develop in an abstract manner. Hence the doodles, the patches of colour. The first work presented is called Internal Chaos, the work is a strongly felt attempt to seek identity through depiction and the impossibility of achieving it, which leads to adding elements intuitively. What remains, in the end, is a chaotic representation "Internal chaos is what you feel when you struggle with your inner demons. Getting lost and searching for a semblance of peace that has not yet been found, feeling frustrated, feeling emotions all over the place in an unstable environment" says the artist. Seas of Change presents a doubly three-part scenario, as if each space were a necessary and indispensable step in the creation of the others, a kind of evolution "Seas of Change represents the crossing of life's obstacles. Before moving forward, it is necessary to embrace the intense waves that swirl around us and make us feel bad After all is said and done, a sense of calm breaks through, shedding light on you and signalling hope that better things are on the way" Poetic is the work Unsure of How to Feel, it hits the nail right on the head, the artist states "When you are left alone with your thoughts and emotions developed by traumatic events, you feel lost and don't know how to feel. Everything around you does not matter; you start to lose sight of who you are, wondering if your experiences are valid. Thus, you put on a mask to make yourself seen by the outside world, while deep inside, your world falls apart and you feel broken".

Art Curator Mara Cipriano

“Art to me is freedom of expression; letting your mind roam free on an endless adventure of creativity.” (David Bustos)

David Bustos

Internal Chaos

David Bustos

Seas of Change

David Bustos

Unsure of How to Feel

Dziuginta Didziokaite

“As I work at my drawings, day after day, what seemed unattainable before is now gradually becoming possible. Slowly, I’m learning to observe and measure. I don’t stand quite so helpless before nature any longer.” (Vincent

van Gogh)

The works of artist Dziuginta Didziokaite are fully contemporary. Indeed, they tell of emotions and events experienced and experienced by everyone. Whoever looks at one of her paintings cannot help but empathize with the depth of a gaze or a landscape. An activity, then, that takes on a strictly representational value, an art that records and proposes how it should be considered. For Dziuginta Didziokaite, each painting has its own story, concrete, real or fantastic characteristics that make it unique. Her art helps to rethink feelings that are resolved in matter. In each canvas one finds the noumenon of feeling, one finds the sacred aura with due proportion, in the profound simplicity of human feeling that matter shapes on the surface of the painting. Feeling, reality and depth are Dziuginta's three lines of action, guiding the viewer on a delicate journey with undefined boundaries. The subject of her paintings are moments, which are gathered into snapshots destined to become eternal; extracted from the course of history, they portray life and its forms at that particular moment.

Dziuginta Didziokaite

In this way, the artis eliminates the superfluous and ephemeral to focus only on what really interests her: feeling. All this is often seasoned with faint traces of context, previously removed with chiseling care. Flashes of damp skies or trampled sands support the singularity of human delicacy. Her subjects can be interpreted from a dual relative perspective. While time in its threefold facet conditions the subject, it is the artist herself who chooses the type of intervention. Her paintings report this dual choice by fixing on paper something that flows, 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, that is resolved by bringing back the lived without compromising the form and substance of the paintings. Magini presents us with the real and the human as this actually manifests itself, without forgetting its origin.

Art Curator Giulia Fontanesi

Dziuginta Didziokaite

Ayscoughfee Gardens Lake

Dziuginta Didziokaite

My Birthday Card

Eiji Ishikawa

In traditional Japanese aesthetics, wabi-sabi (侘寂) is a worldview centered on the acceptance of transience and imperfection. Wabi-sabi, rooted in Zen Buddhism recognizes three simple realities or signs of existence (三法印, sanbōin), namely that: nothing is eternal, all things are imperfect, and all things are incomplete. The characteristics of wabi-sabi aesthetics and principles therefore include and celebrate the pleasure of simplicity, intimacy, asymmetry, roughness, economy, conservation, modesty, and appreciation of both natural objects and the forces of nature In complete contrast to classical Western aesthetic ideals of beauty and perfection, symmetry and finesse, wabi-sabi is instead harsh and realistic: nothing lingers, nothing is perfect What wabi-sabi teaches is that by accepting imperfection, one is able to get closer to the "true essence" of the object, rendering all embellishments futile, valuing the unique properties of its experience, understanding that everything inherently has imperfections. No two pieces of wood, steel or stone are and never will be identical. Looking at Eiji Ishikawa's works, there is no perfection, no symmetry, and not even prescribed and canonical formal and aesthetic rules. What our eyes see are clusters of matter, pure and saturated pigments thrown on the support, scratches, crumbles and cracks. Absolute perfection is not contemplated and yet, we are fascinated by the matter that thickens and then thins, by the pigment that changes color as if it were the product of a chemical reaction Observing "Agartha" one gets precisely this impression A bluish green color illuminates our gaze It is clear, clear, almost glassy in its essence. Millennial ice about to melt. At a certain point, the crisp turquoise expanse breaks. Around it, brown reliefs. Burnt earth obscuring the glassy texture. Brown patches of pigment and matter pile on top of each other until they form real reliefs surrounding the azure. Like an atoll in a tropical sea, the burnished belt envelops the turquoise clarity. Yet, there is something, a level of understanding of the work that we have yet to grasp. Something that escapes our minds, convinced of the immutability of things and the rigidity of the theories that determine our existence. The conformation of the work is a clear reference to its title, "Agartha," which is nothing but a legendary realm that would be found within the Earth, described in the works of various writers including Willis George Emerson Home to the mythical king of the world, fabled Agartha is linked to the Hollow Earth theory and is a popular subject in esotericism. In this work its conformation is taken up, and there is a sense that the physiognomy of the work-and of the realm-is the final outcome of his mind's wanderings among various states of consciousness. The final outcome of the work is the end of this journey and, all the layers of which it is composed, the color overlays and the relief material are irrefutable proof that, that work had a gestation thought out, taken up, reworked and modified over and over again It is obvious that the artist, does not want to focus on the outcome of the creation, the latter is a side effect of the creative process that unabashedly invests Eiji producing works with rough and scratchy outcomes, almost corporeal and carnal in their materiality. Imperfect examples of a thought in motion.

Art Curator Lisa Galletti

Eiji Ishikawa

Eiji Ishikawa

Dask Haze Hunk

Eiji Ishikawa

Eiji Ishikawa

Eiji Ishikawa

Vanity wall

Elisabetta Borgognoni

Colorful, powerful, energetic and dynamic are the three paintings of the artist Elisabetta Borgognoni. As the title of the exhibition in which they are exhibited indicate, the scenes present the ’merge’ of colors and, so of the emotions themselves. Elisabetta has created three paintings whose titles perfectly represent their meanings: ‘Blu’; ‘Freedom’; ‘Sirene’. The artist’s ability in giving voice and representation to the subjects she imagines is visible in the giving of the colors and their way of occupying the canvas. Soft and free in their movements the colors create some abstract forms that remind the subject they refer to. Looking attentively to the pieces, it is possible to see the different artistic techniques Elisabetta uses in her creations. Cold and hot colors reunited give voice to a lot of emotions that emerge from the artist’s herself and meet the viewers changing following the feelings of each of them. The white space in fact, can be read as the empty space that each of us can fill with its ideas and abstract emotions.

Art Curator Martina Stagi

Elisabetta Borgognoni

Elisabetta Borgognoni

Elisabetta Borgognoni

Sirene

George Johnston

George Johnston is a contemporary artist originally from Glasgow, Scotland. In the "Peloton Abstract" project, carried out over a period of time ranging from September 2022 to May 2023, George has combined two of his great passions: painting and sport, creating canvases that depict the different moments of the cycling race. The decision to celebrate cycling as a moment of social inclusion and collective celebration is also partly linked to an important sporting event to be held in Glasgow from 5 to 13 August 2023: the UCI Road World Championships. The paintings in the "Peloton Abstract" series examine the different stages of the cycling race separately, presenting them both individually, as photographic fragments of incredible immediacy, and as a whole, a sequence of interconnected images, a real figurative narration. The bodies of the cyclists, the surrounding landscape, the road they travel along, dissolve into abstract shapes, into bright and lively color spots. George abandons drawing, the rigid cage of perspective and pre-set compositions, favoring the free combination of colors, spread in large backgrounds; by eliminating the superficial details, he completes the process of abstraction and simplification of the subject, giving maximum prominence to the immediacy of the scene. In "Breakaway" two cyclists seen from behind are represented, detached from the group after a sprint. The figures are placed in an urban landscape just outlined by free and fast brushstrokes, with a horizontal and vertical trend. The abstraction of the subject through the process of simplification and fragmentation is even more evident in "Pelotón" and "Climb". No element of the environment is any longer recognizable. The cyclists' bodies merge into a chaos of shapes and colors, which communicates the speed and energy of the moment. Completely different from the previous artworks is "Chase". The fragmentation disappears, however the simplification of the subject and the scene remains, divided into overlapping horizontal bands of different thicknesses. In "Cabeza de Carrera" the fragmentation of the figures and the use of splashes of color return. In the foreground are the three leading cyclists, slightly spaced from each other, whose figures are built with small spots of bright color; behind them the other cyclists, an indistinct mass of colors bounded by the green of the vegetation. Looking at these canvases, one perceives the rhythm, energy, speed, excitement, chaos and stress that characterizes a single fraction of a second of a bicycle race.

Art Curator Vincenza Ursillo

George Johnston

Breakaway

George Johnston

George Johnston

George Johnston

Chase

George Johnston

Cabeza de Carrera

Greta Schnall

Greta Schnall is a digital artist, and in the "EMERGING" exhibition, she presents two artworks: "Yellow Apartments World" and "Bunte Fensterphantasie." Schnall's "Yellow Apartments World" is an extraordinary example of how digital art can combine different techniques to create a fascinating visual experience. Architectural photography serves as the base, but it undergoes digital processing to create a unique artwork. The artist explained that the piece aims to represent a connection between simple architectural structures and a futuristic movement. The predominance of the color yellow throughout the artwork is a striking element. Yellow stands out and immediately grabs the viewer's attention. The bold use of yellow creates a sense of vitality and brightness in the artwork, which in turn conveys a feeling of energy and movement. The color yellow is evident throughout the piece, both in uniform tones and in lighter or darker shades. The overall effect is that of a grid where yellow, yellow nuances, and black alternate horizontally and vertically, creating a captivating visual structure.

Greta Schnall

The artwork "Bunte Fensterphantasie" explores another connection between architecture and futuristic movement but through a geometric and emotionally rich approach. In this piece, the artist uses colors such as black, purple, green, and shades of white and orange to create a complex and engaging visual effect. The geometric arrangement of shapes and colors generates a sense of dynamism and depth in the artwork. The architectural elements almost come to life and move in space, conveying a sense of movement and vitality.Both of Greta Schnall's artworks presented at the "EMERGING" exhibition showcase her mastery of digital techniques and her ability to create connections between architecture and futuristic movement. The artworks capture attention with their bold use of color and intricate composition. Schnall creates an immersive visual experience that invites the viewer to explore the connections between form, color, and movement. Her work demonstrates great emotional and conceptual depth, offering the audience an opportunity to reflect on the intersections between the simplicity of everyday life and the futuristic vision of the world.

Art Curator Martina Viesti

Greta Schnall

Yellow Apartments World

Greta Schnall

Bunte Fensterphantasie

Hasegawa Masaaki

Through painting, artists can explore fantastic, surreal or abstract worlds that can go beyond the limitations of physical reality. They can create imaginary landscapes, fantastical creatures, dreamlike atmospheres and unique settings. Painting allows them to express and bring to life concepts, emotions, and visions that can challenge the norms and conventions of the real world In addition, painting can also depict inner worlds, emotions, and moods that are not easily represented by words or other artistic means. Artists can use painting as a form of personal exploration and communication, creating works that reflect the complexity of the human mind and inner experiences. Painting offers artists the freedom to experiment and invent, to combine different elements and to transform reality in unique ways. Through their creativity, artists can bring to life imaginary worlds that offer new perspectives, inspiration and possibilities for exploration for both themselves and the viewing public.

Hasegawa Masaaki

combines art's ability to express emotions through images with the merit of constructing new worlds and new realities Solid universes, characterized by large flat backgrounds juxtaposed side by side What the artist achieves are flashes of vivid new realities characterized by vibrant colors. Yet, these new universes cannot be materially touched. They cannot be experienced and perceived. Rather, these representations of new worlds are the visual reproduction of concepts that are difficult to explain in words or deeds. And, to Masaaki's rescue comes art, which, with its inherent expressiveness and endless color possibilities, helps the artist express what verbally is not possible. And so it is that in " 快 感 , " a moment is depicted, an instant during which a pleasant feeling is experienced. Indeed, it is hard to explain this concept in words, and yet, through art, its meaning becomes immediate Long parallelepipeds are arranged in a radial pattern and are coming toward us They all converge at a single point that is almost in the center of the work The movement, triggered by the perspective that Masaaki implements within the composition, the use of solid and opaque red and yellow pigments, help to create this pleasurable sensation that literally invests us, obscuring for a single moment our contact with the rest of the world. Painting is called to the service of representing abstract elements, sensations, and perceptions, and "破壊" is perhaps the most striking example. There are many examples of destruction. In fact, they are endless. There are powerful and blatant destructions, while others are silent. Still others are so severe and destructive as to be almost impossible to imagine Here, too, the word does not come to our rescue to explain such a varied and richly nuanced term But Masaaki, through art, gives us the purest and simplest representation of destruction through the pure use of color and form. Geometric shapes pile on top of each other, resembling the outlines of a city. Everything seems normal, everything seems peaceful. Yet, we glimpse a gash. The left corner of the composition is torn and gives a glimpse of the once colorful parallelepiped silhouettes. Now, everything is monochromatic, everything is black and white. Only the skeletons of what could previously be considered "life" remain. Masaaki appeals to painting to explore what is difficult to explain with other languages, managing to create direct, precise works with great expressive impact.

Art Curator Lisa Galletti

Hasegawa Masaaki

Hasegawa Masaaki

Hasegawa Masaaki

Johanna Karvonen

Johanna Karvonen is a Finnish contemporary artist living in Italy. Her artistic research refers to both figurative and abstract imagery, investigating introspection through varied expressiveness. On the occasion of the "EMERGING" exhibition, the artist presents three works ("Morire un po'", "Speranza", "Tempesta"), each of them realised with different styles and techniques. In the work " Tempesta" we notice a strong influence from the Romanticism of the late 18th and early 19th century, where nature becomes a supreme force, which incites both horror and wonder, and the concept of the sublime takes shape before our eyes, in a charged and dense thunderstorm that advances obscuring the sky. "Speranza", on the other hand, encapsulates, in an abstract language close to the spiritual quest of Color Field, what the artist considers life to be, an often obscure and intricate path, where the inevitability of pain conceals the beauty of a golden line, of a luminous trace that always accompanies our journey. "'Morire un po'" is instead an example of the portraiture style adopted by the artist, where the dynamism of the brushstrokes almost completely absorbs the subject, annihilating it, and leading the observer into a distant universe, where matter dissolves. Johanna Karvonen manipulates colour and our own emotions through the multifaceted play of the senses and the intermediation of visual perception to reach the intimacy of each of us. In front of her oil on canvas paintings, our observation widens to silence, leaving the soul to lose itself in the senses, which reveal the artist's supreme intimacy and her mastery of the canvas.

Art Curator Francesca Brunello

“The only journey is the one within.” (Rainer Maria Rilke)

Johanna Karvonen

Johanna Karvonen

Speranza

Johanna Karvonen

Justin Chan

On the occasion of the new exhibition organized by M A D S Art Gallery, "EMERGING", the photographer Justin Chan exhibits six arworks Emerging is whoever meets and collides with reality, who takes risks and struggles to be different And it is also those who support all this: those who, through a great wealth of languages and techniques, research and promote a new wideranging creative tension, intimate, authentic and open to an artistic context in full swing. "NIRVANA", the final goal of Buddhism:the transcendent state in which there is neither suffering, desire, nor sense of self, and the subject is released from the effects of karma and the cycle of death and rebirth. In this artwork, we really have the feeling of a harmonious peace of mind, with these overlapping circles and placed side by side with a glitch effect that stretches over a background of colored pixels "D HUNGRY EYE" has as protagonist an eye that describes our constant observations of the world around us: a mosaic, a set of pieces that copongono a puzzle variegated and colorful. It’s amazing how Justin Chan can give the eye an angry, suspicious, careful look.

Justin Chan

"ROCK ON" shows the performance of a rock musican on stage: observing the artwork, we seem to perceive the rhythm, the movement and the sound The concept is rendered through an element like water, in its most imposing, impetuous and destructive version: the wave. "HIGHER GROUND" takes on a more abstract role, showing a different world we can see with our mind’s eyes. An alternation between more smoky halos and more defined lines and squares characterizes the artwork, with colors ranging from pink to blue, using black to emphasize some shapes. "COME AWAY WITH ME" shows the invitation to a higher stage. It looks like an invitation, framed in a postcard that, under the colorful hexagons, reveals a beautiful seascape. The water that arrives on the shore of the beach breaks the artwork, with a frothy, oblique line, as if it were coming out of its extraordinary half to get to the other half and break the patterns The circle closes with a break, the most unforgettable, the most painful, depicting the hurt inside from the lost of one’s 1st love. "D 1ST CUT" comes with colors that reflect those of our anatomy and subjects that look like arteries. The artist Justin Chan manages to present six works linked to a common thread: the emergence of something - joyful, unexpected, painful, powerful, angry, harmonious - that will never be able to leave us indifferent.

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

Justin Chan

D HUNGRY EYE

Justin Chan

ROCK ON

Justin Chan

HIGHER GROUND

Justin Chan

COME AWAY WITH ME

Justin Chan

Karolina Iljinaité

Karolina Iljinaité is a young artist who has found herself in art. Her artistic process starts from listening to chaos and accepting the coexistence of reality and fantasy, without any kind of limitation. Karolina loves to experiment and is constantly looking for new ways to paint, to express herself. She does not limit herself to one artistic medium, but explores other possibilities, wandering with her imagination and indulging in creativity. Her creations are characterised by a combination of figurative and abstract elements, which blend harmoniously to create a unique visual narrative. One of the most distinctive qualities of Karolina's artworks is her skill in using colours. Her palette is rich and vibrant, with shades ranging from warm, earthy tones to bright, vivid colours. This choice of colour gives her works a vibrancy and energy that captures the viewer's eye and creates a feeling of vitality. Moreover, the artist's works display an emotional depth and a sense of introspection. Her subjects, often portraits or human figures, are depicted with extraordinary sensitivity. The artist manages to capture the emotions and nuances of the human soul through his delicate strokes and skilful use of shadows and light. Her paintings invite the viewer to reflect on their inner selves and the connections that bind us to the world around us. Karolina Iljinaitė is a very talented artist. Her ability to create works that enchant the viewer with their beauty and depth is remarkable. Her work 'Believers' is very meaningful and impactful. The artist addresses all believers, transcending the religious aspect. Everyone, all human beings are believers, they have hope in something. There are those who believe in art, those who believe in magical worlds, those who believe in the future. Hope is what makes us live, it is that strength that spurs us on, to face every challenge that life throws at us. Karolina creates a contemporary artwork, with graphic strokes and bright colours that immediately impress the viewer. The artist pushes man out of his comfort zone, at the same time giving him hope, reminding him to keep believing in something because it will always be worth it.

Art Curator Ilaria Falchetti

Karolina Iljinaitė

Believers

Keiko Ahner

Art has the ability to create new worlds and new universes that often, are incompatible with our everyday seeing and feeling. Sometimes, the worlds it creates are so fleeting and and ethereal that they are likened to pure clusters of energy swirling within space. There is no longer low and high or even the horizon line. There are not even human beings and all elements traceable to the world of reality. Matter becomes air, particles accumulate forming clusters but their bonds are tenuous, weak, gaseous. At other times, the reality represented is ascribable to what we see and yet, there are elements of novelty, subjects we have never seen in our daily lives that take over becoming the protagonists of entire cycles of works The representational possibilities of art are thus infinite and inevitably and unequivocally reflect the creative spark that stirs the artist's entire soul. Keiko Ahner organizes her artistic production between labile atmospheres and unusual subjects, between colors that blend together and black lines that concretely demarcate the contours of figures. On the one hand, there is the pure expressive energy, conveyed in the form of pigment that stands out on the canvas with chromatic and compositional mastery; on the other hand, the realization of episodes starring Wasshoi aliens, beings so dear to the artist, repeatedly represented and paid homage during her artistic work. In "Happy Birthday, Wasshoi Alien," a depiction characterized by pinkish and bluish tones welcomes within it the representation of a birthday, and the protagonists are precisely our alien friends. Aliens in humanoid form who, like us humans celebrate birthdays by carrying gifts and offerings in their hands to the birthday boy. They are similar to us but so profoundly different. Human beings are by nature prone to despondency, to passive living through life events, to blaming fate for mourning and great disasters that have marked their existence Wasshoi aliens do not contemplate these emotions Or rather, they understand them and take on our problems, but inside them, inside those humanoid-shaped little white bodies shines the hope and desire for a bright future.

Keiko Ahner

They are among us, watching us, following us and comforting us, like a mother consoling her child after a bad fall. They are the formal representation of the hope that human beings need to find again, they are the spark of light that shines in the bottom of the abyss that is difficult to climb back up. We need not be afraid they are our friends, and Keiko's pictorial representations vividly demonstrate this White bodies surrounded by stark black lines are placed in festive settings, in celebrations and festivals, moments when joy can be felt in the air and vibrates in the multitude of compositional elements that make up these works. But, as we mentioned earlier, Keiko's production does not stop at the depiction and pictorial homage of aliens. The artist produces works with a more abstract flavor that are extremely expressive and interesting. If the Wasshoi aliens depicted joy and hope, the more abstract works represent pure feeling and emotion, having positive or negative meaning, residing in the human soul. In "Burning Thoughts," the air seems to be seething. It is hot and our limbs are enveloped in a feeling of warmth that at times could burn our skin. Inside the artist's soul is fire, there is agitation, and this work translates the feeling through image. Large whitish globes get dirty and are absorbed by a red backdrop, characterized by lines, scratches and heterogeneous elements that fit within its structure. One gets the feeling that this work, made of steam and gas, is in perpetual, slow motion. The artist represents a moment of the human soul moved by disruptive and fiery feelings, by burning sensations teeming with life. Keiko's art, as we have seen, lies between two worlds and between two different modes of representation, but the cornerstone of her artistic work is always the same: the depiction of the characteristics of the human soul, its frailties, its joys, its doubts, and the resolution to the latter in order to soothe and calm, at least for a moment, our souls.

Art Curator Lisa Galletti

Keiko Ahner

Burning Thoughts

Keiko Ahner

Feelings hidden inside

Keiko Ahner

Happy Birthday, Wasshoi Alien

Keiko Ahner

Hello from the Mountain of the Gods

Keiko Ahner

The Sound of Life

Keiko Ahner

Wasshoi Aliens go to Takachiho

Kitaya Eri

Collage is an art technique of assembling different materials, such as newspaper clippings, textiles, photographs, paper, found objects, and more, to create a work of art This art form emerged during the 20th century and has its roots in the artistic avant-gardes of the period The earliest experiments with collage date back to the early 20th century, but it was the Dadaist movement, which emerged during World War I, that contributed significantly to its popularity. The Dadaists, including artists such as Marcel Duchamp, Hannah Höch and Kurt Schwitters, used collage to challenge existing artistic traditions and to express their disgust with the society and culture of the time. The Dadaists often used newspaper clippings, photographs and found objects to create provocative and ironic compositions. In recent decades, collage has continued to evolve and adapt to new technologies and digital media. With the advent of computers and editing software, digital collage has become increasingly popular, allowing artists to experiment with a wide range of materials and techniques. Today, collage is a popular art form and continues to be used by many contemporary artists to express ideas, emotions, and concepts in creative and innovative ways. Its versatile nature and its ability to combine disparate elements offer endless expressive possibilities. And it is precisely this last element that is perhaps the most fascinating feature inherent in the collage technique. Indeed, through the latter, one has the possibility of creating new worlds within which the canonical rules of space-time do not exist and the elements of reality lose their connotation and everyday use to be reformulated as real objects that are part of an ecosystem The transition between objects having a purpose to semiophore objects is particularly evident in "Inside the donut there is wonderland." We find ourselves below the surface of the sea. The shiluette of waves peeps out at the top of the painting. The perpetual movement of the sea produces expressive outcomes reminiscent of the soft lines of storm clouds. All around, small globular light elements are clues to a light source that, while making its presence felt, is hidden from our view. And in the middle? In the middle of the work we find a girl in a T-shirt and jeans diving into a column of glazed doughnuts. What are we observing? Is this reality? No. The point of the work is to detach ourselves from the intrinsic purpose of the depicted elements to literally take a leap into the fantastic, a journey where everything we think is possible. And so it is that Eri invites us to dive inside the donut castle as well, showing us the way and reassuring us that, having crossed the threshold of the hole, there will be a fantasy world waiting for us. All of this is true and plausible. We are inside a collage: the rules of our world are now completely useless. Let us fall between the doughnuts and make this journey into the fantastic.

Art Curator Lisa Galletti

Kitaya Eri

Kurisuverse

“Art is a form of liberation through which we express feelings that generate emotions to those who observe it. It empowers us to keep fighting for our dreams and hopes. It inspires us and brings peace of mind.”

(Kurisuverse)

Dreams and hopes are the engine of life itself, because they guide people to the different places they want to reach. Moreover, these elements, such as art, reflect a free soul able to think, feel, desire and express; able to emerge breaking with clichés and what is expected. In this exhibition, Kurisuverse, a Spanish digital artist, shows through her artworks her ability to do so and her creative work. At the same time, a real connection between the spontaneity that follows the intuition and a meditated process is presented. This reflects the authenticity of the artist and her art, which is a great example of freedom and emergence. Each of her artworks is unique, in them there is a highlight of vivid colors, beauty, aesthetic and nature, of the way in which from one shape or image arises another one revealing what has to be seen. The depth of her art leads to a detailed contemplation in order to appreciate it in its entirety. Kurisuverse's artworks present an explosion of colors, light, ideas and emotions which carries to a pleasant inner journey. As a result, they generate an aesthetic enjoyment full of dynamism, creativity and knowledge which allows to live diverse experiences and discoveries, a full liberation.

Art Curator Liliana Sánchez

Lidia Dale-Mesaros

The Wolf is an ancient symbol that appears in various mythological stories from different cultures. In modern shamanic practice as well as among many tribal and ancient cultures, the Wolf symbolically and energetically embodies the Guide, the Master, the Teacher. For example, in Indian tradition it is related to the star Sirius in the constellation Leo, from which, according to the legend, the masters of antiquity came. It is one of the most fascinating mythological symbols as well as bivalent, precisely because of its being both instinct and reason. In the artistic research of Lidia Dale-Mesaros, a contemporary artist currently based in America, the wolf is the pivotal subject, portrayed and studied in its deepest aspects. From an expressive point of view, the works are made with acrylic colours and the surface of the canvas is reshaped by hand, creating textures, reminiscent of the frozen surface of a lake. The expressive approach is therefore influenced by the research carried out by the expressionist avant-garde of the first two decades of the 20th century, with the intention of freeing herself from the canons of expression in order to freely show her own experience. Lidia Dale-Mesaros chooses to represent the wolf in order to get in touch with herself and tell the observer about the power and energy that connection with this creature can give. In fact, the first contact with the wolf occurs for the artist precisely in her daily work, where she has the opportunity to interweave a real relationship, only later to bring it back into her art. The artist opens herself up to an energetic exchange with the ancestral, allowing herself to be pervaded by the magnificence of Nature.

Art Curator Francesca Brunello

“In all things of nature there is something of the marvelous.” (Aristotle)

Lidia Dale-Mesaros

Cleansing Breath

Lidia Dale-Mesaros

Dream Chasers

Lidia Dale-Mesaros

She Wolf.

Marco Cardinali

Color that becomes matter, words that become images, emotions that become signs and shapes: this is the power and magic of art, in all its forms. Art leads us to always look towards new worlds, to go further and to look at the world with always new eyes. In his works the artist Marco Cardinali pushes himself and us beyond our limit through the expressive form of abstract art. In fact, according to the artist, abstract art allows us to express the concept of horizon, of a limit to overcome, to push us to discover new emotions. Approaching the end of something inevitably leads us to push ourselves towards the discovery of something new, unexpected, which may initially be frightening, but which certainly stimulates new emotions in us. It is precisely these new, unprecedented, often unexpected emotions that we are confronted with when observing Marco's works. The works presented here are an example of the many facets of his art. For the artist, poetry is also a very powerful means of expression that opens the way to new visions and in the work Forze ascensionali (Gerardo Dottori, 1919) he puts these two overwhelming artistic forms into dialogue. In this work, the words of the poem entitled Forze ascensional by Gerardo Dottori come to life through the shapes, colors and different materials of the artist's hand, not representing the images that these words evoke in the mind, but the emotions they arouse and the moods they cause. Then, in the work No Pressure, No Diamonds the fulcrum of the work is the message itself, around which a whole world of symbols, colours, movement and energy is generated. Symbols of everyday life manage to make color and matter vibrate, letting us enter the artist's flow of thoughts. The color takes shape, the words come alive. Finally in The Portal, Marco faces a new beginning, a door to the world that he is imagining, but towards which he wants to lead us, accompany us. In this work the energy and strength of the color combined with the dynamism of the lines and movement is nothing short of overwhelming: we feel sucked right into the center of the work, ready to enter a world that is still unknown, but which inevitably draws to itself and arouses in us a lively irresistible curiosity. We leave behind the frenzy of life to abandon ourselves to something that is there waiting for us. In Marco's works, one of the stylistic traits is that of creating compositions that trigger in the mind of the observer the desire to take a journey through the work, a desire to investigate further, a desire to understand what seems unknown.

Art Curator Silvia Grassi

Marco Cardinali

Forze ascensionali (Gerardo Dottori, 1919)

Marco Cardinali

Marco Cardinali

The Portal

Maryam Fardinard

Maryam Fardinfard, an Iranian artist residing in Dubai, showcases six realistic artworks in the exhibition "EMERGING." Her works are poetic and contemplative, capable of transporting the viewer to another emotional dimension. "Daydreamer" is a portrait of a feline created with Pitt pastel pencils. The vibrant colors and captivating atmosphere capture the viewer's attention, while the well-calibrated lights and shadows make the animal's eyes luminous. The animal emerges through the perfect calibration of lights and shadows, giving its gaze an aura of mystery. The choice of colors and the positioning of the animal can evoke the concept of hidden freedom and power. "Nostalgia" depicts a still life with darker tones and a suspended atmosphere. An overturned basket of vegetables, a dark bottle, an amphora, and oranges, some whole and others peeled, compose the artwork. These elements can symbolize the fragility of human existence, the ephemeral nature of life, and the passage of time. "November" captures an autumn landscape with shades of orange, yellow, and brown. The mountainous scenery with the river in the foreground conveys tranquility and a connection with nature. The autumnal colors symbolize the transition and transformation of life, inviting the observer to reflect on the perpetual cycle of birth and death. "Portrait of a Hunter" is a portrait of an eagle against a black background.

Maryam Fardinard

Despite being isolated from its environment, the artwork conveys calmness and grandeur. The eagle, with its free spirit and proud gaze, may represent inner strength and the desire to overcome challenges. "The Beauty" presents a vibrant portrait of a horse in motion. The colors are bright, and the horse's coat is depicted to appear glossy. The horse, a symbol of freedom and power, may represent the pursuit of beauty and harmony in action and movement. "The Smell of Grandma" is another still life that includes elements such as a grain sieve, wheat stalks, a wooden crate, a knife, hazelnuts, and a pitcher. The artwork evokes an atmosphere of tradition and familial memories, with the depicted elements evoking the warmth of the past and the traditions passed down through generations. The artwork can symbolize memory, nourishment, and connection to our roots. Through these realistic artworks, Maryam Fardinfard demonstrates her technical skill and attention to detail. Each artwork has a unique narrative that captures the essence of an animal, the serenity of nature, or the symbolism within still life. Fardinfard's ability to convey emotions and stories through her art is fascinating, making her an artist to follow as she continues to emerge in the art world.

Art Curator Martina Viesti

Maryam Fardinard

Daydreamer

Maryam Fardinard

Nostalgia

Maryam Fardinard

November

Maryam Fardinard

Portrait of a hunter

Maryam Fardinard

The beauty

Maryam Fardinard

The smell of Grandma

Mika

Color is matter subjected to the artist's consciousness. Each painting is a mass shaped by the author down to the deepest structure of atoms, and beyond quarks. When a painter can truly express his subtlest reality, he can transfer it into the color mass by entanglement between the particles. By manipulating matter, he transmits to it an "imprinting" that can stimulate in the observer an expansion of consciousness. If an artist is able to lead a being to the soul, it will produce a very precise "alignment" of the spin of the quarks in the core of the color-mass; for this reason it is important that the underlying matter (whether sand, earth or otherwise) is something the painter has touched and experienced. Mika takes the concept of color matter in stride and elaborates it extensively within her artistic production, giving the latter multiple faces, multiple expressive outcomes At times, the matter becomes delicate and hides its thick presence through its spreading in large strokes characterized by muted colorations At other times, the material is not ashamed to show itself in its most intimate essence. It uncovers itself of all its embellishments and superfluous features to offer the viewer its true essence. This is what happens in "My Shell." A blanket of thick, congealed pigment stands out before our gaze. Our mind wanders in search of visual associations and what comes to mind are snake skin, barren earth and an impenetrable shell. All three elements have in common the concept of a shell: the snake uses scales to protect its soft body and occasionally moults to renew its skin. Arid land is often characterized by clods of clay soil that are not very prone to water penetration. A true hydrophobic shield. For this very reason, cuts and divisions form on its surface: the earth needs water, and if it does not get it, it crumbles. And then, the impenetrable shell, which, as the word suggests, is a real envelope designed to protect something precious. The visual associations made by our mind are all correct. In "My shell" it is possible to be traced back to the concept of impenetrable armor, to a shell that has been formed over years and still continues to change, becoming thicker as time passes It is Mika's shell, it is the shell that protects her soul, molded over the vicissitudes of her life, the weather and storms that have characterized her existence The shell, cracked and not perfect, is the testimony that has parried so many blows, protecting the artist from what life, of course, poses to us as challenges. Greenish hues are juxtaposed, blending, with lighter and browner shades as if the colors gradually represent different layers that then go on to oxidize with time. Mika uses the material and molds it to her liking, producing works with unprecedented outcomes that can be perceived with both the eyes and the sense of touch, to best savor the artist's individuality.

Art Curator Lisa Galletti

Mika

Mika

Heal my mind

Mika

My shell

Nappi

Visual thinking is the ability to organize by means of images our feelings, thoughts and perceptions about the world around us. We often use visual hooks in our daily lives to refer to people and things We all know the phrase "a picture is worth a thousand words," or sayings about colors, such as, "green with envy," "black humor," or "pink vision " We define the world, for the most part, by visual descriptions; we think in images, often using them to represent ideas and feelings. Jung, whose interest in visual symbols in dreams and art is well known, emphasized the importance of images in a "therapeutic path." He observed that by allowing a state of mind to be embodied in a dream or artistic image, one understands it more clearly and deeply by experiencing the emotions contained therein. In recent years it has been discovered that traumatic experiences are often encoded in the mind in the form of images, and it is quite natural for these memories to resurface as visual images Art then becomes a unique tool for expressing traumatic images, bringing them back to consciousness in a less threatening way We have all experienced that certain experiences and emotions are difficult or impossible to express in words. Through art, people are encouraged to express what they cannot put into words through drawing and painting. art has the ability to express feelings and emotions that can often be difficult to describe with words. While verbal language may be limited in its ability to communicate the intensity and complexity of human emotional experiences, art offers a different and more intuitive means of conveying such feelings. In many cases, art has been used as a way to explore and address complex feelings such as grief, sadness, joy, or love. Artists can convey their inner selves and share their most intimate emotional experiences with the public through artistic creation Nappi, uses art and its characteristics as a veritable alphabet capable of formulating words, sentences and concepts through color and sign The amount of interiority that the artist has injected into her works is palpable, and sometimes, when looking at her works, one has the feeling of looking inside a person's soul. Prominent in this case is "No 1," a work that, as we look at her, she looks at us. Above an expanse of blue, blue and acid green chromatic spots, two eyes stand up. They are wide-open, enigmatic eyes, with dilated pupils and eyelashes that look like veins and blood vessels. They are eyes that stare at us, scrutinize us, look into ourselves with disarming ease. They are eyes that have no eyelids and do not lose eye contact with what they are looking at They are there, and their task is to stare forever at whoever is looking at them Nappi throws her feelings, her emotions and her experience back into the work, managing to create, with the force of saturated color and form, disruptive and even distressing sensations in the soul of the viewer, sensations that words could never translate truthfully. Through art, Nappi accomplishes a catharsis, cleansing herself of her traumas, offering us observers a piece of her experience by creating a connection through the language of images.

Art Curator Lisa Galletti

Nappi

Nappi

Nappi

Natsuyo Takahashi

“I wanted to consider the balance between respect for the individual and of the society in which I live from the act of ‘gathering’”, artist Natsuyo Takahashi says about her art. The action of gathering is key in Natsuyo’s works in both concept and style. By working on a series of ‘TYPE’, the artist performs experiments that aim at unifying the individual and the social, the personal and the universal, without losing her stylistic identity. Natsuyo works with acrylic plates and silkscreen prints, by inserting words and geometric shapes on blank backgrounds. In her works, she makes use of the kanji: Chinese characters that, assembled together, create words that have the meaning of the kanji itself. Such acrylic panels are then layered so to obtain a certain tridimensionality The words that Natsuyo chooses are words that everyone sees and hears in their daily life, such as ‘life’ and ‘love’ The works “Chill Out , Go Out , Hang Out”, “episode type016” and “私 -me-” present this feature, experimented in different sizes, shapes and colours. Although words and letters are the main pattern of Natsuyo's artistic activity, the universality of their meaning becomes secondary, as they need to be understood as conveyors of feelings. This is how a change in font, typeface or colour attempts to let different individualities emerge, showing their thoughts, tastes and personality. If, on the one hand, Natsuyo enjoys creating in a completely experimental way, energetic works of art that become a mixture of words and colours; on the other hand, she places food for thought on the revaluation of the individual, personal expression and the subjectivity of reality amid a social gathering. What transpires in Natsuyo’s experimental works is the representation of a multitude of different consciousnesses that live together.

Art Curator Martina Lattuca

Natsuyo Takahashi

Chill Out , Go Out , Hang Out

Natsuyo Takahashi

episode type-016

Natsuyo Takahashi

私 -me-

Nicholas P. Kozis

Nicholas Kozis is an artist who is able to constantly surprise. His versatility in his choice of subjects is remarkable, as is the painting technique he uses, which is repeated almost mechanically in each of his creations. Nicholas has been able to create unique creations, often with contrasting themes and different subjects but united by repeating elements. Darker edges tending towards black, sharp contours, graphic lines and bright colours. A mix of details that becomes the artist's hallmark. By observing reality and nature in all its forms, he is able to rework the image and turn it into a work of art. Nicholas remains anchored in the realistic view of things thanks to his extremely precise graphic line, but stands out with his imaginative technique and use of bright colours. Nicholas Kozis is a contemporary artist who has attracted the attention of art lovers with his extraordinary and provocative works. His creations are a mix of styles and techniques, embracing abstract, surrealism and expressionism.

Nicholas P. Kozis

One of the distinctive features of Kozis' works is his bold use of colour. His paintings are vibrant and intense explosions of hues that catch the eye and stimulate the viewer's imagination. This play of colours gives his works a sense of vitality and dynamism. But it is not only the use of colour that makes Nicholas' works so fascinating. His compositions are intelligently and meticulously structured, creating a profound visual tension. Figurative and abstract elements blend together harmoniously, challenging the audience's perception and inviting them to interpret the hidden meaning behind the images. Nicholas' works often evoke a feeling of mystery and disquiet. He demonstrates great technical mastery. His ability to manipulate paint and create suggestive textures adds depth and three-dimensionality to his works.

Art Curator Ilaria Falchetti

Nicholas P. Kozis

Nicholas P. Kozis

Awaken 1

Nicholas P. Kozis

Moro Bay 1

Nicholas P. Kozis

Nicholas P. Kozis

Venus Of Redondo

Nicholas P. Kozis

Nicola Cairns

Nicola Cairns is a contemporary Scottish artist with a penchant for painting captivating portraits of strong and seductive female figures, brimming with attitude. Through her art, she powerfully conveys her passion for music, cinema, as influences ranging from Tarantino to Hitchcock movies, pop culture, and fashion. We can seize fragments of vibrant pop chromatic tones, and over-the-top representations. The style is bold and captivating. Her ability to capture the essence of strong women is commendable. Each brushstroke is deliberate, emphasizing the fierce personalities of her subjects. Her artwork is visually striking, demanding attention and evoking nostalgic emotions. The provocative nature of the paintings challenges us by celebrating the power and beauty of women. Cairns' love for music, cinema, and pop culture shines through in her creations. The ability to merge vivid colors and provocative representations creates a unique and captivating visual experience. Through the works of Nicola Cairns, we can experience the graffiti of angel wings, the vibrant skateboard culture of the 70s, and the allure of vintage slogan t-shirts. We can sense the amazing women who thrived in the underground of the music scene of the 1980s in New York and hear iconic songs, such as Bowie's "Moonage Daydream", just by admiring her artwork "Space Face": her paintings become a visual symphony.

Art Curator Angela Papa

Nicola Cairns

CAN YOU DIG IT

Nicola Cairns

CHERRY BOMB

Nicola Cairns

Oban Taika

A bridge between the past and the present, a portal that transports to a new dimension within which time no longer flows in a straight line. According to our current understanding of time, it is generally considered linear. This means that time flows in a specific direction, from the past to the present and then to the future, without the possibility of going back to the past. This linear conception of time is based on the empirical observation that we are unable to change past events or turn back time physically. In the everyday context and for most human experiences, the past is considered irreversible and cannot be changed or experienced again. What has happened has happened and nothing can be done to alter that or change fortunes. However, it is important to note that some advanced physical theories, such as Einstein's general relativity and quantum mechanics, have some nuances and possibilities for curving space-time, such as in the case of black holes or closed time curves. Although these are theories that are still immature and lack solid scientific evidence, when observing Oban Taika's art, one has the feeling that the plane of space-time is being bent: past and present meet, if only for an instant, producing works with unprecedented outcomes. Street Art, The vivid and energetic colors typical of our contemporary times, tags and remnants of the everyday pop world come together and make the acquaintance of ancient and Renaissance statues and winged cherubs, constructing works that literally produce a breach in our canonical space-time system. And so it is that the cold whiteness of Michelangelo's David is soiled by persistent chromatic stains that invest his face.

Oban Taika

Like dense, sticky substances, these chromatic areas characterized by extremely vivid colors take turns on the sculptural head until they cover half of his face and then descend into his neck and right shoulder. The purity, immaculate whiteness and inevitable stillness of the sixteenth-century statue have become irreparably stained and there is no way to return to the original cold composure. Technical perfection is stained with energetic color, David's icy skin is flooded with a chromatic blanket that invests his face; past and present have merged, and "Fusion III" is nothing but a testimony to this event. Taika, as if he were a time traveler, makes forays between past and present uniting two worlds that would be impossible to reunite. Yesterday and today are no longer so distant; even, they can be overlapped through the use of art and its expressive tools. In "Aim," a blindfolded Cupid is soaring through the air. He is painted at the exact moment when he is about to shoot his arrow. The sky, usually characterized by warm, fluffy pink clouds, is here replaced by a chromatic sea formed by elements that are layering on top of each other. Arrows with solid colors are juxtaposed with large lettering, geometric elements and elements reminiscent of the world of manga. "Aim" is fresh depiction of a modern-day God of Love, surrounded by pop, bright and large lettering and extremely vivid, almost electric coloring, as if the act of shooting an arrow were an advertising event. Oban Taika creates a bridge between the past and the present by managing to move the ancient frescoes and statues. She manages to revive them, to make them speak again, giving them a new and fresh expressiveness. The past and the present have never been so close.

Art Curator Lisa Galletti

Oban Taika

Oban Taika

Oban Taika

Fusion I

Oban Taika

Fusion II

Oban Taika

Fusion III

Oban Taika

Paul Hartel

Paul Hartel is an American artist whose artworks deeply evoke abstract expressionism. His art often appears confusing and devoid of logic, but it is precisely from this characteristic that the artist draws his strength. According to Hartel, each of us has a child within, and it is through this young child that Hartel brings his works to life. "Almost People" is dominated by the colors blue and red, which are not necessarily present in greater quantity but are intense and predominant compared to others. The artwork features a face with an aggressive gaze and gritted teeth. "Fat Bully" exhibits differentiated strokes of color that intertwine like small swirls. In this artwork, a mouth is evident, while the rest of the face is completely absent. The artist has used an intense black color to represent the hair. "TV Time" depicts a moment of togetherness, with a profiled child and an adult engrossed in watching television. The artwork is mainly rendered in gray, with a brown antenna. Hartel's works are characterized by strong expressiveness and an unconventional representation of reality. His abstract and chaotic style invites viewers to delve into the artist's inner world and explore the depths of the human soul. Through his art, Hartel explores childhood and the innocence that resides within us, bringing forth emotions and thoughts that often remain hidden. His artworks invite us to reflect on the complexity of being human and the beauty that can emerge from confusion and chaos. In conclusion, Paul Hartel's artworks are an invitation to explore the inner depths of the human soul through abstract and intense representation. His ability to convey deep emotions and evoke a sense of mystery makes his works fascinating and intriguing for art enthusiasts.

Art Curator Martina Viesti

Paul Hartel

Almost People

Paul Hartel

Paul Hartel

Rachel Lo

“The pictures are there, and you just take them.” (Robert Capa)

Reality is what young artist Rachel Lo is interested in and her paintings look like taken pictures. They capture the ordinary life of the people of her community in Hong Kong; they are paintings that do not concern only the objects that populate them but also the experiences that the artist draws from her observations. With her ability to portray spontaneous and unique moments, Lo’s works resemble photographs that capture a true, real and ordinary life, which is yet solemn in its humanity and humility. Lo decodes what surrounds her in photographic images through the perception and association of colours that may not be there in reality. These instantaneous impressions conveyed through colours and objects tend to exalt the sensation of a unique moment and instant over everything Lo, in fact, does not seek extravagant colours or extraordinary events; rather, she just reveals the simple truth of her reality

Rachel Lo

In “Awaiting” and “Rooftop at Swire Hall, The University of Hong Kong”, the artist’s lens is external, as if she is silently looking at the scenes that she is portraying. A decentralised perspective characterises the painting “Awaiting”, which portrays an old woman lying on her bed with a pained expression. The curtains are moved by the wind and, at the forefront, a vase with slightly withered flowers is visible. The feeling is cold and sad, melancholic and suffering. The room is cold and empty as if it is meant to be a metaphor for the old lady who is waiting for something that we do not know. Differently, “Rooftop at Swire Hall, The University of Hong Kong” is a snapshot with purple and pinky colours, portraying the rooftop of Swire Hall as the title suggests We see buildings and hanging clothes It may be a moment experienced by the artist that she wanted to impress on canvas to capture her feelings at the moment In both paintings, in fact, Lo captures perceptions and emotions through particular framing cuts, which gives her art a particular flavour of photography.

Art Curator Martina Lattuca

Rachel Lo

Awaiting

Rachel Lo

Rooftop at Swire Hall, The University of Hong Kong

Reid Honeycutt

With this video entitled "Cycles in the search for completeness", the artist Reid Honeycutt presents himself at the third international exhibition proposed by M.A.D.S. Art Gallery, "Emerging". Techniques used include computer programming using a java-based framework called processing, as well as some film fragments and image processing techniques. The artist works mainly with programming and many of his works, such as this one in particular, are interactive and have the aim of fully involving the viewer in all senses. His works are interactive, dynamic, fast. The eye perceives the different movements that are accompanied by a sound. The artwork offers a motion-responsive view. Images are as important in his work as sound: every image that the author presents reacts to sound in different ways, creating an extremely refined and studied combination. He presents a sort of "sound art", which plays an important role in significantly illustrating through his work some different aspects of the debate on the ontology of sound and on the phenomenology of sound listening. The artist manipulates the sensory experience of sound, brings out the hidden aspects, restructures the way the viewer perceives it, focuses the attention of the user. In this way the artist directs the attention of the listener/ spectator on unusual aspects of the sound, also using the sound as an instrument of activation of his aesthetic sensitivity.

Art Curator Laura Faccioli

Reid Honeycutt

Cycles in the Search for Completeness

Roubini VRioni (RVR)

With her works, the Greek artist Roubini VRioni wants to tell the expression of her inner movement. Through her canvases you enter a dimension that is not immediately understandable. You must be willing to awaken your hidden emotions and be carried away by the artist’s traces and gestures, which are difficult to translate into words but denote anxieties and personal conflicts. Halfway between European Informal Art and American Abstract Expressionism, the artist reveals what she wants to express with her paintings: "intensity, strength, energy ... even harmony and order born of Chaos". Thus, through the combination of lines, shapes and colours, deep sensations and emotions emerge in the viewer. " Escape" is a real "Explosion" because it represents an inner journey, a search that contains an explosion of colors and sensations. Abstract themes and bright colors, strong and rapid brushstrokes on the canvas as if they were "a caress that encloses the fury of the creative moment". And so, in this way, it allows the dialogue between the artist and the silence of her inner space.

Art Curator Federica D'Avanzo

Roubini VRioni (RVR)

Green & Red Dialogue

Roubini VRioni (RVR)

All Together and Each Apart

Roubini VRioni (RVR)

Sandeep Soni

“When I paint, I am driven by a subconscious desire to live life in the purest form while sharing my feeling with others. This feeling drives me to add elements of stories, surrealism, fantasy, intellect, science, imagination, love, life, and many more into my art.” (Sandeep Soni)

Sandeep is an extremely creative and courageous artist. With RGB SKY, we have begun to explore his art which is extremely contaminated by abstractionism and figures belonging to reality but placed in space in a perspective or surrealist manner. We are at the beginning of an exploratory journey of the artist's soul that will give us his essence, his thoughts, his intuitions, his imagination Sandeep will go further and further, we will see the evolution of his art and he will accompany us until December, in a journey of knowledge and insight, and for the artist it will be a challenge with himself and his creativity The ten works presented at the international art exhibition EMERGING are a dive into the deep sea of Sandeep's art. The key word is 'contamination', his works touch on different themes and it is no coincidence that he is passionate about all forms of art: painting, music, graphics, videomaking, yoga, origami, photography, cooking, travel, literature. Sandeep is a researcher, his art investigates all aspects of human knowledge, his passions, the space of time in which he lives. However, he presents reality through an artistic filter, which has a dreamlike component, made up of the irrational and the dreamlike. The‘Awaken Or Arise’ artwork is demonstration of a dream state where subject is experiencing a different world Subject is rising to the extent that multiple dimensions arise So does the soul of the subject Subject is arising to an extent where it can experience hidden layers of its existence, which are otherwise not experienced ever. However, it’s still a dream. A world which is unreal when we are conscious, but very real when we are unconscious. The only choice for the subject are either to awaken to the conscious world, or to arise in the dream world. To describe Bridge the artist said "A perspective of a planet ecosystem, where clouds are orange. The viewer is dragged into the imaginative opening in the sky, to a promising place on the ground. The openings act as a bridge to welcome the viewer toward the base. Is there really a base, or it’s a trap to a riskier and unknown place?". And for Evenfall "A day has ended, and dusk descends on land, opening a window of transient zone The dark forces are lurking in the upcoming inevitable night; however, day is yet not over The positive forces are pulling their last move ‘Evenfall’ to tell the world that another day is awaiting when the dark night is over. The day might be falling in an ‘Evenfall’ but with a promise of nothing else but a brighter tomorrow".

Sandeep Soni

The ‘Mirror In The Well’ artwork is an perspective of bottom of wells, where a majestic reflection of the flowers on ground are visible The reflection gives impression of the object being present in the well bottom, however it’s not there Alternatively, when seen from the bottom of the well, the flowers are on visible on the ground. In this scenario, the flowers are real. It’s on the viewer to decide which perspective is correct. Is it reflection at bottom of the well, or its view of top seen from the well?. Mystic plant is an abstract version of a a plant with A unique background and colors. The shades of blue, green, yellow and white blend with the background to give the viewer a curious feeling about the scenario. ‘Hold It There’ is an abstract depicting an object in complex geometrical dimensions It gives an impression of something about to shatter, however can still hold due it its own strength and resilience In the real world or in a dream state, we always aim to hold it to the goals we aim to achieve This artwork depicts such a scenario, where all we need is to hold, rather than to escape the spot. The G-add 9 art piece is a highly personalized work for a friend who is passionate about music, guitar, piano, and chess. This art demonstrates a perspective view of guitar where fretboard acts as a chessboard and piano keys. The notes of a G scale are represented by chess pieces symmetrically such that the pieces fall in G major scale while being led by their king in centre. The system’s symmetry changes to a G-add 9 chord, if one of the chess pieces is moved. What does that move? Only that person who knows chess, guitar, and piano can decipher it. The message behind this artwork is that chess pieces are not always for war, against each other but they can also work together and can be used to create beautiful rhythm Only thing needed is a change of perspective ‘What Is In There’ artwork highlights various layers of imagination which we fall through in our mind. We delve deeper into the imagination, only to explore, what more we can explore. The distance shades, objects and situations drag us toward them and make us ask the question to ourselves ‘What is in there?’ When colors were dropped demonstrates the color tubes as source of natural elements of life, which when dropped into existence, the creation evolved in various shades and colors. Seeing it as dimension of color sparkles a curious thought about what other dimensions an existence might have? Were the colors dropped or they were always there? And finally, is the color in the surrounding from those tubes dropping? or the tubes are the one getting the colors, when the surroundings are dropping

Art Curator Mara Cipriano

Sandeep Soni

Awaken or Arise

Sandeep Soni

Sandeep Soni

Evenfall

Sandeep Soni

Hold It there

Sandeep Soni

G-add9all

Sandeep Soni

Mirror in the well9all

Sandeep Soni

Mystic Plant

Sandeep Soni

Talk to me

Sandeep Soni

What is in there

Sandeep Soni

What is in there

Savvas Demetriou

Savvas Demetriou is a contemporary artist originally from Cyprus. His personal artistic research, conducted in the field of photography and visual communication, can be traced back to the current of abstract expressionism. Savvas' artworks do not accurately reproduce reality, they do not faithfully represent the physical world, but, through a process of subject abstraction, they emphasize the emotions, feelings and sensations felt by the artist. Self-expressive emotional intensity is, therefore, conjugated with anti-figurative aesthetics; the individuality of the artist has a central role and is manifested through an abstract and personal visual language, which has no representative or descriptive purpose. The innovative photographic technique is based on improvisation and spontaneity, there is nothing established or constructed first; this gives the artworks immediacy and freshness. Savvas' photographs capture shapes and colors, focusing on the repetition-variation of textures and motifs, communicating movement and energy to the observer. Objects and specific scenes are transfigured and rendered unrecognizable by their abstract interpretation. In "Vertical Moods'', created in 2022, some vertical elements alternate, overlapping and almost merging with each other; the shapes, not perfectly defined, are immersed in a palpable atmosphere, a sort of fog that slowly rises, giving not only depth but also a magical and supernatural aura to the whole scene; the latter is amplified by the color palette in shades of blue. The same setting with vertical bands returns in "Forest Moods'', dated 2019. Here the ascending motif scans the space along its entire length, without any interruption, giving the work greater rhythm. The trunks of the trees lose their roughness and knotty, turning into a bundle of thin and smooth filaments.

Savvas Demetriou

In "Flowing Forest", created in 2018, the undisputed protagonist is movement; the forest is crossed by a light breeze that shakes the treetops and makes their leaves vibrate, producing a fluctuating effect. Movement, an immaterial and evanescent entity, is here captured in a photograph, a static support by nature. Energy and dynamism characterize "Ocular", an artwork dated 2020. Very thin and sinuous filaments intertwine with each other following a rotary motion and generating a spiral, a symbol not only of cyclical continuity but also of growth and expansion. Dating back to 2022 are "Melt to Matter" and "Autumn Snow", two completely different artworks from each other. In "Melt to Matter" the motif of the filaments returns, in shades of black-brown with white-blue waves alternating; the general effect is one of liquefied matter, flowing in a slow, swaying, irregular motion. "Autumn Snow" has a different approach. Here the space is divided into two overlapping bands, of similar thickness and with horizontal development. Above, warm colors predominate, in shades of brown and beige; the colors and the dense weave of filaments bring to mind the grain of the wood and the autumn palette in general. Below the white, which evokes the purity and brightness of the snow, is flanked by a strong blue, which extends from the left corner towards the center, rapidly dissolving. The snow and autumn, mentioned in the title of the artwork, are therefore evoked only by the predominant colors; this simplification emphasizes the sensations aroused by the whiteness of the snow, such as: calm, serenity, stillness and peace. Savvas' artworks, due to their intrinsic characteristics, are configured as "open images" as the observer can freely interpret them, interacting with them on both an emotional and aesthetic level.

Art Curator Vincenza Ursillo

Savvas Demetriou

Vertical Moods

Savvas Demetriou

Forest Moods

Savvas Demetriou

Flowing Forest

Savvas Demetriou

Savvas Demetriou

Melt to Matter

Savvas Demetriou

Autumn Snow

Seta Nua

Have you ever experienced an oneiric dimension and given objects a new life than the ordinary one they have in our world? This is the concept at the heart of the art of Seta Nua, a Parisian artist whose works make the observer discover a new reality and convey hidden meanings about current affairs and the human condition. The artist gets this goal through the creation of surreal collages characterised by elements from pop culture, symbolisms and a contradictory narrative that makes the message difficult to catch. All this is evident in a work like “The Ear Museum”. Here Seta Nua gives the ear a new life, conceiving it as a museum, a place where a real immersive auditive experience is possible. It’s like, for example, being in a shell and hearing the deep sound of the sea. On the other hand, “Strange Horizon” reminds of a Caspar David Friedrich’s artwork with somebody looking at the horizon. However, in Seta Nua’s work the man’s superior body is invisible as well as the horizon, due to stones. Through these elements the artist highlights men’s isolation and loss of identity in the contemporary world. We find references to current affairs also in the work called “Mother Nature”. The beauty and purity of the young girl representing Nature, the bright vivid colours underline the beauty of the environment whose life is as important as men’s existence and of which humankind should take care and respect.

Art Curator Serena Losorbo

Seta Nua

The Ear Museum

Seta Nua

Strange Horizon

Seta Nua

Mother Nature

Séverine Camus

“Only the limits we set ourselves lock us in. Let us open our minds and hearts to an infinite and not stable field: the world. We will then understand that art must not be limited or static.

I am only the humble translator of a fragment of this infinity in which we live, in movement and constant evolution”. (Séverine Camus)

Séverine Camus gives us three completely original and biting works. Her original and unique style is the result of a complex and tormented relationship with art. Severine from the age of six immersed herself in the world of the arts but interrupted her relationship with them after about ten years. In fact, at the age of seventeen she ceases all forms of art but eventually, her encounter with shamanism will change her life. She will then reconnect with her trait and soul. Therefore, her connection with art is extremely deep and embraces different styles, belonging to the abstract strand of art. Imagine is a work with a well-thoughtout architectural structure and space management, along with a calibrated use of color. In the wake of Mondrian, Séverine gives us the perfection of lines and geometric shapes. Exactly as in Creation, which adds an additional element, an abstract Doodling-style frame. Finally, Songe Bèrbere is pure expressionist abstraction but here too we find a reference to Doodling and an original handling of space. This can be said to be her trademark. As she states inspiration comes from the living in the broadest sense, from her dreams or from the unconscious. Passionate about human beings and their psychic functioning, she addresses the soul of men and tries to blend her works into their environment by enlarging spaces. Severine "seeks out lines, contrasts and comparisons of style because the world is made of permanent relief and change. She constantly explores, making each work an experience that carries its own number".

Art Curator Mara Cipriano

Séverine Camus

Séverine Camus

Séverine Camus

Songe Berbère

Sho Kamizawa

The history of art is the history of images and artistic expressions over the centuries.Since man began, in Prehistory, to leave marks inside caves the history of visual communication begins as prehistoric man did nothing more than communicate, express and wish through these early reproductions that were intended to imitate the natural world. Greek culture gives rise to the concept of Téchne ( τεχνη ) , a term that today we translate with the word technique but which at the time was associated with the word science ( Epistème ) and later translated by the Latins with the word ars, that is, art. Plato considered téchnai disciplines such as medicine, hunting, agriculture, politics, sculpture, painting, and many others; these disciplines have in common that they are activities that are not exhausted by theoretical knowledge but require "knowing how to do." Art, especially Western art, has had, since ancient times, the intent to represent in order to celebrate, educate, decorate and tell the story of our culture with images, as close to reality as possible. This concept linked to the artist's technical skill evolved over the centuries, and it was with the Renaissance and the conquest of spatial representation, thanks to geometric perspective, that art took a step forward and imitation became increasingly truthful. With the course of time, the concept of imitation of reality, of mimesis of our world centered on achieving stylistic and spatial perfection came to an end and, in place of the correct representation of the visible, art has seen declines in a variety of meanings that present, more or less always, the individuality of the artist always at the center. It is clear, then, that art is no longer mere imitation of the world (we have the camera that perfectly and truthfully records our reality); rather, it is a subjective view of the world, distilled from the eyes and mind of the artist.

Sho Kamizawa

This produces unprecedented and totally new outcomes each time since, of course, each individuality is different from the other. Sho Kamizawa takes the concept of representing the world and reworks it, listening to his feelings and the echo of his creative spark. What emerges is a world saturated with color where everyday elements are represented through large, flat color fields. There is little persistent detail but that is good: Sho represents a moment of everyday life, an instant of the many moments that make up a day. The artist, recounts the world with extreme clarity, making the instant of time comprehensible and recognizable even to those of us who, that precise moment, have never experienced it. And so it is that in "Encounter" all attention is placed at the center of the work. A girl is sniffing a flowering branch that hangs above her head. In this depiction there is fortuitous chance, there is a desire to tell about a real event reworked according to the artist's stylistic features. The flat backgrounds, the backdrop characterized by broad green brushstrokes, and the barely sketched physiognomy of the woman are all elements that content to translate what we are looking at into a precise moment. And moments, as we know, are not characterized by many details. In very short spans of time our brains focus on certain points of vision that have aroused interest. And the same is true of Sho's works. Works that distill the real by reworking the latter and performing an action of eliminating the superfluous to represent the feeling of the moment, the frugality of that second that will never return. Because every lapse of time is unique. There is no more mimesis, there is the image of an intimate and personal time.

Art Curator Lisa Galletti

Sho Kamizawa

Sho Kamizawa

Drowning

Sho Kamizawa

Sho Kamizawa

Equally beautiful

Sho Kamizawa

Sho Kamizawa

Shunnosuke Imoto

The presence of spirituality is a common thread in Shunnosuke Imoto’s paintings. His spiritual dimension is not necessarily related to the research of faith or divinity, but it is more personal and earthly His works assume Shunnosuke’s personal language, a language that is highly communicative and engaging He is one of those painters who navigate between the figurative and the abstract, whose canvases encompass the representation of the ordinary and the discovery of the unordinary. Through the modulation of colours and the definition of shapes, Shunnosuke’s paintings propose a new way of conceiving a personal spiritual world that celebrates the spirit of each of us and the ability to find our true essence. The painting “Ego-Statue (Self-Portrait), ⾃我 像（⾃画像)” is the epitome of this. Here, a red human silhouette stands at the centre, with, at its sides, two more small and yellow silhouettes Two pairs of eyes are portrayed at the top and at the bottom of the canvas; these eyes are open and look straight at the audience “The evidence of being oneself is what?”, the artist asks “Only in the midst of suffering and pain, we can truly see ourselves as we are now. From there, the world we see ahead is incredibly beautiful”. Similarly, a feeling of melancholy and hope is conveyed in “Red Autumn Leaves at Great-Grandfather’s House, 曾祖⽗宅の⾚朽葉” . In this painting, the forms become more abstract and unfamiliar; colours are darker, thus recalling the autumn season that the title suggests. This work is in memory of Shunnosuke’s family home, which has passed for generations. “Will there be an end to this house someday?”, he asks, “I want to preserve it for as long as possible”. Totally different is “Water ver.1,「⽔ver.1」” , where the audience is confronted by a deep blue canvas “Water exists in various forms, constantly changing its appearance”, the artist explains As if they are water, humans change too: they are never the same and always in motion With these paintings, Shunnosuke gives space to his emotional and spiritual dimension, satisfying his need to express himself freely, in all his essence. He is able to combine personality and emotion, and seal everything between the canvas and the colour.

Art Curator Martina Lattuca

“Art represents our spiritual dimension, the intangible, the invisible, the encounter with the spirit of the earth” (Ernesto Neto)

Shunnosuke Imoto

Ego-Statue (Self-Portrait), ⾃我像（⾃画像)

Shunnosuke Imoto

Red Autumn Leaves at Great-Grandfather’s House, 曾祖⽗宅の⾚朽葉

Shunnosuke Imoto

Water ver.1,「⽔ver.1」

Photography is a medium that captures images through light reflected from objects on film or digital sensors. This technology allows for high-precision visual representations that can appear extremely realistic. Photography has the ability to document the world and capture fleeting moments in an immediate way. However, it is crucial to consider that photography is always a selection and interpretation of reality. The photographer chooses what to include in the image, how to compose the scene, what message to communicate, and what atmosphere to create The choice of angle, lighting, framing, and other technical factors affects the perception and final representation of the image In this sense, photography can be regarded as a form of subjective visual storytelling, in which the photographer interprets and represents reality through his or her own artistic point of view and intentions. Although a photograph may appear to be an accurate reproduction of reality, it is important to remember that it always reflects an individual perspective and may be subject to manipulation or interpretation. Yet photography, most of the time, represents something static. If we think about it, static is not part of our world and is not contemplated. Everything moves and everything is constantly changing. Water in rivers, clouds in the sky, tree branches and even tectonic plates move. Fast and rapid rhythms, others slow but continuous and inexorable The very concept of time, created by us humans for humans, is based on movement, the changing of things and the changes that occur in every second, every year and every century Photography cannot portray this. It reproduces the single detail of reality, which will remain fixed forever in the static image. In contrast, art with its expressive capacity has the ability to narrate time and movement, inserting mutations and transformations into the still image. Although painting is also a static medium, what is represented through it can have endless expressive possibilities. Such is the case with "Someday," a work with clear, broad and earthy brushstrokes. The representation is literally liquid. There is color dripping, there is pigment spread through broad veils that overlap one another, there is the feeling that what we are looking at corresponds to multiple moments of reality, as if time were being depicted in the work Ta is used to taking photographs, but his art goes far beyond the faithful reproduction of reality His artistic perception produces works that smell of lived time, of existences anchored in the slow and inexorable movement of nature, of color that becomes form and then becomes an ethereal stain. Everything is uncertain, and that is precisely the beauty of it. The artist creates ethereal moments where more detailed elements flank evanescent guttural backdrops within which one loses all contact with mere reality to sink into the uncertainty of vision. The true vision of the world in motion is dictated by broad brushstrokes overlapping one another causing in the viewer a sense of destabilization dictated by the uncertainty of what he is observing The beauty of Ta's works lies precisely in this: the representation of an atypical world that, in reality, is the condensation of all movement, all the kinetic energy that moves our existences.

Art Curator Lisa Galletti

Ta

Tsikla

Asia Marangon, aka Tsikla, is a young Italian painter from Treviso. Artistic creation, conceived as a catharsis and deep meditation, has allowed her not only to transform personal pain into something positive and constructive but at the same time to get to know herself better and to explore and externalize her inner world. The emotions, fears and sensations experienced pour into the paintings, transforming and crystallizing into abstract shapes with bright colors and different textures. The surprising pictorial effects, which change appearance depending on the lighting, are the result of a long process of research and experimentation conducted on the reaction of materials to UV light. Tsikla, therefore, offers the observer three different visions of the same artwork, emphasizing the mutability of what surrounds him. Nature is the main source of inspiration; the natural elements are transfigured by the emotions that their sight aroused in the artist and therefore proposed in a personal and expressive key. In "Pico del Teide, 28.2235°N, 16.6297°0, 29 de noviembre de 2019 21:30", dated 2022, Tsikla fixes on the canvas the majesty of the night sky that has admired some years ago; if illuminated by UV light, the celestial vault shown here lights up with bright and vibrant colors that change from blue to purple, from magenta to orange; the constellations are transformed into luminous trails of a fluorescent green, highlighting the imperceptible and perpetual motion of the earth. Also dated 2022 is the mixed technique painting on wood entitled "Pesci", a reference to the artist's astrological sign. The undulating and sinuous shapes that characterize it recall the waves of the sea, while the almost encrusted raised areas seem to be inspired by coral reefs. Also in this case the colors change completely with UV light, assuming decisive blue-violet tones. With "Frattale", painted in mixed technique on wood and dated 2021, the artist examines the repetition in nature of the same geometric shapes in progressively smaller dimensions. Fractals testify that even in nature there is a precise order, perhaps hidden by an apparent chaos. This order-chaos is reflected in the artwork: an explosion of different colors and textures in which one can identify the recurrence of branching elements of progressively smaller dimensions. Tsikla's artworks invite the viewer to discover and explore the world around him and to celebrate and be grateful for every moment of life.

Art Curator Vincenza Ursillo

Tsikla

Pico del Teide, 28,2235°N, 16,6297°0, 29 de noviembre de 2019, 21:30

Tsikla

Vaida Kacergiene

Vaida Kacergiene is a versatile, multi-material artist and proves this in her vast production of diverse artworks. From acrylic creations to digital painting, the artist moves harmoniously between techniques, achieving excellent results. Nature takes new forms and always expresses joy and vitality. Vaida's creations are a true hymn to life, to joy. They are not utopian images, because they often represent obstacles and difficulties. But what emerges is the desire to redeem oneself by facing everything with joy and happiness because life is too short for regrets or remorse. Vaida's painting is spontaneous and reflects this artistic concept.

Vaida Kacergiene

When creating her paintings, the artist moves without boundaries, free from prejudice and constructions. Her creations are distinguished by their delicate beauty and ability to evoke deep emotions in the viewer. One of the distinctive features of Vaida's works is his approach to nature. Her depictions of landscapes are charming and peaceful, conveying a sense of calm and tranquillity. She uses muted colours and manages to capture the essence and poetry of nature in a masterful way.

Art Curator Ilaria Falchetti

Vaida Kacergiene

DISSOLUTION

Vaida Kacergiene

DANCING FLOWERS

Vania Dudolenska

Abstractionism, with a material component and a muted palette, these are the key words to describe Vania Dudolenska's art. The forms are undefined and leave room for the expression of colour, movement and matter. This particular characteristic gives voice to the artist's feelings, which in Vania's case are peaceful, harmonious and positive. The will to control her instincts through reason leads the artist to probe the innermost depths of human nature through painting. Vania's is a search for authenticity in the irrational, intended as a way out of distrust of rationality that fails to fully describe the artist's deepest feelings. Only movement, the physical relationship with the canvas allows the artist to give vent to her soul. Instead of the repertoire of formal tools of traditional art, entities that were previously only present in an accidental way take full possession of the painting: patches of colour, wefts of marks, hanks, tangles, clots of pictorial matter. The emblem of this painting is the stain: stain as a pictorial element without defined form, random, yet dense with expressive and evocative power. These 'marks' are to be understood as symbols that refer to things or ideas, they are already an abstract way of representing reality. To understand Vania's art, we have her thoughts expressed for each of the works presented: Hug "is the pleasant and welcoming place where one feels loved and appreciated. It is especially when you share this experience with your loved ones that you feel extremely blessed". Harmony, "is a playful canvas, showing a more spontaneous process, when you take your favourite light colours and let your imagination do the rest. It expresses the happiness and freedom one can feel". In Paradise 'you can feel the water, you can feel the sand, you can see the pink sunrise'.

Art Curator Mara Cipriano

“Art let me express myself without words.” (Vania Dudolenska)

Vania Dudolenska

Vania Dudolenska

Vania Dudolenska

Varvarski

Art can be seen as a tool for personal, emotional and philosophical exploration that can provide meaningful answers to existential questions and help develop a deeper understanding of ourselves and the world around us. It has the power to communicate directly and immediately with our inner world through the beauty of images, sounds and words This can be especially useful when we are searching for personal and emotional answers, as it allows us to access parts of ourselves that would otherwise remain unexplored. But art is not only a subjective experience. It can also provide a space for philosophical reflection, helping to stimulate our imagination and creativity, and offering insights into broader issues, such as the nature of human existence, morality and ethics.

Varvarski

The digital paintings presented are a dialogue with precisely this subjectivity made up of questions in search of answers. Symbolically, we also seek the hand of the other in our relationship with the work of art, which then welcomes and guides us through a set of atmospheres and nuances that are never ordinary. This artwork uses magnets and symbolic metal particles to create an ever-changing visual and tactile experience, in which the particles seem to move autonomously and seemingly randomly, creating an ever-changing landscape. These digital paintings invite the viewer to connect with movement and transformation, their own and that of the whole through its ability to create an immersive sensory experience.

Art Curator Erika Gravante

Varvarski

Varvarski

Finding Way

Waltraud Gemein

“Drawing is still basically the same as it has been since prehistoric times. It brings together man and the world. It lives through magic.” (Keith Haring)

German artist Waltraud Gemein expresses through her works the unity of all living beings, humans, animals and plants. Through pencil marks, which acquire shape, size and character, she manages to modulate the representation by creating a single thread that connects all the features of existence. The individual figures thus acquire a variety of forms and meanings that do not stop at appearance but result, in a symbiosis of hidden meanings and symbols. The figures that come to life are formed by modulated strokes in several stages, in which the artist lets the pencil on the paper indulge his inspirations and feelings. It really seems that they have a life of their own, that they are able to dance on the paper, thanks to small strokes given by the artist, and that each line, each mark, initiates a new form, a new figure. The artist Waltraud Gemein appears extroverted, direct, overwhelming, like her canvases. For in her paintings nothing is as it appears; her psychological and inner world blends with real images in an enchanting result of colors and shapes.

Waltraud Gemein

Her works thus overturn all sense, convention and compositional rules. There is a continuous search for composition and narrative, a story to be told that unites humans, plants and animals with compositional clarity and exceptional imagination. His canvases are not meant to be decorative, and his paintings do not seek to please the eye, but to deeply engage the viewer. Thus an initial image surfaces on the surface, but then there are all the "subtexts" within it. It is thus an idea from which a story evolves on many levels. The artist would like to get to the point where personal and subjective taste is forgotten, in favor of something more objective and universal. So as to arrive, perhaps utopically, where reality meets fantasy.

Art Curator Giulia Fontanesi

Waltraud Gemein

Life is diversity - always and everywhere 1

Waltraud Gemein

Life is diversity - always and everywhere 2