INTERFERENCES Official Catalogue

Critical texts by Art Curators

Alessia Maniscalco

Angela Papa

Barbara Magliocco

Benedetta Faedo

Camilla Gilardi

Chiara Rizzatti

Elena Scrofani

Eleonora Varotto

Erika Gravante

Federica D’Avanzo

Federica Schneck

Francesca Brunello

Giulia Della Valle

Giulia Fontanesi

Giulia Marchegiani

Karla Peralta Málaga

Ilaria Falchetti

Laura Faccioli

Liliana Sánchez

Lisa Galletti

Lucrezia Perropane

Mara Cipriano

Mara Torretta

Martina Lattuca

Martina Stagi

Martina Viesti

Matilde Della Pina

Roberta Desolati

Sara Cont

Sara Grasso

Silvia Grassi

Vincenza Ursillo

Curated by Art Directors Carlo Greco and Alessandra Magni

“Truth is found neither in the thesis nor the antithesis, but in an emergent synthesis which reconciles the two.” Georg

Wilhelm Friedrich Hegel

An interference is the superposition of two co-operating phenomena and the subsequent summation or elision of their effects. Interference derives from the English to interfere 'to cause interference' and from the Latin ĭnter 'between' and ferīre 'to strike'; originally the 'bumping' of one hoof against another, referring to the horse. In communication, interference is any action exerted by a foreign signal, resulting in disturbance and alteration of meaning. It can be a meeting of different, mostly discordant actions, initiatives, interests, ideas, which nevertheless tend to affect each other, often leading to conflict. According to Friedrich Hegel, without conflict there is neither affirmation nor identity. The dialectic, being the artificer of this, cannot but allow us to always acquire new awareness, creating a path that accompanies our entire existence towards a continuous evolution of the self. This makes us realize how much the disturbance of an unexpected signal can actually foster a renewal, changing what had been planned or what we imagined it could be. Interference has always been a part of life and the unpredictability of the future seems to make everything unstable and misleading. In today's society, where everything flows faster and faster, it becomes increasingly complicated to propose something that has never been seen and that no one has yet invented, because everything seems to derive from an infinity of re-elaborations and re-propositions. But what is Art if not the manifestation of an interference or conflict? From what does the artist's idea arise? What a work of art carries with it has an inescapable value, because it stems from a stratification of conflicts and an incessant awakening of consciousness. Art has always been influenced by history and it becomes its expression: the aggressiveness of Abstract Expressionism, where color is distributed or thrown onto the canvas with the use of the body, or Picasso's choice to portray his subjects by breaking them up into shapes, would never have existed if there had not been some interference such as, for example, war or the need to break away from the normality of that time. The need itself stems from a conflict and an awareness that with time modifies and develops, sinking the roots for new ideas or solutions into the soil of contemporaneity. The contemporary artist experiences a reality full of ever new information, which allows him to evolve. Like an antenna, he picks up signals and interferences become like vibrations to be imprinted and transferred into his poetic. The wounds and scars of the past and present, whether internal or external to his body, become sources of inspiration, motifs for analysis and research. What interferes in the artist's life changes his personality and consequently his style and choice of expression. The artist's ability lies precisely in knowing how to evolve, riding the wave of contamination and allowing even the most imperceptible interferences to reverberate among the frequencies of his creativity, affirming his identity even more. M.A.D.S. Art Gallery, asks the artists to reflect on which interferences have most profoundly marked their research and to present to the public those works that they consider to be most imbued with conflict, with the intention of creating new ruptures and giving life to new archetypes.

Concept edited by Art Curator Francesca Brunello

Adegboro Blessing Gbemileke

The figurative painter Adegboro Blessing Gbemileke has been passionate about art and human expression since his youth. His works embody situations of social life, tell of emotions and convey feelings. His art, with its very personal and lively touch, takes its cue from his personal life, recounts his emotions and feelings, and is a spokesman for his soul and the battles he fights every day. The women painted in The Diamond necklace and Return of Mary mirror the reality that the painter experiences, the colour range is reduced to a series of greens and browns to focus attention on the female figure. Light and luminosity are always at the centre of his production and the colour palette is varied. The painter starts with the depiction of reality and then transforms it into simple, flattened forms precisely through the use of primary and secondary colours, pure and bright. Thus he juxtaposes yellows with violet, red with green, blue with orange.

“A man paints with his brains and not with his hands.” (Michelangelo)

Adegboro Blessing Gbemileke

Imagining the power of painting makes the forms of the painter Adegboro Blessing Gbemileke comprehensible, while at the same time accompanying us into the heart of thought that induces the search for forms through the interpretation of the will, of the iris that shrinks to suggest an emotion or how a gaze lost in the void is the clue to a personality. Art communicates and becomes the spokesperson of traditions, of different cultures, it lands on the road of feeling, of personality, of the channel of thoughts capable of tracing a physiognomy, making the connotations the exact comment of a sensitive heart or of a fearless mind, among the warm colours of a hat or the graphism of the dull, tenaciously rendered garments with the sparkling and rapid technique of oil painting. The execution is intense, direct and modern in the contemporaneity it is able to establish between the channels of time, between the past and the present.

Art Curator Giulia Fontanesi

Adegboro Blessing Gbemileke

The Diamond necklace

Adegboro Blessing Gbemileke

Return of Mary

Albina Mironova

Albina Mironova has always been passionate about art. The true realization of herself as an artist came when she first joined a meditation club and from that moment on learned to listen to her inner self, welcoming within herself the flow of art, that still overwhelms her and pushes her to realize her artworks. The first artwork "Flying Angel" is dominated by pastel colours, that fill the space with vitality and sweetness. The vibrant energy of his touch is very strong especially in "Galaxy Ocean" where purple splashes fill the space with teal green tones. The space is surrounded by strong and decisive brushstrokes that mix to create new environments. "Temple of the Light" recalls the work of meditation, the need to transmit peace that the artist embraces with the vision of light. Her works liberate great harmony and deep inner peace. For the artist the creative act relates to meditation and in these three paintings it is possible to notice how this aspect is characteristic of the style of Albina Mironova. Her works cause a feeling of well-being, joy, happiness, thanks to the choice of bright colours and strong and decisive brushstrokes.

Art Curator Laura Faccioli

“Painting is an action of self-discovery. Every good artist paints what is.”

(Jackson Pollock)

Albina Mironova

Flying Angel

Albina Mironova

Temple of the Light

Albina Mironova

Galaxy Ocean

Alessandra Plet

“Art can permeate the very deepest part of us where no words exist”

(Eileen Miller)

Art touches the deepest part of the human being through emotions, figures, colors and shapes. The aesthetic experience, that can be also a cathartic one, takes place during contemplation and leads the viewer and the artists to discover themselves, to build their own path named life.

Alessandra Plet, an Italian artist, has developed her own way of walking in it. Her artistic language detonates different sensations and emotions through the color combinations, textures, strokes and fragments of reality.

Alessandra Plet

Alessandra's inclination to be guided by her past, present and artistic genius involves some freedom and experimentation during her creative process. She is able to express in an abstract way her feelings and thoughts about themes and problems related to nature. This tension between the beauty and chaos of her paintings shows the impact that some situations, stories and elements have had in her life becoming her interferences and source of inspiration. Therefore, Alessandra's art allows the viewer to reflect on specific topics but also on their deepest part that is being permeated by her art.

Art Curator Liliana Sánchez

Alessandra Plet

Frammenti

Alessandra Plet

Profumi d'Africa

Alice Barile

Alice Barile is a self-taught American painter interested in the history of ancient Egypt, particularly its female deities. Her art is inspired by Symbolism, an artistic movement that originated in France in the late 1880s. It is an expressive language that allows the artist to express his or her emotions through symbols and images, bypassing realistic representation. The artist uses symbolism to express an emotion or an idea through a metaphorical language, representing her inner reality through spirituality. The three works that the artist presents in this exhibition represent three figures of female deities, majestic and powerful, depicted with elegance and grace through the use of gold decoration. In her works, the artist plays with three-dimensionality to create different light effects, using chiaroscuro only for the face and hands. The position of each element in the painting is not accidental, but serves to create the right visual depth. The artist experiments with mixed techniques, structuring the work so that the viewer can touch the painting. Not only to look at, but also to touch, in which seeing and feeling are intertwined and become indispensable for understanding the true meaning of the work.

Art Curator Lucrezia Perropane

Alice Barile

The Goddess of Gold

Alice Barile

The Goddess of War

Alice Barile

The GOAT Goddess of Fashion

Alicia Cross

"All art (after Duchamp) is conceptual (by nature), because art only exists conceptually. One needs to be familiar with contemporary art to appreciate and understand it."

(Gloria Ferreira)

There is an imprint of idealizing and universal concepts hovering over the phenomenon, over the thing itself, over what is seen and revised every day. The telephone, a three-dimensional object present in Alicia's work, points to the meaning of the telephone that we know in the collective unconscious, its functionality: to communicate. But, what if we look at the object as a singularity? What if we don't determine its function or its relationship with so many other phones we know? Alicia Cross, a contemporary artist from Philadelphia, carries philosophical dialogues intrinsic to her work about the meaning of objects, their relationships with human perception, with deep-rooted social standards and the deep fear of movement and the new. Alicia goes beyond the classical conceptual limits of painting, proposing new reflections with three-dimensional relations, making her work a translation of her daily experiences, being a woman who does not want to fit into the stereotyped patterns of society. To accept and embrace imperfections, move between the ephemeral of life, to use art to convey inner struggle.

Alicia Cross

Alicia Cross permeates the canvas and paints the entire surface of her work, including the frame, creating collages and communicating with the objects on display. Her technique, extremely original, involves a mixture of acrylic and spray paint, in tune with urban art. In “Risky Business”, Alicia creates a kind of contradiction by using a classic golden frame that is stained by the white spray paint and Alicia's gesture. "Claim your Chaos" is the message that the artist writes in white across the canvas using spray and superimposing the image of a target with an arrow in the center, where in another layer she makes the green paint run from the center of the painting to the bottom part; a derivation of graffiti, making use of the screen as an inhabiting space between its imaginary, chance and intention. Observing these reasonings, it becomes clear to us that intuition has its fundamental aesthetic importance. In "3DND", the object is removed from its functionality and placed as an aesthetic object, such as shape, color, texture and contrast. Alicia reflects on the functionality of the object and on contemporaneity, since the landline telephone was structurally replaced by the smartphone. Language manifests itself as a possibility of assemblages of meaning, there is nothing that summarizes a sensation if not itself. To welcome feeling how one feels it and not how you were told to feel.

Art Curator Barbara Magliocco

Alicia Cross

Alicia Cross

Risky Business

Alina Hermann

Freedom as a condition beyond the human, an abstract principle which acquires particular value in the field of art. In fact, the artist is, par excellence, a free spirit, acting beyond the traced paths of his work. Autonomous figures, not caged in the illustrative condition, but projected upwards to intercede with something that cannot be found even in heaven: the power of creativity. As an artist Alina Hermann leaves the viewer a personal interpretation of concepts without constraints or conditioning so that everyone can find himself. Thus the work of art is a need for freedom: choosing the path to follow, experimenting with new paths. Freedom as desire and paradigm, personal condition and maximum necessity, a state that frees us from reality to lead us to the places of utopia. Shakespeare could well have written that "we are made of the same substance as dreams", because only in the place of dreams can we free ourselves from material necessities.

Alina Hermann

Dream as a creative instinct, imagination and freedom to be anything we want, the prerogative of mankind capable of imagining beyond the dominant laws, moving towards an alternative reality beyond what is established. The shapes, colours, chaos and harmony belong to Alina's experience and their ability to be functional to the conception of the work of art. The artist uses a skilful balance between light and colour, making these images unreal. Her works aspire to formal perfection, an absolute calm that imposes order on the chaos of the world. Reality is not rational, nor beautiful, nor noble. Its general condition is chaos, the lack of any order. The rarefied atmospheres and the pictorial effect with soft tones and chromatic lighting reminiscent of Henri Matisse give these works a persuasive pictorial patina.

Art Curator Federica D'Avanzo

Alina Hermann

Cyber Poppies

Alina Hermann

Arriving

Alina Hermann

Alina Hermann

Alina Hermann

Your Wave

Alina Hermann

Sun and Rain having a dance

Alisha Shinohara

The use of art is an ancestral need, inherent in man. Over the centuries, art has taken on a form of professionalism by becoming the preserve of a few experts. It has thus acquired immense value but has receded from people's daily experience. To this day it is easy to relegate drawing to the world of childhood or to the distant and often indecipherable world of artists. In fact, even in ancient times it was a widespread belief that the use of different art forms could promote a more balanced emotional life, with the achievement of a state of greater well-being. Thus, to return to drawing with pleasure and freedom we need to abandon the rigid patterns we have built for ourselves: art is free and personal expression within the reach of all Because of this primal nature, drawing is a tool that can be used across the board by anyone Art makes it possible to "see" and "express" much more than words can, since it is a communication dense with intrinsic meaning, which is also emotionally perceived in a direct way by those who benefit from it. It incorporates ideas, feelings, dreams, aspirations; it narrates and conveys a wide range of emotions. In this sense, art serves as a means of understanding and attribution of meaning, to clarify inner experiences without words, which are often insufficient or inadequate. Through art, one has the opportunity to process one's experience by giving it form and being able to creatively convey it to others. Alisha Shinohara uses color and form as a tool for processing her innermost thoughts.

Fears, anguish, phobias and doubts are all elements that nourish and dwell in the vivid and vibrant colors of Alisha's works. Rivulets of color are scattered throughout the work. The color is vivid, its hues so vibrant that one feels as if one is breathing that color cast on the canvas. Pinkish elements interpose themselves with other greenish, bluish and fluorescent yellow ones going to create waves of chromatic matter that lap the walls to the compositional space. This management of color contributes to a closed, intimate and recollecting atmosphere as if, the chromatic composition at the center of the work was the transposition of a truth discovered during a spiritual reflection Sinuous serpentiform color elements are juxtaposed with small multicolored squares that dot the entire center of the work. Small mosaic tiles, the latter give the feeling that they are carriers of hidden truths. Art then, as a vehicle capable of sublimating and understanding reality and the individual himself by exorcising and transforming the concept of thought into chromatic matter to be thrown on the canvas. "Prayer" is Alisha's first example of abstract painting and is a wonderful reflection on the concept of prayer. Prayer for oneself, prayer for one's soul; prayer for the world, prayer addressed to the catastrophic events of recent years. In a historical period characterized by intense and anchored uncertainty toward the future, prayer is an extremely useful gesture to exorcise the fear that lies in our hearts, and Alisha presents a pictorial representation of this by giving a glimpse of what faith means to her.

Art Curator Lisa Galletti

Alisha Shinohara

Anke Riemenschneider

“Color is the place where our brain and the universe meet.” (Paul Klee)

Digital painting that through movement is reminiscent of music, notes that intertwine, that dart frantically across the surface forming a network of nuances and colours. Shades that turn into feelings and colours that play in a succession of emotions. Anke Riemenschneider creates images that express concepts through the combination of shapes, colours and lines, evoking feelings and emotions. The technique used by the artist increasingly simplifies the images to the point of making them unrecognisable and entrusts the individual colours and shapes with meanings that express the artist's feelings. The work "The Golden Notebook Nobelpreis" is a set of geometric lines and colour fields that tend towards a continuous search for balance and formal perfection. The dynamism of the sign and the precise abstract geometry of the forms contribute to building the work with a strong tension. This is realised through the interpenetration and juxtaposition of vertical and ovoid lines that suggest movement and swirling to result in emotional, intellectual and cultural tension, but also creative and interpretative freedom. The combinations that are created can be described as a set of relationships between colours governed by a compositional rule. In this way, the artist Anke Riemenschneider succeeds in expressing her content in the free composition of shapes and colours without reference to the outside world. Form is the result of the encounter between man and the world, alternating between empathy and abstraction. The lyricism of the artist's works stems from the poetic use of colour, which like music, an art much loved by the artist, produces emotions and moods.

Art Curator Giulia Fontanesi

Anke Riemenschneider

The Golden Notebook Nobelpreis

Anne Felicie Nickels

The glass sculpture by Anne Felicie Nickels, "Seafox Dragging on Human Disaster" displayed at the "INTERFERENCES" exhibition organized by the M.A.D.S. Art Gallery, presents an interesting contrast between the regality given by the transparency of glass and the black representation of the stylized shark. The choice to make the background with blue stripes adds another element of visual interest and creates an atmosphere of tension and dynamism. The stylized representation of the shark evokes the idea of danger and threat, creating a strong metaphor about the impact of humans on the marine environment and the need to protect endangered species. The work "Seafox Dragging on Human Disaster" invites the viewer to reflect on environmental themes and the relationship between humans and nature, through a unique and suggestive form of art. The artist's ability to create a sense of movement and dynamism in a static piece like glass is particularly noteworthy. In general, the work is a combination of aesthetic beauty and deep meaning, the artist Anne Felicie Nickels shows herself to be a talented and creative artist.

"Seafox Dragging on Human Disaster" is a work rich in pathos and communicative power that creates a strong sense of provocation in the viewer in order to invite him to reflect on the impact of human actions on nature and the environment. The artist thus proves to be sensitive to issues of social and environmental relevance, conveying a profound and important message for contemporary art and the world.

Art Curator Martina Viesti

Anne Felicie Nickels

Seafox Dragging on Human Disaster

Annie M. Seif

There are infinite ways that lead to the creation of a work, but few ways lead to authentic artistic inspiration. Unlike techniques and styles, the creative impulse cannot be learned, and can become a valuable tool for releasing the afflictions and thoughts of everyday life in a decisive, cathartic gesture. The artistic production of Annie M. Seif admirably embodies this concept, and is distinguished by a genuine vocation to Art and its multiple forms of expression. Annie's experimental nature led her to test her talents with charcoal, watercolor, collage and photography, until she found an ideal dimension in acrylic paint. In particular, the pouring technique allows the artist to better enjoy the artistic experience with a therapeutic approach. The unpredictable spirals of acrylic become a sort of metaphor to indicate the refusal of conventionality, as occurs in the work Lost Identity. The real protagonists of the composition are the colours, which amaze with their vibrant shades of blue and orange. The chromatic contrast catalyzes the observer's gaze, prompting him to caress every nuance and to dwell on every detail. The unexpected flow of colors on the canvas becomes a broader metaphor regarding individual freedom, so difficult to achieve in a highly homologated society. The artist seems to denounce the contemporary tendency to lose one's individual awareness due to adherence to social diktats, and loudly professes one's freedom by escaping from rigidly imposed canons. Just as colors are free to move and flow into each other without a predefined pattern, so Annie M. Seif places before our eyes not only a work of art, but also an example for everyone to follow in life the days.

Art Curator Chiara Rizzatti

"The mind is not a vessel to be filled, but a fire to be kindled." (Plutarch)

Annie M. Seif

Lost Identity

Antonietta Grimaldi

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

Antonietta Grimaldi's works are intellectual games, Antonietta confirms herself as our color genius. Antonietta's canvases shout her messages and giving them voice is color. Tenebre, Separazione, Magic Bubble, Lock, Interferenze are the stars of the international art exhibition INTERFERENCES in the international art gallery M.A.D.S. Antonietta has a great peculiarity that she does not conceal and that emerges sharply in the messages of the works: wisdom. Each work holds a message imbued with throbbing awareness. Antoinette's decision and reflective attitude combined with the movement, the stroke unleashes strong vibrations that allow a dialogue between the artist and the viewer. Antoinette has great awareness of the history of art which she combines with her fruitful creativity, let us remember that our Grimaldi entered the art world at the age of fourteen and her path is long and prolific and allows her to create with great confidence and communicate in a very direct and strong way. Our artist combines the beautiful and the useful in her works, Antoinette manages to shift the viewer's gaze and communicate through cool tones a state of freedom of the soul as in Separazione; a glance to capture our attention and evoke deep reflection as in INTERFERENCES. Antoinette offers us utopian scenarios, inspirations, as with Magic Bubble and keys to her world as in Lock. Her art is both intimate and universal, delving into the self and pushing us to reflect, one of the goals of Tenebre.

Antonietta Grimaldi

Art Curator Mara Cipriano

Antonietta Grimaldi

Interferenze

Antonietta Grimaldi

Antonietta Grimaldi

Magic Bubble

Antonietta Grimaldi

Separazione

Antonietta Grimaldi

Tenebre

Art de chè!

Every face we meet, every look, every smile, every single line of that face tells a story, its own intimate and personal story. By observing it, we get excited, because every slightest facial expression communicates a feeling and an emotion to us. Throughout the history of art, women in particular have been the protagonists of the most iconic portraits, those that have marked the destiny and greatness of art: women who have bewitched the artists who portrayed them with their faces and their femininity and, even today, they excite those who look at them with their hearts in their hands, without fear of being overwhelmed by the wonder of those looks. Also for the artist Salvatore Russo, aka Art de chè!, female faces, in particular, are an inexhaustible source of deep feelings, not at all simple to grasp and above all to understand, but which transmit emotions so intense that it is impossible not to be transformed into works of art, in his works of art, with the style that distinguishes him. The artist presents here three works that each tell the story of her and the story of the face represented, also through different facets and interpretations. In “Darkness…. la donna, il buio e il gatto”, the radiance and beauty of a woman's face emerge right from the darkness, who seems to have reached a serenity with herself and with the world; however, she embraces and holds back the most ferocious and combative part of her that she however looks back on, when instead she is ready to move forward with serenity. In the other two works presented, the artist gives us two interpretations of the same sentiment. In the woman's somewhat bewildered gaze, in the tears that run down her face and in the gesture of her hand, we can't help but feel overwhelmed by her pain, feel close to her, want to support her, hold our hand. This pain, in the second version of the work, seems to open the door to a glimmer of light: not everything is dark around her, but someone is really ready to hold his hand to bring light and colour, joy and happiness back into her life.

Art Curator Silvia Grassi

“Woman is an ocean of depth and beautiful feelings that are never easy to capture.”

(Salvatore Russo, aka Art de chè!)

Art de chè!

Darkness…. La donna, il buio e il gatto.

Art de chè!

Stati d’animo n°1 Grief in fondo blu...

Art de chè!

Stati d’animo n°1 Grief sporca...

Atsushi Ohta

Atsushi Otha is a talented Japanese artist with an unmistakable style. His works are one of a kind, extremely thought-out and reasoned during the laborious creative process. Geometry and the rule of empty/full spaces is the basis of his concept. Noise and silence blend harmoniously, creating that rhythmic and harmonious contrast that allows the viewer to find his inner peace. In Atsushi's creations, blue, declined in all its gradations, and white prevail. Two diametrically opposed yet similar colours, a triumph of harmony, tranquillity and mystery. Their juxtaposition gives rise to imaginary spaces where the artist gives vent to his inner self, freeing himself of the burdens of everyday life and focusing on what positive things life has to offer. In this way, he narrates the world with a new, evolved point of view, but using points that the audience already knows so as to make the work comprehensible. The feelings triggered by the image are conflicting, passionate. The artist invites the viewer to go beyond the limits of reality, to detach himself from the ordinary in search of the extraordinary. One must go beyond the objective view of things, explore the unknown and discover unexpected things. Beyond the limits we set for ourselves, there is a world to be discovered. Geometry rules the world and order gives balance to reality. Atsushi therefore creates original, fun and creative works that bring together avant-garde art and the contemporary. The squares that Atsushi paints with a well thought-out and calibrated technique have evanescent border lines, the colour gently disperses in space, becoming one with the background. At times, the artist presents juxtaposed squares of different colours that generate different subjective reactions and contrasts. Atsushi challenges human psychology, inviting the viewer to look beyond the sharp contours of things, to go beyond the barriers of superficiality, looking beyond known reality.

Art Curator Ilaria Falchetti

Atsushi Ohta

Drawing a square. c.p.54

Atsushi Ohta

Drawing a square. c.p.54a.plus

Atsushi Ohta

Drawing a square. c.p.66a

Aya Najib

Aya Najib is a self-taught young artist, whose intent is to understand the world through art. Jim Carrey once said: «I needed colour» referring to his need to brighten his surroundings. This sentence particularly marked Aya, who is constantly on the lookout for expressing emotion through colour, as well as create her own unique visual language. She explored a variety of mediums, starting from the animation, through digital painting, collages, arriving also to graphic design. She states that: «I am fascinated by how communication in the media plays a huge role in contemporary society», by exploring how honesty and corruption are articulated in visually curios ways, through her works, which connect animation with visual storytelling. Her works explores the state of society and the state of wellbeing communicating through visual language and colour theory. For the exhibition “Interferences” organized by M.A.D.S. Art Gallery, Aya Najib exhibits the artwork entitled “Looking for a clue”, a digital illustration realized in 2022. «How would you slow down your loud thoughts? Most of the time you would spend many hours or days or months grasping and breaking down something to find that little clue through the tangled yarn For clarity or even catharsis» These are the words through which Aya describes her digital artwork Inside the woman’s head we get to see a tangled skein of threads, which represent the infinite thoughts that run through our minds, and which do not allow us, due to the chaos they create, to distinguish, recognize and feel them. Her hand is looking for one end of this thread, necessary to undo this shapeless mass and to reach clarity or catharsis. Clarity, the quality of being clear and easy to understand, see, or hear. And catharsis, the process of releasing, and thereby providing relief from, strong or repressed emotions. This latter aspect is linked to the continuous research in Aya Najib's production to represent human emotions through color. Which happens very well in this work. The colors used are bright, lively, energetic, just like those deafening thoughts that never leave us alone.

Art Curator Benedetta Faedo

“I needed colour” (Jim Carrey)

Aya Najib

Looking for a Clue

Barbara Gottwald

"I'd like to walk with you there to find out whether we look at thinking the same way"

(Vincent Van Gogh)

Barbara Gottwald is a German artist, born in Wuppertal. Through her art, Barbara uses her language as a means to exercise the democracy she would like to see in the world: how can Art influence people and ourselves? How can art connect people across their differences? Is it possible that art is a kind of link between cultures and ways of thinking? Through her look, her abstract forms, juxtapositions, her textures and her play of colors, Bárbara invites the audience to the reflection that matters most; that one of representativeness; the one that recognizes and conceives society in fact as plural and diverse. This is the power of her work, we can create a discourse of freedom and homogenization in which society should be a fertile ground for everyone. Art as connection; provoking and promoting indirect reflections, in multiple layers, having the history of the present and the past as a reference and responsibility. Her work proposes a fundamental debate on social differences - as she proposes change, she looks at what is comfortable and also at what is uncomfortable. The artist makes reference to a cultural context marked by new social and political configurations that brought formulations and demands to the work of art. "Couldn't everyone's life be turned into a work of art?" (Foucault). In that regards, no less potent and indirect analogy emerges where history, politics and art can be examined as inter-relational and multidirectional environments, exchanging discursive and non-discursive affinities. Her series shown here comprises three works that dialogue with each other, the tropical colors of the series instinctively refer to nature and the landscape, strongly influenced by the artist, who has the habit of observing nature, a potent phenomenon that offers an infinite repertoire for her imagination. Her color palettes composed by shades of green, yellow, blue and brown are highlighted by the chromatic vigor, by the gesture of her multiple brushstrokes, which cover almost the entire canvas. Reality, at these times, opens up an enormous space for chance, for the ways that color and ink together compose her canvas, in fluid, organic and extremely harmonious elements. It evokes the memory of every person who admires it, who finds space in it for identification and happiness. The importance of the creation process for the artist is a characteristic present in her career and in her production; knowing how to appreciate the process, getting in touch with the pictorial nature itself. The tropical colors of his work convey harmony of resemblances of any kind, making up her luminous, cheerful painting, capable of representing landscapes with few and simple strokes and signs. Lines, semi-circles, shapes, dots are always willing to represent the artist's inspiration and creativity.

Art Curator Barbara Magliocco

Barbara Gottwald

Innerer Garten 1

Barbara Gottwald

Innerer Garten 2

Barbara Gottwald

Innerer Garten 4, Auflösung

Bee Jiraniratisai

Abstract but very expressive are the three paintings realized by the artist Bee Jiraniratisai ‘Energy Flux’; ‘Fantasy’ and ‘Rabbit’ are the titles that perfectly represent the subject of each scene. The choice of colors is significant too and it marries in a perfect way the whole representation. Thanks to its ability in coordinating each element of the paintings, the artist has created three different artworks by the use of the same technique The yellow background of ‘Energy Flux’ is representative of the sensations transmitted by the words that define it: some black and white brushes fluctuate into the canvas conferring the scene a dynamic atmosphere that motivates. On the contrary, ‘Fantasy’ and ‘Rabbit’ are softer and with a fairy tale meaning that satisfies the eye The undefined background highlights the spots of deep colors moving into the canvases, almost creating some figures that the viewers have to catch, entering the artist’s world.

Art Curator Martina Stagi

Bee Jiraniratisai

Energy Flux

Bee Jiraniratisai

Bee Jiraniratisai

Rabbit

Begoña Cubero Marcos

Begoña Cubero Marcos is a free soul that explodes through the power of color Our artist conveys in each painting her strong emotions and state of mind, she emanates positive vibrations through her art, trying to give some color and joy to the world around her. At the INTERFERENCES international art exhibition in the M.A.D.S. international art gallery, the artist goes beyond reality and gives unprecedented, new and unique emotions; unique because through observation of reality they could not be grasped. Begoña is able to go beyond the boundaries of the defined, pre-established experience new sensations, know how to represent them and give them to the public. "Through canvases I express my deepest thoughts and emotions, trying to capture everything that would be impossible to say in a few words. That is why "Cuberism," as I like to call the style of my creations, is a free style with a wild and untamable soul, but at the same time healing where the greatest reward is to reach my audience and convey the accumulation of such special feelings that each painting contains." These are the words of our wonderful artist who twists the concept of abstraction and entrusts it with a new label, that of "Cuberism", named after her. Her art is striking, strong, unprecedented and above all dynamic, very striking is the flow, the movement of the colors that take shape (geometric) and direction, acquire a different rhythm for each canvas, Cubero Marcos' art is flow of energy on canvas Energy and movement in her three works Pensamientos Sumergidos, Resurgir Estelar, Un mar en el infierno Resurgir Estelar is characterized by an inner core of energy that finally explodes in a riot of color, force, and movement. We find a similar pattern in Pensamiento Sumergidos, which, however, has an almost psychedelic component. Un mar en el infierno brings a more fluid, slower and meditative movement, even the title, moreover, suggests a more meditative state of reflection.

Art Curator Mara Cipriano

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

Begoña Cubero Marcos

Un mar en el infierno

Begoña Cubero Marcos

Pensamientos Sumergidos

Begoña Cubero Marcos

Resurgir Estelar

Beka Dvali

Beka Dvali is an architect/painter based in Tbilisi, Georgia. His passion for the surrealist painting style not only fuelled his desire to share his art, but also served as a basis for developing the elegance of his architectural work. At "INTERFERENCES" exhibition hosted by M.A.D.S. Art Gallery, Beka Dvali presents three artworks that have the peculiarity of having no title: the central aim of Beka's work is in fact to give viewers the freedom of interpretation based on their subjective subconscious. The first artwork presents almost alien and otherworldly figures that seem to dance with each other. Against an intense red background, their grey, slender bodies are covered with large holes, while, gathered in a tribal dance, they sing and shout with their open mouths turned towards the sky. In the second artwork, a humanoid figure is portrayed in half-length foreground. Its features are deformed, its mouth is a yellow brushstroke and its hollow, black eyes look down in a state of subdued sadness and despondency. The brushstrokes, at times violent, render the figure indefinite and in a suspended state, where all space-time reference is absent. The third artwork in the exhibition once again depicts the bust of a figure in the foreground, but with two faces and only one head pierced by a metal rod. The two faces have different expressions, one bewildered, the other almost pained. From these works it emerges Beka Dvali's desire to represent the deepest and darkest parts of the human being: the aesthetic beauty is replaced by the thin faces and grey, pierced bodies of his figures, metaphorically representing our profound complexity made up of beautiful things but also of pain, anguish, bipolarity and sadness, as negative as they are essential for the individual and universal growth of man. The surreal darkness of her work is based on deep human emotions and aims to awaken viewers from the draining routine of everyday life, letting the hidden corners of their inner world rise to the surface.

Art Curator Matilde Della Pina

Beka Dvali

Untitled

Beka Dvali

Untitled

Beka Dvali

Ber Lazarus

Ber Lazarus is a Canadian artist who spent his early childhood in a small town on the edge of a deep boreal forest in northern Ontario and later moved to the bohemian city of Montreal. Natural and urban/industrial sensibilities are thus deeply intertwined in his artistic practice, in which he explores the interrelation of objects in space. At "INTERFERENCES" exhibition hosted by M.A.D.S. Art Gallery, Ber Lazarus presents the assemblage "Once Upon a Purple Moon, A Dream". In a shallow wooden shadowbox closed in at the front by Plexiglas, various objects are arranged in perfect balance: plastic toys of different types, flowers, rhinestones, small houses, bones, stones, stars, flexible cables and finally a chess piece – the King - emerges from the wooden box presiding over the work. Some of the elements, such as the flower in the centre, also emerge from the artwork itself, piercing the Plexiglas in the direction of the viewer, thus giving a sense of threedimensionality to Ber's artwork. For the artist, objects have a very important value: they fill our existence, without them our lives would be empty. Every object 'speaks', and a multitude of objects speak loudly. By juxtaposing disparate objects, the result is a coherent and aesthetically stimulating composition that simultaneously challenges the boundaries of painting and sculpture and the limits of the pictorial frame.

Art Curator Matilde Della Pina

Ber Lazarus

Once Upon a Purple Moon, A Dream

Bruna Morastoni

"Color is a means of exerting a direct influence on the soul. Color is the key, the eye is the hammer, the soul is the piano with many strings.'' (Wassily Kandinsky)

Bruna Morastoni, Brazilian artist and desiring human being, is a symbol of nomadism, restlessness, creativeness, change and search. It is important to introduce about her trajectory to make reference to her artistic process: Bruna has lived in ten different places, including five different countries, what reflects her wandering soul, her need to discover and explore new colors, places, cultures, shapes and modes to see and think. Art has always been present in her life, in her way of experiencing and knowing the world. Even as a child, Bruna decided to face this desire, this intuition of creating, to allow herself to let herself bloom. This is how her production was born: from the verb to flourishing. Blooming in colors, in chance, in shapes, even blooming in the senses. Her painting proposes that both chance and experimentation are present as essential parts of her artistic process. That's why Bruna creates relationships with different types of materials in her production, such as lemon juice and saffron. Her work is a complete experience; it is smell, form, organicity, fluidity and color. Through the abstract, the artist makes visible glimpses of the purity that exist in the shapes, colors and lines that exist in our own daily life, re-signifying reality. Painting is an art, and art is a purposeful force, and it must serve the development and refinement of the soul. To flourish is allowing your inner self to communicate using the tool of creating for that. Bruna now takes root in her work because she allows herself to be what she is, and through her paintings we can appreciate her flow of freedom and imagination. The series shown here introduces us to its traveling colors, as "Raspberry Storm" invites us to see the primary colors as a joint relationship of themselves, the blue, endowed with depth, interacts with the magenta, saturated with heat, inaugurating new tones of violet born on the canvas itself as the unification of both. Unlike "Fresh Lemon Mint", where the artist uses almost acidic colors, as well as experimentations with different materialities and states, the warm and expansive yellow, visible and full of the presence of light, counterpointing the green that softens that same light and composes the harmony from the board. The human eye captures the image, and the brain, at least initially, captures the whole. Finally, "Passion Fruit Cellular" has two primary colors again, yellow and magenta, where the artist plays with monochromatic tones, sometimes lively and vibrant, sometimes soft and light. The dance and movement of its colors is a result of emotion and full of meaning, where its colors exist in connection and conviviality.

Art Curator Barbara Magliocco

Bruna Morastoni

Raspberry Storm

Bruna Morastoni

Fresh Lemon Mint

Bruna Morastoni

Passion Fruit Cellular

Camilla Fransrud

In a spasmodic quest to connect with nature in its deepest aspects, the artworks by Camilla Fransrud, a contemporary Norwegian artist, are dense with meaning. The colors dissolve into each other, creating ethereal landscapes where matter seems to evaporate in space, leaving the viewer at the mercy of pleasant mists. These soft fogs gently exhaled from the earth are of fundamental importance to the artist, described and narrated by embracing a language that leads the work towards the almost total abstraction of the subject. The landscape thus takes on a new form, becoming the representation not only of what is phenomenal, but above all of what is metaphysical. Indeed, Camilla Fransrud addresses nature in its most ancestral sense, seeking a connection with the origin of everything, in order to awaken in the observer, that ancient feeling from which we all descend. Her paintings are intended not only to catch and stimulate the gaze, but are born with the intention of being felt and experienced, as if perceived by touch. This is how the visual experience is amplified, involving all the senses and transporting us into an almost hypnotic meditative state, where the body completely surrenders to sensations and emotions. The mutability of the color on the surface contributes to making this journey even more intense between more material spatula strokes and softer brushstrokes, which take over the space around us, enveloping us completely. That of Camilla Fransrud is an intimate and delicate research, where distant memories come back to life on our skin, rediscovering and reliving that archaic bond that awakens our souls.

Art Curator Francesca Brunello

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

Camilla Fransrud

In the stillness of the storm

Camilla Fransrud

The beholder of hidden dreams

Camilla Fransrud

The forgotten land

Camilla Fransrud

The road to my house

Camilla Fransrud

You exist in the light

Candi Soul Sparkles

Candi Soul Sparkles is a young Icelandic artist, with various origins (a bit Irish, French, British). Candi soul Sparkles is a very emotional artist: emotionality, the depth of being, joy, positive sensations are the subject of her works. She decide to bring to the exhibition "Interferences" in M.A.D.S. Art Gallery the works "Andardráttur rawach bringing clarity" and "The reality of ascension". In "Andardráttur rawach bringing clarity" the essence of the artist, the breath that comes from within her is released in the form of a whirlwind of colors and colorful flowers, meaning her sweet and pure soul. There is also a butterfly in the foreground that itis a hymn to the freedom, to the positivity of the interior, an invitation to be happy, an encouragement that in front of everything you react like this, showing the best of yourself. Showing a soul rich in colors.

""Beauty pleases the eyes only; Sweetness of disposition charms the soul." (Voltaire)

Candi Soul Sparkles

In the second work "The reality of ascension", Candi Soul Sparkles transmits a joyful and fantastic energy. At the center of the painting, on a purple background, you can see a deep blue silhouette reminiscent of two angel wings. You feel the freedom, the lightheartedness, the desire to fly with the imagination that every artist has, but that Candi soul Sparkles puts into action on her sheet through her soul. Both of her beautiful artworks I would call a story of herself, a set of emotions and thoughts the artist feels inside, the desire to connect her inner world with the external world. Both the breath of wind coming out of the bowels, and the spread of wings are a way to get out of itself and show themselves to others through her artistic vication. Candi soul Sparkles is joy, color, joy, is the inner spring.

Art Curator Giulia Dellavalle

Candi Soul Sparkles

Andardráttur rawach bringing clarity

Candi Soul Sparkles

The reality of ascension

Caroline Herck

"Taking the body as a starting point and making it the guiding thread, that is the essential."

(Friedrich Nietzsche)

What are the interferences that our body suffers during our life? How to take our body as a guiding thread? The word "body" originates in the Greek (σώµα) soma, which is the sensitiveness, material substrate of man. The body is the object of knowledge, at the same time is a place of identification and recognition in the collective. Even so, this body is constantly repressed, shaped, adjusted, controlled and conditioned in society. The human condition of living ethically also makes this body suffer from restraints. According to Merleau-Ponty, the body must be seen as an original experience, as something prior to knowledge, so knowledge comes through it. The philosopher thinks about the body from the truth that speech produces about it, as he defines the body-organism as the place where one can define the essence of existence. The work "The Venus with a pink sex" is created from a single thread, created to make analogy with the body. This creative thread crosses and constitutes passages to new spaces with the coal line, originating shapes and figures. In contrast to this thread, the sewing thread of "Little Body" is born. The works of the artist lead the body as an instrument of discovery of new paths. They carry within the ephemerality of the cycles as the veins that pass through our body, as well as the blood flow, the human condition of aging, of becoming. In Caroline Herck’s work, the body is represented in different techniques. In "Little Body", the sculpture is operated using recycled pantyhose, virgin wool and silk threads. The body-mind bond is questioned by its deformed, non-symmetrical, mutilated, deviated, aged, embryonic form. What are the weaknesses and strengths of this body? What are the states that it suffers during life? The body is a plural structure, it is the object of transformation, it is the meaning of process, the potential of adaptation, of history. In the series shown here, Caroline paints "Beyond the Chicken-and-the Egg problem", in which she goes on to reflect: "Who comes first, the egg or the chicken?" once again emphasizing the substantial idea of life cycles. The lobster, an animal present in her series exposed here, reinforces symbols of the life cycle. The lobster represents processes of regeneration, resilience, loss and expansion, strength and fragility, symbols strongly linked to a moment in Caroline’s life, in which she embraced her weaknesses and learned from them, opening a path to change, to the return to her essence and reconditioning of her mind. The artist’s portraits stand out for the connection created between women and the animal, comprising a kind of generative transformation related to suffering, vulnerability, uncertainties, ruptures and attempts of freedom. Her most recent paintings point to the same solid, visible and deep human body. The regard of women is what confesses and reveals connection with the viewer. These are immeasurable and extremely individual processes, as they point to our nature, our pulse of life, our desire for expansion, to that moment beyond time and history. It displays harmony between forms, depth between layers, expression disclosure and extreme pictorial and sculptural maturity.

Art Curator Barbara Magliocco

Caroline Herck

Venus with a pink sex

Caroline Herck

Little body

Caroline Herck

Beyond the Chicken-and-the Egg problem

Caroline Herck

Caroline Herck

Knit me if you want

Cendrella Maroun

At the end of the 19th century, Munch's "Scream" rises to an icon of incommunicability with its strong cry of universal anguish despite its total closure within the individual. "This inability to register the feelings of others - says Goleman in his now well-known "Nature of emotional intelligence" - is a very serious intelligence deficit and is a tragic impairment of our being human. In any type of relationship, the root of interest in the other lies in entering into emotional harmony, in the ability to be empathetic". In art it is the Expressionist Movement that expresses the real relationship of the body with one's mind and with one's surroundings. The body continues to be represented, but the aesthetic canons that had long dictated its representation criteria are no longer imposed on it. But expressionism is not only the communication of discomfort, there are also feelings of joy that want to find the best way to express themselves in the body. Indeed, Matisse shows us the joy of being in the world which he expresses both through a voluptuous stasis and with the movement of a dance. The same movement that we find in the work of Cendrella Maroun, who uses slow and fast, double and light brushstrokes to tell us about her world, her joy of being in the world.

Art Curator Federica D'Avanzo

Cendrella Maroun

Jealousy

Channell Scott

Channell Scott is a highly original and creative self-taught English artist who sees art as a safe haven from a life full of obstacles. Art is freedom, safe shelter from the storms of life. Art does not judge, it allows you to be yourself. And that is what fascinates the artist. Channell incorporates his Jamaican origins into her works, especially in her choice of subjects and colours. She creates juxtapositions between the figurative and the abstract that invite the viewer to look beyond the narrow confines of reality. Everything is possible to imagine and the artist expresses this concept with art, a free instrument of expression by definition. The colours of her paintings are electric, vibrant and immediately capture the audience's attention. The artist's creativity modifies the natural landscape through unreal and contrasting colours, transferring it into a magical, almost dreamlike dimension. The elements of nature often return in her creations. Channell creates enchanted mental landscapes where reality is mixed with fantasy, making the viewer escape from the sad and suffocating everyday life. In her work "The Outsiders" three stylised figures are arranged in space. The diffuse and evanescent colour of the background contrasts with the marked contour lines outlining the bodies. Bright, vibrant colours animate the image, creating movement and three-dimensionality. The reference to surrealism with its themes of childhood and play is evident. The artwork tells of escaping from reality to cling to dreams and escape from monotony, pursuing the utopia of a world where freedom reigns. The artist offers a new vision of things, of the world around us. A sweet escape.

Art Curator Ilaria Falchetti

Channell Scott

The Outsiders

Chiara Mambelli

Chiara Mambelli is a young artist who uses artistic language as the most precious communication tool. A direct, incisive tool, capable of penetrating the soul. Her artistic poetics plays on the juxtaposition of shapes and colours, generating a dynamic and powerful visual impact, above all from a chromatic point of view; this impact wants to act as a profound representation of her complex and vast inner world, more colorful and welcoming than concrete reality. Art is a refuge, it is a place without dimension, a means that allows the artist to filter reality, to absorb it and to shape it within himself. It's a safe haven, which doesn't judge you but, on the contrary, indulges you in expressing who you are in all your totality and sincerity. To explore every mood and make it visible and tangible.

"Going to the moon, it's not that far away. The furthest journey is the one within ourselves."

(Anaïs Nin)

Chiara Mambelli

The materiality of the color emerges from the canvases and gives the entire artwork an almost rough, raw appearance, but with a deep inner meaning: the connection between the artistic act and the artist himself becomes an inseparable bond. Themes such as the precariousness of external balances, of beauty, but also of the transience of things are themes that often recur in the artistic poetics of Chiara Mambelli, a strongly autobiographical poetics focused on inner discovery and on the relationship with one's world.

Art Curator Federica Schneck

Chiara Mambelli

Chiara Mambelli

Precarius balances

Chiara Silvano

“Art follows me, it’s just a way of looking at life. I paint. I draw, i create to keep trace of my existence, just to remember to myself who I am ” (Chiara

Silvano)

Chiara Silvano delights us with a self-portrait at the international art exhibition INTERFERENCES in the international art gallery M.A.D.S. Her art is relaxed, reassuring, familiar. Her Motherhood work cuddles us, envelops us. The artist's gaze, which is portrayed in the work, is penetrating and is the detail on which the viewer's eye rests. From there, as if caught in a vortex, we find ourselves exploring the work and understand why it turns out to be so familiar. Chiara is inspired by the truth of things, life, the simplicity of everyday life, and the warmth of affection.The artist says, "It is an oil painting on canvas, but lately I added a fabric that my grandmother had. She had a big bag full of different fabrics that she used to buy around, and it was nice to play with them when I was little." Chiara also possesses two talents, the pictorial one that is evident and the communicative one. The multiplicity of objects that cover the woman's body and the plea for help in her eyes, which leaves a chill on the skin, make us immediately understand the message "Motherhood is a self-portrait, but it is meant to be a mirror for many different women who might be overwhelmed by their motherhood and feel sunk." Therefore, as the artist herself says, her art has the quality of acting as a mirror, reflecting the emotions, the purest feelings of people. Praiseworthy and the use of colors, Chiara's style can be placed between surreal and metaphysical art with a great influence of collage, which we find in the work "I also started adding some small embroidery on my canvases, finding the visual effect quite interesting and really appreciating the act of embroidery itself: it is slow and my thoughts manage to slow down with it. It's like meditating. I also really like collage I like to create a surface that allows the eyes to move: our real world is made up of things that just happen to be there but with a harmony of their own, and this is well represented by the collage technique."

Art Curator Mara Cipriano

Chiara Silvano

Motherhood

Choi Moon Sun

If deconstructionism means the method that uses the comparison of texts, even those far apart, to explicate their infinite possibilities of meaning and interpretation, then Choi Moon Sun's paintings can be classified as deconstructivist. Three works of art that have a life of their own and one that is created by the comparison of the three, but not only that, by the comparison of two with the third, of one with the result of the meaningful totality of the three and so on. Marks, which are traces, which have inherent meaning in themselves precisely because of the lack of it. Smudges that look like engravings, intertwining colored lines that look like fleeting wall paintings or intense scribbles found on once-important forgotten papers. A textural background almost, ground in the sense of ground, of pebbles, of soil once fertile for planting, now for expressiveness. From what appears to be an unintentional confusion emerge stinging marks of spots, spiritually in relief. They seem caused by that one dark shape. Still one seeking and finding in the other. The meaning, the concept, the thought. The union of the spirit of the works as in the artistic quest whose fulfillment occurs almost by magic, uneducated, poor, intense, true. The artist hatches and leaves visual traces of her shell to make her passage decipherable. To give as the only generous gesture of true expressiveness, the sign and its purity of purpose inevitably becomes beauty.

Art Curator Erika Gravante

Choi Moon Sun

What is so of itself

Choi Moon Sun

What is so of itself

Choi Moon Sun

What is so of itself

Cleopatra Chroni

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

Self-taught artist Cleopatra Chroni is inspired by a dualism; contradictory questions and the resulting balance. AI is an evolved work, capable, through mastery of technique and skill in the modulation of light and colour, of arriving at concepts of analysis, synthesis and precious logic about the invisible structure of the Universe. Cleopatra Chroni is capable of externalising the subtle link between the invisible cosmos and the material physicality of its elements. Art can therefore become a vehicle of spiritual reconciliation because it is able to transcend natural limits through transcendence, and thanks to its vital energy, which is the result of the union of feeling, thought and action, it is capable of going beyond darkness and all that it represents: the immanent, the material, the finite. The figure represented has an interesting formation, the features are detailed and dictated by the shades of colour that follow one another on the canvas, recalling the colour of the background but at the same time, detaching themselves from it. In an imagery where faces take on fanciful aspects and where the symbolism of the soul is expressed through incomprehensible forms, Cleopatra Chroni would be a master of the impossible, that is, of the ability to capture in a detail the essence of a person, in the wonder of their beauty. The work is characterised by this dualism, the harshness represented by the robot but mitigated and softened by the presence of a butterfly that takes centre stage and creates a true centre of colour and attention, hope and devotion.

Art Curator Giulia Fontanesi

Cleopatra Chroni

Constantina P. Jones

The eye, says the philosopher Plotinus, when he does not wish to see anything of other objects, nevertheless projects a light, or when the possessor of the eye compresses it, he sees the light that is in him. Then he sees without seeing, and it is especially then that he sees, for he sees light. The other things were only luminous, they were not the light. Of the eye and sight we have literature and art, we find ourselves in the eye of the other we look at, or rather in the best part of the eye where its virtue is guarded, which is sight, that is, the pupil. So in addition to the light that is in us visible only in conditions of non-visibility, in order to know oneself it is not even enough to look into the eye of the other as in a mirror, but it is necessary to set one's gaze on that very part of the eye where it happens that the eye looks.

Constantina P. Jones

Philosophical theory often in history, becomes image thanks to art, and in this case thanks to Constantina P. Jones and her generously translating into visual image, such a complex thought moved by an equally complex desire: self-consciousness. Two works of art, two pupils, two eyes, infinite lights. Ellipses inhabited by idyllic existences. A body that is itself a nucleus around which necessary ideas and souls orbit. Aesthetically magnetic, the artist's images have the hypnotic and seductive power of science, of the study of color, of anatomy, of the stargate, of the light gate.

Art Curator Erika Gravante

Constantina P. Jones

Constantina P. Jones

Cristina Villarreal

“A thing of beauty is a joy forever: its loveliness increases; it will never pass into nothingness.”

The floral theme and the beauty of nature in all its colors accompany the entire artistic production by Cristina Villarreal, a contemporary Mexican artist, emphasizing how important it is to stay in harmony with Mother Earth. Rich in energy, her paintings accompany the viewer in an immersive experience, where color takes on a totalizing role, almost annulling the form of the represented subject in favor of abstraction. The flower embodies love, affection and prosperity and is also a symbol of honor, valor and nobility of the spirit. On the occasion of the exhibition "Interferences" at M.A.D.S. Art Gallery, the artist proposes a work entitled "Amor a las Flores", referring precisely to a beauty that is not only aesthetic, but also symbolic, representing two large red flowers that seem to vanish on the canvas, which is also of the same color. Red originally means 'the color of blood', not for nothing in the collective imagination the color red recalls passion, ardor, impetus and vivacity. It also refers to the archetypal idea of fire as a primordial force that transforms and purifies. The significance of the Anemone, a flower similar to those depicted by the artist, lies in the brevity of its flowering, in fact its name means 'flower of the wind' and symbolizes the fragility and fleetingness of beauty. Cristina Villarreal, through her artistic research and her expressiveness rich in color and vitality, wants to remind us to savor life to the full, allowing ourselves to be pervaded by the beauty of each moment, without being distracted by the interferences of everyday life.

Art Curator Francesca Brunello

(John Keats)

Cristina Villarreal

Amor a las Flores

David King

David King participates for the first time in an exhibition organized by M A D S Art Gallery on the occasion of "Interferences"

Extremely light brushstrokes that seem to rest on the canvas: with a style between Impressionism and Post-Impressionism, the artist manages to recreate a totally harmonious atmosphere and in full contact with the place where he lives. Shildon, where the artist lives, is described as the birthplace of the railways, where the first ever passenger train ran from Shildon to Stockton-onTees on 27th September 1825. On moving here two years ago, he discovered a lot of railway "memorabilia" situated at various places around the town, so he decided to create a series of paintings of these objects as a mark of respect for the hospitality we received here David King supposes they also represent an "interference" in deviating from the norm of painting "pretty" buildings Observing these landscapes, admiring their attention to detail and nuances, trying to mentally reconstruct the environment: it is the artist’s ability to involve the viewer and make him immerse completely in his world, showing him visually and getting his eyes used to the atmosphere. “The Timothy Hackworth Pub” (Timothy Hackworth was the engineer who designed and ran the first trains) is an extremely evocative artwork that we will easily associate with a poem: a road that curves to the right, exalted by a sidewalk in the foreground to the left, with an almost central lamppost overlooking the painting. In "Rail carriage at Eastgate", the sky is very blue, we are in front of a small square that transmits a familiar air. In "Rail Carriage at Main Street", we see instead a small tear, which more than ever presents the theme of the railway David King manages to create an atmosphere so intimate and deep that Shildon, at times, seems our home

Art Curator Sara Grasso

“When I retired from business I wanted to fulfill a lifelong dream of devoting more time to art.”

(David King)

David King

The Timothy Hackworth Pub

David King

Rail carriage at Eastgate

David King

Rail Carriage at Main Street

dilemma1

“Art is made to disturb, science to reassure.

The artist dilemma1 presents his work with the emblematic title of "No Decision". dilemma1 amazes the viewer with a work apparently linear and understandable but at the same time enigmatic. The artist asks the public a provocative question: "Order against Chaos - Borders against Freedom - Interference or Dilemma?". On a blue background are arranged in rows of three nine geometric shapes with black edges, with a triangle in the centre and polygons on the sides, within which, inside the perimeter, are placed small coloured geometric figures arranged randomly. The freedom of colour and shapes is chained and limited within the black borders. There is a strong contrast between freedom within very precise and clear limits and between composure outside the same boundaries. The dilemma lies in finding a coexistence between the geometric rigour of scientific laws and the uncontrollability and unpredictability of creative inspiration, between the rational sphere and the irrational aspect. At this point, we are wondering whether there is a solution to this contrast, to this dilemma. Can there be a "balance" point? The answer is right in the title, "No Decision", no choice. And as a dilemma1 himself states: "Coexistence is the key... in all its chaos the world finds its order, no decision to make. Everything is perfectly fine."

Art Curator Laura Faccioli

”

(Salvador Dalì)

dilemma1

No Decision

“Meet you in dreams.”

(dnl8lnb)

dnl8lnb is the artistic nickname of Daniel Valcik, a surrealist artist hailing from Prague. His art explores the immaterial world, the one that goes beyond reason, which is holed up in our unconscious. Dreams are the interferences and source of inspiration for his art. Through his poetics, the artist invites the beholder to explore his hidden worlds. The bright and fluctuating of the chromatic textures, which allow us to enter those surreal places, make clear the inspiration of surrealist artists such as Dalì or Magritte. The colors are bold and lively and explode from a black background, as if to give us the impression of an image emerging from the void. Thus, in the same way, the world of the imaginary and the surreal appears, emerging from the darkness of our mind. The strokes alternate between decisive ones, which caress the contours of portals, shapes, objects, and fluctuating ones that convey vibration and movement to the artworks. It is precisely for this reason that although these are fixed representations, the light of the sinuous nuances and strokes give the impression of dynamism. It almost seems that the artwork represents the intermediate process, or the exact moment, of the apparition of the dream, of the revelation of that surreal image that hasn't completely taken shape yet.

Art Curator Angela Papa

dnl8lnb

Gate 23

dnl8lnb

Music universe

dnl8lnb

Paradise dice

Dolphin Brown

“No man ever steps in the same river twice, for it's not the same river and he's not the same man. “

(Heraclitus)

Dolphin Brown's is a space-time journey, where our senses lose contact with the real world, to enter a different state of consciousness, much more like a meditative one. The American artist, in fact, specialized in video art, accompanies the spectator along a path made of moving colors, completely abandoning form in favor of an immaterial language. Music also takes on a central role, making the visual experience even more immersive and all-encompassing. On the occasion of the exhibition "Interferences" at M.A.D.S. Art Gallery, the artist proposes five videos ("eternity.1", "eternity.4", "eternity.7", "eternity.9", "eternity.13"), each developing in a circular motion starting from the centre of the image, from which spirals of color arise, rotating more or less vortically, capturing our gaze in a visual game of great intensity. The spiral embodies the concepts of dynamism, cyclic continuity, development and expansion - or regression and contraction if travelled in the opposite direction - and evokes the flow of time in its various cycles of change. Dolphin Brown's aim is precisely to detach herself from a faithful representation of reality, processing her video footage until she obtains a mixture of images that are no longer recognizable. In this way she elevates the sensory experience to something new, where the viewer can be and feel free to experiment with his or her own mind. The phenomenal reality we are accustomed to interacting with on a daily basis melts away until it dissolves, pulled into an overwhelming spiral of new emotions, leading the observer towards a new knowledge.

Art Curator Francesca Brunello

Dolphin Brown

eternity.1

Dolphin Brown

eternity.4

Dolphin Brown

eternity.7

Dolphin Brown

eternity.9

Dolphin Brown

eternity.13

Dziuginta Didziokaite

In the painting Brighton. Christmas Eve, artist Dziuginta Didziokaite develops an effect of immediate depth that suddenly appears to the viewer as the latter follows the lines of the painting. There are no characters or symbols to soften or distract the attention of a viewer who is absorbed in the solitude of this surrounding landscape. The colours that change from warm to cool tones and the brushstrokes that intensify and mark the drawing even more are the perfect example of a chromatic quest. The composition of the painting resembles a dark theatrical backdrop, where the building in the foreground stands out with luminosity towards the horizon. The colour and light create a freshness of insight and immediacy in the approach to the motif, which allows a moving identification with the natural subject. In Brighton. Christmas Eve, reality is transfigured by a constant desire for formal control that leaves no room for fantasy, regulating every single part within a unified design. These characteristics explain the artist's desire to give life to a historical landscape interpreted as a backdrop for episodes suspended in an indefinite time. Time is here and does not run, the artist lands on the road of feeling, of personality, of the channel of thoughts capable of tracing a physiognomy, making the connotations the exact commentary of a sensitive heart or a fearless mind.

Art Curator Giulia Fontanesi

“I am seeking. I am striving. I am in it with all my heart.” (Vincent van Gogh)

Dziuginta Didziokaite

Brighton. Christmas Eve

Edward Bakst

Spontaneous expressions without the intervention of the mind, psychic automatism to express what takes place in the subconscious.In Freud's psychoanalysis, all kinds of traumas and repressed unconscious feelings were raised through free associations and dream interpretations. During sleep, repressed feelings and repressed experiences are revealed in the form of dreams. Thus the inner truth of each individual person emerges. The artists of surrealism tried to make the existence of the subconscious visible by imagining the dream world. The artworks we see now have the Surrealist flavour of those of the mid1920s, 'Person Throwing a Stone at a Bird,' 1926 by Joan Miro seems to have inspired the artist in a direct and passionate way: a body, a portion that determines the whole, with Edward Bakst finds itself being synthesized with the single line. Essential and at the same time complex, the image the author reserves for us is that of relationship and the relativity of it. Different points of view become visible and enjoyable with these ink artworks, almost alien elements and wave-like patterns settle in the eye of the beholder making clear once again the importance of following instinct to express one's inner truth. Black scratches white like a laser etching, imprinting on the surface the desire and thus the inexhaustible passionate force of art. Carnivorous plants joining previously decapitated heads, bodies advancing carrying only the necessary weight of the indispensable elements. A beating heart that expands throughout the figure, expanding throughout the composition and breaking down in all its embroidery.

Art Curator Erika Gravante

Edward Bakst

Man and Woman

Edward Bakst

Edward Bakst

Sexual Encounter

Eleanor Veness

One of the qualities of Eleanor's art, of her stories, is the ability to be so close to reality. Eleanor is direct; her stories are real, alive and belong to everyone's experience. The experiences that Eleanor describes, portrays and gives to everyone are universal they belong to us and this is the key to getting straight to the heart of the viewer Her art is original, brilliant and in step with the times is something new, fresh and appealing because it is fully aware of the past and looking to the future. Eleanor captures the best from artistic experiences, draws inspiration from literature, philosophy, popular and figurative culture and combines them with a keen sensibility, reflective tendency and great talent in the fine arts. What he creates is contemporary and has historical precedent in miniatures, albeit in a different form and probably with a different purpose The artist uses her talent as an expression of her feelings, an outlet for this her art has great communicative power that comes from authenticity, a characteristic similar to contemporary Italian cartoonist Zerocalcare. Eleanor began her academic career by devoting herself to the relationship between image and word, so she explodes artistically in the role of director Eleanor's art is mainly autobiographical, the diary for Eleanor is the means of growth with which to make observations about the inner world; she has kept it since she was a child Eleanor sees her art practice as a necessity to function and create in other ways. To execute The Star Eleanor uses mixed media collage on sketch paper, combined with retouching and effects done in Photoshop, the artist says "This self-portrait is based on the tarot card "The Star," which symbolizes renewed hope and inspiration. The bathroom is a place where Eleanor sometimes finds epiphanies in thought, flooded with renewal and new perspectives." Release is a digital drawing, combining word and image, and the text reads, "I feel like I'm living in a vacuum I can't hear my thoughts and my inner voice is distracted. But I'm glad I spent New Year's Day doing absolutely nothing for once. Now I wonder what will be in the future. I realized how little I have thought about change, even though I feel it coming. I am in the eye of a whirlwind of thoughts, but the greatest inspiration can come from nothing. I don't feel bored, just empty and eager to feed the fire inside me that wants to ignite a new world " Diary Portrait is a mixed media collage on sketchbook paper combined with touches and effects made on photoshop The text reads, This is my face after a difficult and challenging year," while the facial expression indicates tiredness. The mood of the stroke is in conflict with the bright and maniacally joyful colors, giving the work a tragicomic effect.

Art Curator Mara Cipriano

"To me, art as expression is the primary mode of being.” (Eleanor Veness)

Eleanor Veness

Eleanor Veness

Diary Portrait

Eleanor Veness

Elisa Colombini

"Two adjacent units, two entities of the plane or space that have something in common and generate vibrations, vortices, parallel and perpendicular channels, like two souls meeting again for the first time." These are the words our talented artist Elisa Colombini uses for her work Due unità that she brings to the international art exhibition INTERFERENCES in the M.A.D.S. international art gallery. Color is the absolute protagonist of this wonderful work, along with the use of space. Elisa creates an architecture and geometry of the canvas consisting of lines and color fields that is a vehicle for a very clear message: the meeting of two parts. Essentiality is a key word to describe this abstract work, three main colors were selected by the artist and some lines divide two main spaces. This is indicative of a well-defined artistic carat and a clear vision of the emotion the artist felt in relation to the work created. All this is conveyed to the viewer through emotional vibrations aroused by lines and colors. Elisa Colombini was born in 1992 in Lucca, where she still lives and works. She graduated from the Liceo Artistico in Lucca and worked for two years in the field of advertising graphics. A few years later she deepened her first and deep passion for abstract painting. During these years she made paintings on commission for private individuals and participated in some important competitions both in Italy (Rome and Milan) and abroad, with monthly publication in the magazine "Art Now." She received a certificate of admission from the Van Zeidler Art Gallery - on the occasion of the event called "1st Prize City of Berlin." In November 2022 one of her paintings was selected for an auction in Viareggio.

Art Curator Mara Cipriano

"Art for me represents emotion and each emotion has a sharp, strong colour that encapsulates a thought which exudes energy, like a breath of fresh air in the sun” (Elisa Colombini)

Elisa Colombini

Due unità

Elisabetta Borgognoni

Mysterious’ and ‘Water’ are the result of the artist Elisabetta Borgognoni’ inspiration from her daily life. The technique used to create these works of art, and in particular the choice of colors, is what differs one piece to the other. Looking attentively at ‘Mysterious’, it is possible to see not only a dynamic atmosphere in which the hues of blue; pink and red move into the canvas, mixing up and creating some mysterious cutouts here and there. What is significant is the importance given to the red - almost fucsia - spot in the low part of the canvas.

Elisabetta Borgognoni

The artist's ability in using the colors has permitted to create a 3D vision to the painting that calls the viewers to imaginate and enter the scene, almost hypnotized. On the contrary, ‘Water’ has a softer appearance thanks to the pastels colors that animate the scene. Relaxing, dynamic and symmetrical are the three main adjectives that define it. As the water’s movement, the painting shows some point of collision between colors that create a vivid atmosphere

Art Curator Martina Stagi

Elisabetta Borgognoni

Mysterious

Elisabetta Borgognoni

Emanuela Nesko

Emanuela Nesko is a fine art photographer and visual artist who, from an early age, has developed a strong connection with the art world, for the purpose of creating a personal artistic language that sees photography as the main creative tool and the form more complete than therapy to heal from the deep emotional wounds of the past. Through a precise artistic research that recalls the world of conceptual and surrealist art, Emanuela Nesko invites the observer to abandon concrete reality to immerse himself in a new, otherworldly dimension and explore his own interiority. The awareness of the traumas suffered and of one's own past push the artist to create a strong connection with the observer and to induce him to develop a personal reflection on his own past and on the pain that, perhaps, has been repressed, hidden. Her art speaks to us of pain, of wounds, but also of growth, awareness and rebirth. Her artworks, sometimes disturbing in appearance, show themselves as the perfect representation of numerous moods. They are manifest works of a difficult path of self-analysis and healing.

"While trauma may be hell on Earth, resolved trauma is a gift from the gods – a heroic journey that belongs to each of us."

(Peter A. Levine)

Art Curator Federica Schneck

Emanuela Nesko

Fear of Stepping Outside Of The Box

Emanuela Nesko

Disconnected

Emanuela Nesko

Fear of The Unknown and Unusual 1

Emanuela Nesko

Fear of The Unknown and Unusual 2

Emanuela Nesko

Fear of The Unknown and Unusual 3

Emmanuelle Favereau

“I seek to represent not things as they are in matter, but the feeling, the emotion that springs from an object or an event. My paintings springs from the guts and the heart” (Emmanuelle

Favereau)

The poetry of Emmanuelle's art lies in representing reality by going beyond the patterns of rationality and focusing on the essence, the vital core of things. The truth of things seen through a microscopic lens. Emmanuelle manages to dialogue with the observer's unconscious because she observes and represents the deepest emotions. Our artist, at the INTERFERENCES international art exhibition in the M.A.D.S. international art gallery, selects her colour palettes by following the emotions aroused by an event, an object, a story, a food for thought. Likewise, the channel for communicating with the observer is movement. "Art does not reproduce the visible but makes visible": these are Paul Klee's words, and they perfectly render the concept of abstract art, specifically that of Emmanuelle The talented French artist makes introspective mechanisms visible; her pictorial research focuses on the exploration of the ego and the motions of the human soul. This is why her art is universal and direct because it describes part of humanity's reflections. Three different colour palettes to express three different types of feelings, Symphonie bleue represents the calm and charm of the ocean as a place of meditation, Love inside is a declaration of love to oneself, the purest and deepest. Bataille intérieure focuses on attempts to 'bring out the light in each of us'. The three works are of great emotional impact and explode in the eyes and soul of the viewer. The eyes become a vehicle to breach the heart of the viewer and speak to his or her deepest self.

Art Curator Mara Cipriano

Emmanuelle Favereau

Bataille intérieure

Emmanuelle Favereau

Symphonie Bleue

Emmanuelle Favereau

Love inside

Erica Bren

"I wanted movement and not a calm course of existence. I wanted excitement and danger and the chance to sacrifice myself for my love.” (Leo Tolstoy)

The focal point of the artworks that Erica Bren has presented for the Interferences exhibition is the juxtaposition between contrasting elements. The artist places before our eyes the apparent incoherence of compositions that enclose two different souls within themselves, arousing a sudden feeling of silent estrangement. And it is precisely this reaction that should make us reflect on the (extraordinarily rare) ability of an artist to induce a spontaneous emotional response, which paves the way first for genuine curiosity, then for attentive and participatory contemplation. Gli Amanti di San Valentino and Wild and Free offer two different ways to experience this fascinating journey of awareness, which crosses the potential of the concrete and abstract world to reach a dimension of metaphorical value. The variety of combinations, textures and shapes is the basis of Gli Amanti di San Valentino, which stands out for the representation of a pair of horses that meet lovingly on a geometric background with pink and black lines.

Erica Bren

Erica surprises the observer with a decisive contrast from a chromatic, stylistic and semantic point of view. If on the one hand the gaze caresses the soft chiaroscuro shadows of the horses' muzzles, on the other the attention is concentrated on the rigidity of the monochromatic bands, almost putting the real protagonists of the composition into the background. With Wild and Free this aspect is accentuated by the choice of painting a majestic running horse directly on a fabric.

The acrylic brushstrokes seem to intersect continuously with the geometries of the background, almost to flow through them. Far from creating a simple reproduction of the sensitive world, Erica Bren creates her own symbolic universe, in which the serene majesty of the horse embodies the most virtuous aspirations of the soul, which go beyond the banality of objective reality to reach new forms of inner beauty.

Art Curator Chiara Rizzatti

Erica Bren

Gli Amanti San Valentino

Erica Bren

Wild and Free

Erica Pecar

“Where everything is an enigma; history, nature, cosmos, the certainty of insolubility sows an invisible seed of hope”

(Guido Ceronetti)

What is life if it is not the unknown? What is the constitution of the human being if it is not an instrument of discoveries and learning? The history of Art and Philosophy have sought to serve different mindsets that were not content with reality as shown in the foreground. While science was in search of absolute truths to respond to the mysteries of humans, art is the greatest interference in this search. Erica Pecar is an artist who highlights the territory of her enigmatic, investigative, esoteric and questioning works. In two new paintings, the artist encompasses multiple researches and reflections. In “La morte che uccide la morte”, a painting created with some difficulty in understanding, Erica paints a temple, inspired by Greek temples, where we find silhouettes of human figures who are in the process of self-knowledge and transformation, going against an incessant and immense search, where the body suffers a kind of deterioration, a transformation in the flesh. What are the social interferences that prevent these beings from meeting the yearnings of their souls? The artist achieves the degree of quality in her painting by selecting elements that correspond to her desire to make her audience curious and questioning through her works, from which their own lives and behaviors can be reflected on. The painting, mostly in cold tones, is painted with light blue monochromatic brushstrokes on the right side, and dark brushstrokes with variations of red on the left side. The numbers and enigmas found on the clock, an object belonging to the artist's visual identity, refer to the desire to symbolize these “secrets” hidden in her work.

Erica Pecar

At the top, the Roman numerals; at the bottom, words and phrases transformed into numbers, waiting to be unveiled and removed from under the veil created by Erica. “The artist is only the one who knows how to make solutions to an enigma.” Karl Kraus. “Scelte polari”, work that has the strong presence of another strong feature in Erica's work, the geometrization of forms - in front of the opposite sides of the painting that presents dialogues about emotions. The left side is contemplated by fire, destruction and imbalance: the prison, the big mouth (ambition), the owl, the sword and the shrapnel. On the other hand, a face that expresses its emotions. Anger, fear, pain, conflicts: these feelings also carry learning, inward contact and evolution. In this painting, the artist works using polar concepts: love and hate, fear and courage, equal and unequal. Are they really opposites to each other? Opposites meet in nature. The paradox is beautiful. The dialectic resists time, it is an inevitable condition of the human being. One opposite sustains the other and absence is a derivation of presence. Erica Pecar expresses her own style through textures, numbers, letters and shapes, linking the visible and the invisible, without losing her investigation and technical and poetic sophistication.

Art Curator Barbara Magliocco

Erica Pecar

La morte che uccide la morte

Erica Pecar

Scelte Polari

Fiorenzo Sandonini

Fiorenzo Sandonini was born in Brescia, Italy in 1960; he lives and works in Brescia, Italy. This artist has traveled to more than 60 countries around the world, both for passion and for work; in fact, Fiorenzo owns a company in the textile industry. Art, wine, photography and travel are among his favorite passions. Thanks to INTERFERENCES, exhibition organized by M.A.D.S. Art Gallery, Fiorenzo was able to give more space to one of these passions: art. From the way he paints, it is easy to guess that abstract art is his favorite one. One of the striking features of this artist's abstract works is the fact that, despite the almost total abstraction, connections to something real existing and concrete are always offered Very often Fiorenzo Sandonini's works can be viewed from any angle, precisely to give the viewer maximum freedom of interpretation. The observer, therefore, looking at the work will only be able to look for and find this interference between abstraction and figuration. An example of this connection we have with Mappa Metro, a work in which pink is the protagonist. The title essentially refers to city subway maps, in which it is possible to see the connections between one station and another. Lines, circular blobs of color and confusion give life to this extremely beautiful work of art. Abstraction that recalls reality returns with Labirinto Yarns. A work with a vertical progression that, like the previous one, can be observed by flipping the canvas in any direction. Returning to mind are the interlocking patterns created when so many balls of yarn are piled up. The various yarns often create this tangle of colors that is difficult to untangle. Finally, with the work Nine the artist wanted to abruptly interrupt the abstraction by having the number recalled with the title appear directly in the canvas. The number "nine" made with stripes of color derived from acrylic stains, is the protagonist of the work. Numbers often return to be the real protagonists of this artist's canvases.

Fiorenzo Sandonini

Mappa Metro

Fiorenzo Sandonini

Labirinto Yarns

Fiorenzo Sandonini

Nine

Gen Aso

Gen Aso is in tune with the concept of "Interferences": his aim is to "interfere", to clash with the people who are in front of it. Through his artwork, he commits himself to spread art like a wave that is transmitted to infinity. The keyword of his artworks is the "Oni", translatable as a demon, a spirit, a creature like a man, very popular in Japanese folklore since ancient times. Through the "Oni", he creates paintings that reach the invisible spirit, and wants to transmit his "Oni" all over the world. Through these demons, he wants to open the doors of his most hidden Ego and deliver an image of himself that reaches the invisible soul of the one who looks at him. "Opening gate" plays with colours, vibrant sketches that explode in the canvas, with a clear reference to Japanese culture and the magical presence of the spirits of the Oni. To support this concept, bright colours, strong and decisive brushstrokes play a fundamental role, acting as a vehicle to convey his interiority in his paintings. As an artist, Gen Aso sees art as a means that gives people the opportunity to think and feel the same way, regardless of nationality, gender, or religion. According to him, artists have a great responsibility: spread the good to rehabilitate the world.

Art Curator Laura Faccioli

“The aim of art is to represent not the outward appearance of things, but their inward significance.”

(Aristotele)

Gen Aso

GHEEM Sookyoung

GHEEM Sookyoung is a South Korean artist who has made a significant impact on the international art scene with her original and powerful works. Her exhibition experience in cities around the world, including Venice, London, Paris and Korea, demonstrates her talent and ability to connect with audiences across many different cultures. On the occasion of “INTERFERENCES” organized by M.A.D.S. Art Gallery, the artist exhibits "Distance" and “Va et Vient", which are a perfect example of her unique and innovative approach to art. "Distance" is a performance piece that explores themes of separation and connection. The scene of two women tied and kept apart by two columns, with a rope winding around them, is a powerful and visually intense image.

GHEEM Sookyoung

The physical distance between the two women represents the emotional and psychological separation, which many of us can recognize and relate to in everyday life."Va et Vient", is another example of her unique and innovative approach to art. This wooden sculpture lying on the ground representing a half sphere explores themes of balance and tension. The precarious form of the sculpture creates a sense of tension and uncertainty, representing the delicate balance that exists in life and the struggle to maintain stability in a constantly changing world. GHEEM Sookyoung demonstrates her ability to create powerful visual images that evoke intense emotions and a deep connection with the audience. Her technique and style are unique and original, making her an artist to watch.

Art Curator Martina Viesti

GHEEM Sookyoung

Distance

GHEEM Sookyoung

Gina Melty

There are works that have the ability to transport the viewer to faraway places, making them savor sensations and emotions as if the viewer were experiencing them in person. Art, is a universal language, a form of communication to express feelings, emotions or to send a message to the viewers. It allows one to create a debate, to appreciate it or not, to converse with the object but especially with oneself, with the inner self. To present, as it is in reality any object or thought is not possible since art is subjective, in fact each artist proposes to the one who observes his works, his own "illusion," not reality and with this we can say that never any work of art can be compared or recreated by another artist. Every detail that the artist adds is personal and can be considered as a clue to trace his or her mood, context or the message he or she wanted to give Considering this, it is easy to identify with Gina Melty's works by being carried away by the flow of shapes and colors that characterize her works. Every stain, every liquefied color, every chromatic form that exists in her works conveys a feeling to the viewer and contributes to a formal and chromatic ecosystem that evokes certain atmospheres. The color, thrown directly onto the support, allowed to dry and then dissolved again through the action of ice cubes acquires surprising shapes and results. The ice, melting slowly produces shades and halos that make Gina's works extremely dreamy and evanescent as if that atmosphere we mentioned earlier could disappear at any moment. And this is precisely why, when we lay our eyes on these works, our eyes move as if hypnotized to try to decipher and discover every stain, every hidden chromatic halo. From evanescent bluish-colored halos, our pupil stops on intense patches of purple pigment and then goes to rest observing faint pinkish hues blending together. The color, along with the shape, produces real atmospheres that smell of late spring. Pinkish hues blending with yellowish halos and bluish elements combine to create works that smell of life New existences are about to peep into this world after the long, dark winter rest, and Gina's works mirror this inexorable and powerful life force that bathes the entire globe from one end to the other. The air is no longer cold and crisp, winter is over and now the latter is warm and enveloping from the early morning hours. The sun, punctual as it is every year, begins to warm the earth and its light is food for the flowering trees. Paying special attention, you can smell the notes of delicate and sweet scent of cherry blossoms hovering in the air.

Art Curator Lisa Galletti

Gina Melty

Gina Melty

Gina Melty

Various Colors

Girgin Songül

“The artist is the hand that plays, touching one key or another, to cause vibrations in the soul."

Songül Girgin is a Turkish artist who for years has been making sculptures that combine pure geometry with optical art. After completing his undergraduate education at Kocaeli University and Marmara University Faculty of Fine Arts, Girgin has made numerous artworks, examining the relationship between forms, nature and sounds. Nature is the field of research and the first source of inspiration for the artist; by observing biological species such as seeds, plants, marine creatures, cells and bacteria, the artist "translates" their essence into perfect geometric shapes, implementing a process of abstraction and reconstruction with the help of the computer. The full geometric shapes are joined by a multitude of thin lines, geometric entities that give movement and dynamism to the sculptures; the alternation of empty and full spaces, as well as creating surprising optical effects, allows the sculptures to relate to the surrounding landscape, a complementary element of the artwork, and to produce sounds. There are two senses tickled by Girgin Songül's interactive sculptures: sight, through optical effects, and hearing, through the sounds these works emit; the observer's involvement is, therefore, total.

(Vassily Kandinsky)

Girgin Songül

Each element of the work, shape, material used, colors, arrangement of solids and voids in the space, is decisive, affects the final result, visual and acoustic, and, for this reason, chosen with care. The choice of metal is not accidental, it is the only material that allows her to create very thin geometric elements, for this reason it predominates in her artistic production; the artist has also conducted research on the different intensities of the sounds produced by the various types of metal. The sound is also intensified and propagated by the pedestal, designed by the artist with a dual function: to support the sculpture and act as an amplification box. "Poplars", inspired by a poplar forest, is the first sound sculpture created by Girgin and dated 2019. The dense sequence of very thin stainless steel lines, if moved by the wind, come into contact with each other producing sounds minimal; the upward ascension of the various rectilinear elements ends with a curved and sinuous trend that mitigates the angularity of the forms, giving harmony to the entire composition. "Shell", dated 2020 and also entirely made of stainless steel, is, however, inspired by the bark of poplars; here, in the center of two triangles, the thin lines tend to curve, producing a spectacular cascading effect. For Girgin Songül, nature is not just a physical narrative, it is a garden of sensations and engaging emotions, a playground to discover together: artist and observer.

Art Curator Vincenza Ursillo

Girgin Songül

Poplars

Girgin Songül

Shell

Gloria Williams

Gloria Williams' artistic research takes as a basis the dialogue between an unconventional use of the medium of photography, abstraction and ideation. Her great sensitivity which masterfully combines art with technique explores the dualism between figuration and abstraction - the connection between the represented object physical dimension and the brilliantly controlled translation into photograph is hence extremely strong, even if Gloria Williams' photographs are totally unedited. For this reason, despite the observer may at first glance perceive her works as pure abstraction, lines and shapes clearly show their natural sources of inspiration that often come from everyday life without being subjected to strict manipulations In arder to avoid a tota! immersion in abstract features, Williams' works are frequently described with rather descriptive titles - "Hidden Faces", for instance, leaves no room for doubt Showing a firework from an underwater view, "Hidden Faces" can be read as the product of a filter through which the observer can see a somewhat more secluded reality that happens to be visible only to a careful eye able to master the photographic medium and to turn it into a display-worthy work of art Moreover, the sheer fact that photography can be reproduced endlessly affords the represented object countless modes of existence and its capacity to disclose the most hidden and secret aspects of reality. The observer is induced to decompose the image into its many components: the broken line of the fires, the enveloping darkness and the halos of light tracked by the water filter. This three-dimensional effect is emphasized by the compositional structure as well, as it shows the light breaking into color variants and light trails that are not visible to the naked eye. Warm colors that resemble lava and fires in distant labyrinthine explosions and waves give the whole a dense yet mysterious appearance. This contrast is recalled in the chromatic palette as well: black and red meet each other at the center of the composition by generating a large scale of steamy oranges. In front of the clash between the vividness of lines and the evanescence of shapes and colors one can surely wonder: "can photography truly push beyond appearances towards the deep intensity of reality?".

Gloria Williams

Hidden Faces

Glory-G

"Your visions will become clear only when you can look into your own heart. Who looks outside, dreams; who looks inside, awakes." (C.G. Jung)

Glory-G's artistic expressiveness starts from a therapeutic approach to the creative process. It allows the artist a temporary estrangement from the world and from the problems that crowd the mind to allow an approach to her most authentic interiority. Glory-G, in fact, conceives the creation of a work as an act of spontaneous inspiration, which flows onto the canvas just like vibrant acrylic colors. It is a superior form of meditation, which captures the mind through the guidance of the brush. This concept is also clearly present in the work presented by the artist for Interferences, Lotus. The traditional association of the lotus flower as a symbol of rebirth is emphasized here to the max, alluding to a detachment from the impurities of the surrounding world to achieve a renewed inner beauty. As the lotus manages to shine with a bewitching purity despite its roots in the mud, so art manages to ennoble the soul with its irrepressible positive influence. In Lotus this contrast is also perceptible visually thanks to the sumptuous chromatic contrast between the combination of blue and orange. The complementarity of the two colors transports you to an almost sacred dimension, and strengthens the ideal achievement of a superior harmony, which transcends the murky and changeable nature of exteriority. Glory-G seems to invite us to a profound reflection on the human ability to cope with adverse circumstances with the awareness that they are only a necessary step to discover oneself with a new conscience devoted to enlightenment.

Art Curator Chiara Rizzatti

Glory-G

Harry Collins

The goal is not the result, but what goes on in the soul during the creative process. Harry Collins is a London-based contemporary artist who considers painting a form of meditation. Take a long breath, pick up your paintbrush and let your instincts take over. Embarking on a journey within oneself whose destination is only revealed at the end: the journey is long, but, without a doubt, memorable. Harry discovers something new about himself every time he combines his body with colors: they become one, it is difficult to see where they separate. 'Blue Clouds' (2022, ink and acrylic on cotton paper) is a dive into the sky. Look at the work and think you are sitting on a cloud; then look down. How high did you fly to get there? In "Echo" (2022, acrylic on cotton paper) broad pink, white and blue brushstrokes are superimposed on the blue background. The dark night is giving way to the sun that will light up the day. "Ink on pink" (2022, ink and acrylic on cotton paper) is a tribute to the color of delicacy and refinement. The artist juxtaposes it with black, creating a strong chromatic and symbolic contrast. 'Orange Enso' (2023, ink and acrylic on cotton paper) - as the title suggests - focuses on orange. Energy and optimism are the feelings Harry wants to convey. Finally, 'Pink clouds' (2023, ink and acrylic on cotton paper) takes up the theme of the first painting. The sunset colors our eyes, the clouds and is reflected in the sea. Harry's works are the mirror of his magical inner world: observe it, understand it... then waste no time and start your journey.

“Art is a line around your thoughts.” (Gustav Klimt)

Art Curator Camilla Gilardi

Harry Collins

Blue Clouds

Harry Collins

Harry Collins

Ink on pink

Harry Collins

Orange Enso

Harry Collins

Pink clouds

Haruna Hibiya

We are used to thinking about what happens to us, rather than feeling the effect it has This is why we are always looking for an explanation for the occurrence of events, a justification for the behaviors held by ourselves and others, a confirmation to conjectures about the reasons that caused a given circumstance. So for example, we think that finding the answer to why an unpleasant event occurred makes us feel relieved. Despite this, our state of mind remains the same. If we feel sad or angry about something that happened, understanding the causes of it does not make the sadness or anger go away. Understanding is not enough. We have to 'feel' what emotions are aroused by the reflections we make or the explanations we give ourselves, and 'understand them with the heart.' When we know that something is right with the heart, our belief is of a different order than the conclusions we reach when we think with the rational mind; it is a deeper certainty. In psychotherapy, the ability to verbalize a state of mind, that is, to put into words what one is feeling, allows one to reacquaint oneself with emotions and effect change. Haruna Hibiya has chosen to externalize her feelings through art. Form and painting become bearers of the hidden meaning of Haruna's soul, and the elements depicted serve as letters in the alphabet of the artist's emotions. A large rib cage stands out in the center of the work. It is looming and at the same time ethereal Illuminated by the faint light of ivory pigment it seems so fragile and delicate, so slender as to have almost glassy consistency The ribs protect something that, within the work is not present There are no lungs as well as most of the remaining organs we find in the human body. The rib cage therefore, protects nothingness. The white void effectively contrasts with the one organ that the rib cage is supposed to protect: the heart. Yet, the organ is not depicted in its original location. The heart is painted outside the rib cage, above it. A purple stain that irretrievably stains the white paper, the heart sits at the center of the composition. It is a beating heart, it is alive and so vital that it casts its essence and color over the entire rib cage and the entire composition. Some patches of color slide downward while others run out into a dry patch with noticeably jagged edges. Haruna's is a heart that cries out loud, that has learned to decipher emotions and listen to itself. It is a heart that no longer needs to be protected by white ribs by hiding from reality and the world around it. The beat is vivid, it is loud and rumbles going to ignite the moonlight of the backdrop. The artist with "Heart" externalized her innermost feelings, her emotions crowding her mind. Now the heart is lighter, now the beats have returned to a normal rhythm.

Art Curator Lisa Galletti

Haruna Hibiya

Hazuki Tonotsuka

The archetype is a model, a prime image. But unlike other prime images it has a more definite temporal connotation: the archetype is a primeval specimen that has existed since the world began, atavistically shared by every human within a culture or even the entire species. Thus there are archetypes in philosophy (think of the Platonic Ideas) and then in psychology (particularly discussed in Jung's studies) and then in philology (to denote the original manuscript to which every other copy refers), down to mythology, where it is the set of streams of thought and feeling that uniformly shape myths, and then in so many other disciplines. And in art? Even in art, of course, there are archetypes that are passed down through the ages. Recognizing them is easy since the works allow us to enter directly into communication with them literally at the first glance. In fact, if we think about it, sometimes we are faced with works that contain within them the symbol, the first image that is declined through form and color. How do we know that an archetype is present within a work? We just know it. This, it is a certainty that we perceive within us. The color and form speak to us and we begin to feel a close connection between us and the work beyond time and space, personal experiences and who, that archetypal work created it.

Hazuki Tonotsuka

And that is how, looking at Hazuki Tonotsuka's works, we can feel a concatenation between our self, the work and the artist. It is as if, the painted subjects and settings mirror the thoughts and images that dwell in our heads. It is as if those deep colors color our most hidden fears and feelings. In "Recollection," our gaze rests on two figures. The first subject, with innocent, childlike features is lying on a green meadow dotted with flower petals. Above him rises a figure so slender and light that it seems to levitate in the air. The latter's general feeling of fragility is effectively balanced by the expressive power it conceals within it. Chromatic tongues of sanguine tones literally emerge from the almost skeletal subject. One gets the feeling that, from the torn skin, organs and flaps of human tissue are leaking out. Violet elements swirl and rise toward the sky suggesting in some ways a divine connection. It feels as if a connection to another world is about to open and seal itself at this very moment, at the moment when the hands of the threadlike figure have come to rest on the chubby cheeks of the figure lying on the lawn. Hazuki's art, through archetypal and highly expressive imagery, succeeds quite naturally in instilling in our minds the thought of looking at things beyond their formal and tactile nature to go and unearth the archetypal essence that lies beneath the veil of Maya that covers our pure existences.

Art Curator Lisa Galletti

Hazuki Tonotsuka

Continuation

Hazuki Tonotsuka

Recollection

Hazuki Tonotsuka

Slumber

Hazuki Tonotsuka

Symptom

Hermann Lederle

Herman Lederle is a German artist currently living in Los Angeles. His artistic career is characterized by a unique and original approach to pointillism, which combines elements of abstract art with this classic technique. On the occasione of “INTERFERENCES” organized by M.A.D.S. Art Gallery, Herman Lederle exhibits "BLING BLING" and "LOOK LOOK”, which are a perfect example of his approach."BLING BLING" is a work that attracts attention with its bright colors, such as red, blue, orange, and green, creating a lively and vibrant atmosphere. The figurative elements, such as a stylized flower and star, are perfectly integrated with abstraction and pointillism, creating a visually stunning and captivating image.

Hermann Lederle

"LOOK LOOK", on the other hand, is a work that develops from the bottom up, with a greater presence of figurative elements. The stylized eye and geometric lines create a visually fascinating and intriguing image that invites the viewer to look more closely. In both works, Herman Lederle demonstrates his ability to create powerful visual images that capture the attention and imagination of the audience. His unique and original technique, which combines abstraction with pointillism, makes his art unique and distinctive. In summary, Herman Lederle is an artist to watch and his works are a perfect example of his talent and creativity.

Art Curator Martina Viesti

Hermann Lederle

BLING BLING

Hermann Lederle

LOOK LOOK

HF was born in 1999 in Kanagawa, Japan. He studied art in High School, and he was selected in "Nichiyo-Gaka Competition." He currently lives and works in Japan. HF is a self-taught artist who prefers to make artworks that show Japanese landscapes; for this type of artwork, the artist prefers to use oil color. His motto is to draw beautiful landscapes as he sees them and feels them. An example of an artwork dedicated to landscape is West coast of Enoshima, a small-scale artwork that the artist made with the intention of conveying the feelings he felt when faced with this landscape. A panorama that has great importance for him, in fact, as HF states, this place stirs many memories in him. The oil colors are spread in a mellow way, with a technique reminiscent of that of the Italian artists belonging to the Macchiaioli current, dating back to the second half of the 19th century. This was a predominantly Tuscan artistic current and consisted of artists such as Telemaco Signorini, Giovanni Fattori and Silvestro Lega, who were accustomed to painting with spots and short brushstrokes. HF is geographically distant from these artists, but stylistically he is not. The atmosphere he has managed to create is muffled. The landscape one observes hints at a silent, reflective, and solitary place where each person can find his or her own self. Just as his motto reminds us, HF draws what he sees, but more importantly, what he feels. Certainly, these feelings emerge in an almost melancholy way from this canvas.

Art Curator Alessia Maniscalco

HF

West coast of Enoshima

Hitomi Morikawa

It is the sense of perspective to put order, to identify hierarchies and meaning in the material, mental, cultural, affective relationship between each of us and the whole of reality. And between each of us and our imaginary. But not only that: the order is sharp, but fluid. We choose a direction and, by moving one step, we are able to change the universe. Or, through a sudden change of perspective, we can discover an entirely different universe. Èd it is the sense of perspective that puts us in relationship with both the past and the future. This, too, is a shifting landscape, not only because we fatally move along the arrow of time, but because, by imagining, or reading stories, or thanks to a movie, or remembering, we can force boundaries. Human beings are, by nature, inclined to look at things from their own perspective We look at the world because of the vision captured by our eyes and processed in the brain, and we establish size and grandeur according to our size, our "being" in the world On a scale that measures size we are exactly where the so-called macrocosm and microcosm meet. The first set encompasses magnitudes that we consider enormous such as the mass of the planets and the vastness of the entire universe measured in light-years. The second, includes all that world hidden from our eyes as infinitely small. Yet this scale of magnitudes applies exclusively to our senses and perceptions. A tardigrade, an animal dwelling in the microcosm of a drop of water does not adopt our perceptual measure and, for him, we belong to the microcosm Hitomi Morikawa through her shots, makes us change our perspective by training our gaze and mind to look beyond the visual cone of our eyes; to go beyond the normality of things And so it is that in the triptych "Morning glory by the window," a hydrangea flower mutates, changes and transforms depending on the point of view that is adopted. From the world of the real to the world of the fantastic. From the material world to the evanescence and fluctuation of forms. This is what comes to mind when viewing these works in succession. In the first work, a curtain of petals introduces us to a new world. With awe we cross the violet threshold focusing our vision to observe what is hiding within. In a flash we are catapulted into a sea of waves and sinuous shapes. This is the world portrayed by the second photograph where the tiny hydrangea flowers begin to morph their connotations to become increasingly rarefied beings that are more and more distant from the solid, granitic reality The blurred focus enhances this feeling of mystery and curiosity about this new world so much so that we delve even deeper and become acquainted with the atmosphere that characterizes the last photograph in this triptych. In this space we are at the mercy of light and form. There is nothing recognizable anymore, nothing that has any semblance of something that, in the world, we have already seen. The lilac color gently fades into a whitish hue and then becomes more saturated and bluish-green. We are in another dimension, in a dreamy space with blurred boundaries and indefinite shapes. Our scale of magnitudes no longer applies. We just have to let go while enjoying this new and unprecedented atmosphere we have never seen before.

Art Curator Lisa Galletti

Hitomi Morikawa

Morning glory by the window I

Hitomi Morikawa

Morning glory by the window II

Hitomi Morikawa

Morning glory by the window III

Hyunah Oh

Korean artist Hyunah Oh chooses abstract form to communicate. During the creative process, the artist erases all recognisable natural forms to introduce a meaning made of colours and shapes that follow a pattern formed by visual sensations. The abstractions start from symbols, dialogues, intentions and return to the origins. Through a process of self-listening and internalisation, the artist experiments and creates what he feels on the canvas, in fact she uses it as a means of writing, where all emotions become, as if they were words, abstract shapes formed by continuous, sinuous and fast lines. We are faced with a painting that becomes a means of elevation and aesthetic intuition, inviting contemplation as an essential and founding element in communion with the supernatural. A pictorial language capable of moving from earthly materiality to the enchantment of mystery: images and forms of rare poetry, fuelled by mystical seduction and sublime tones that seem to cradle reflections and nuances with elegance. His painting thus celebrates the importance of contemplation as an element that brings with it an inescapable process of internalisation, of returning to the origins as a subjective experience that allows the individual to move from intimacy to the mystery of existence. Hyunah Oh's pictorial language seeks to externalise the ineffable grandeur of the Universe in order to discover what lies beyond logical schemes and then to achieve a new cognitive realism. Each composition manages to find its own private space and to express in a collected intimism the deepest contact with the artist himself, with the most subtle layers of the universe that conceal energetic dimensions that only a sensitive soul can touch.

Art Curator Giulia Fontanesi

“Creativity is magic. Don’t examine it too closely.” (Edward Albee)

Hyunah Oh

Abstract writing - hear me out

Hyunah Oh

Abstract writing - whispers

Hyunah Oh

Abstract writing and erasing

Ingvar Thor Gylfason

Ingvar Thor Gylfason is an Icelandic artist. After having experimented in all kinds of mediums and art forms throughout his life, in 2016 he felt in love with the beautiful duo of oil paint and the art brush and he has never stopped since. At "INTERFERENCES'"exhibition hosted by M.A.D.S. Art Gallery, Ingvar presents two artworks, both of which have crows as their subject. In "Forever" two crows rest on a branch in the foreground and approach each other as if they wanted to cuddle. The bird on the left sinks its snout into the neck of the other, giving the scene a sense of deep intimacy and affection. In fact, it is characteristic of crows to mate for life and show their love for each other, strengthening their bond: they spend their time together working on gathering food and building the nest.

Ingvar Thor Gylfason

"Murder of crows" depicts six crows on a long branch: their mood, in contrast to "Forever", is more tense and guarded, and they give the impression of being ready for an attack on prey nearby or simply to gather together to flock. The skilfully given brush strokes provide a play of light and shadow on the birds that enhance the beauty of their plumage and the anatomical rendering of their bodies. It often happens that the bird joins in a group with the others, and this can be either to play and socialise or even to mourn a fallen crow. Then, when the night ends, they go their separate ways to reunite again when the day is over.

Art Curator Matilde Della Pina

Ingvar Thor Gylfason

Ingvar Thor Gylfason

Murder of crows

Jacqueline Poitevin

“Every artist dips his brush in his own soul, and paints his own nature into his pictures.”

(Henry Ward Beecher)

French artist Jacqueline Poitevin tells us her personal story through her works. Her artistic universe ranges all over the world, from Spain to Italy, from Canada to the United States, from Peru to China and all the way to Colombia. In fact, the artist's paintings tell stories and traditions, are coloured by cultures and communities that we can admire through the nuances of colours and trace in abstract forms. Jacqueline's pictorial language takes on an intense narrative meaning and becomes the expression of an inexhaustible voyage of exploration and knowledge where much space is left to the intimate and private dimension that enters into a relationship with the surrounding reality in order to give it back in a new guise, charged with conceptual and expressive content that is nourished by the chromaticism and emotional gestures of the one who creates. Colour is the soul of these paintings that come to life from a careful formal and structural elaboration, where each element is skilfully harmonised and aimed at capturing the gaze of the observer, becoming the occasion for a mental and reflective journey nourished with pleasure. In his paintings, every detail is capable of stimulating the imagination and becomes a revelation of the sensitive, an expression of a subjectivity skilful in capturing the spirit of things, a figuration of the inner drives belonging to the human soul and the world. Her works are fluctuating visions, traversed by a lyrical tension that is expressed in the chromatic suggestion and in the expressiveness of forms, and suggest memories and images aimed at connecting the external dimension with the private one, making use of a visual language that clarifies our belonging to something greater and universal. Nature is the artist's great source of inspiration which allows her to expand her imagination and color her palette. Jacqueline Poitevin’s paintings are a narration of a flow, a movement, an expression of the changes of nature in its various forms. But there is a deeper memory beyond, the pieces describe known, dear, revisited places, at different times, eternalized through the lens of the artist's camera. The observer becomes a witness to the stories that the artist's paintings tell silently.

Art Curator Giulia Fontanesi

Jacqueline Poitevin

Amour Amour

Jacqueline Poitevin

Jacqueline Poitevin

Explosion

Jacqueline Schubert

Jacqueline Schubert, a German artist, has only started painting for a few years, however developing an experimental creative style aimed at the exploration and use of multiple media. Her creative language, decidedly expressionist and powerful on a chromatic level, suggests a positive vision of the world and a precise desire to bring back to the canvas the great mystery of what surrounds us and of Nature itself. Personal experiences, what the artist lives on a daily basis are all the basic elements necessary for the development of a precise artistic poetics which sees Jacqueline Schubert confronting concrete reality, and then transporting it within her own inner world, to give a general vision the final. All this takes the form, in most of the artworks, through an abstraction of forms, in reference to the feeling of strong freedom that the entire creative process generates in her. The present is just a starting point for reflection to take new paths, to create new ones and to explore them through the imagination.

Art Curator Federica Schneck

"The abstract has always been more impressive to me than the concrete."

(Fernando Pessoa)

Jacqueline Schubert

Jacqueline Schubert

Citylights

Jacqueline Schubert

Stations of Berlin - Jungfernheide

Jacqueline Schubert

Stations of Berlin - Jungfernheide reflected

Jacqueline Schubert

Graphic like J.M.B.

Jamy Kahn

Fine artist Jamy Kahn started her artistic career during the peak of the Neo-expressionist movement. Abstract art is the language that the artist feels closest to and best expresses her creativity and talent. On this occasion, Jamy Kahn is exhibiting five artworks that represent her vision of abstract art and her unique and original approach to artistic creation.The first work she presents is "BREAK/2020," a three-dimensional work made with mixed media such as plastic and plexiglass. This work, which resembles a window, is composed of various types of waste elements such as ceramics, surgical gloves, and other plastic items like spoons and forks The center of the work sees two intersecting gold stripes, giving the work a touch of shine and brightness "EXOTERRA XI" is an abstract but at the same time figurative work, as the arrangement of colors creates an X in the center of the work. This work is made with laminated metal and the central colors are black and white, which have been applied using the fluid art technique. This painting is a perfect example of the artist's ability to combine abstract and figurative elements in a single work."OXYGEN I" is a three-dimensional work made with acrylic on canvas. Each element of the work represents a letter that, when combined with others, creates the word "OXYGEN." This work demonstrates the artist's ability to create powerful visual images that capture the attention and imagination of the audience. Finally, "EXOTERRA II" is similar to "EXOTERRA XI" in its realization technique, but the colors are multiple and arranged together by different geometric lines. This work is an example of the artist's creativity and ability to create unique and fascinating works of art that combine abstract and figurative elements. The last artwork exhibited is "QUANTUM LEAPING" which was exhibited during "DECRYPRICart" as well. In summary, Jamy Kahn is a talented and creative artist who expresses her art through abstract art Her works, such as "BREAK/2020," "EXOTERRA XI," "OXYGEN I," and "EXOTERRA II," are a perfect example of his unique and original approach to art

Art Curator Martina Viesti

Jamy Kahn

BREAK/ 2020

Jamy Kahn

EXOTERRA XI

Jamy Kahn

EXOTERRA XI

Jamy Kahn

Jamy Kahn

QUANTUM LEAPING

Jasmine Lee

Jasmine Lee is a British-Chinese multidisciplinary artist and Team Leader at a bakery. On the occasion of "INTERFERENCES", the latest exhibition organized by M.A.D.S. Art Gallery, the artist Jasmine Lee exhibits the work "Fault Lines III" which is an interesting combination of figurative and abstract elements. The background presents different levels of depth achieved through different shades of gray, and in the foreground, we see the outline of a hand holding a brush with which it is painting a yellow and black warning tape. The brush, represented at the same time as the hand, is also just an outline, which gradually takes color as it moves from the hand to the tape This use of contrasting tones and shapes creates a visually engaging composition, and the representation of the hand and brush adds a sense of human presence to the abstract background. The work is intriguing and visually striking, highlighting the artist's ability to unite abstraction and representation in a unique way. Overall, "Fault Lines III" is a well-made work that speaks to the artist's skills in creating dynamic and impactful pieces. The white hand represented in the work represents human presence and the ability to create and control. The brush, as it paints the yellow and black tape, symbolizes the impermanence of human actions and their ability to leave an indelible mark. The yellow and black warning tape, in turn, represents the need for a warning and prevention for any possible danger or consequence. The use of gray tones for the background is a clever choice as it represents neutrality and calm, creating a contrast with the vitality of the hand and brush. The geometric lines present on the background suggest the presence of a structure or order, highlighting the controlled nature of human creation. Overall, "Fault Lines III" is a richly meaningful work that invites the spectator to reflect on the relationship between man and nature and the ability of man to influence the surrounding world. Artist Jasmine Lee proves to be a talented and creative artist, with a strong ability to communicate deep ideas through art

Art Curator Martina Viesti

Jasmine Lee

Fault Lines III

Jess Kaya

"For me, colors are living beings, highly evolved individuals who integrate with us and with the whole world. Colors are the true inhabitants of space."

Jess Kaya is a Swedish artist who has developed a personal artistic research based on the study of multidimensionality through the use of fabric. The "FLOW" collection stands as a key example of her creative style and consists of artworks that recall a great chromatic variety, from pastel colors to black. The key thought of all of Jess Kaya's creative activity lies in the awareness that an open and curious vision towards the world is synonymous with inner enrichment and the three-dimensionality of her artworks confirms this thought. The numerous angles, the textile structures and, above all, the variation of colors of the works invite the observer to broaden their perspectives, not only in relation to what is in front of them, but above all with regard to the world around them and the ability to change your views.

(Yves Klein)

Art Curator Federica Schneck

Jess Kaya

FLOW Purple

Joas Nebe

Reality has always appeared in the form of stories. What is told contains the filter of recollection. A twofold filter, since one cannot recall a past event without the facts following it being integrated into the recollection. The representation of our memory thus adds to the representation of the remembered events and the facts subsequent to that memory. Here the time of recollection is not the past, but the future already past of the past. At that point doubts arise as to the veracity of such a mental image, Doubt, however, always has to do with the intuition of emptiness, which even in its neutrality contains the concept of absence and lack. This discontinuity at the level of imagination and thus of image, which is what the artist works on, translates as whiteness.

Joas Nebe

The white (empty) parts are selected with craft, they are not just holes in the memory of the pages of the books that participate in these artworks, but they become light-repelling surfaces, where inevitably the immersion in history remembered also by the word, becomes immersion in the self. An image that is selfempowering thanks precisely to these white voids/spaces, which relate to the viewer in a genuine and profound way. Compositions that we might call collages present themselves as harmonious and pleasing in their breaking points, in their creation of an aesthetic limbo of time. A doubt indeed, which is revealed in its whiteness and proceeds on its erosive path of ink, color and form.

Art Curator Erika Gravante

Joas Nebe

Untitled

Joas Nebe

Victoria + Albert

Jolanda Walther

"Only take someone's hand in a certain way, even look into their eyes in a certain way, and the world is changed forever." (Iris Murdoch)

Creative inspiration is an interference in the mind of the artist, who captures the signals coming from the outside world with extraordinary sensitivity and then re-elaborates them into an original and personal expression of its own point of view. This idea is well present in the art of Jolanda Walther, who leaves herself the possibility of being surprised and moved by this in every situation of daily life. Keanu Reeves view as Lawrence of Arabia beautifully represents the artist's ability to enhance her admiration for the Canadian actor making him the ideal subject for a series of drawings of intense beauty. The title of the work refers to the memorable historical movie Lawrence of Arabia, and contains the basic idea of the creation of the drawing, i.e. that of imagining Keanu Reeves as the protagonist of the famous film. What might seem like an incoherent combination turns out to be a successful whole, and also makes it possible for the viewer to abandon an initial preconception to enjoy a vivid vision, which resolves itself in the dark (almost alive) eyes of the actor.

Jolanda Walther

With Silent Mouvie, however, Jolanda transports attention to the sepia tones of another era, and celebrates the glories of silent cinema with a female figure with languid black eyes, whose sumptuous robe seems to allude to Cleopatra, a film from the early 1900s played by Theda Bara. The diaphanous complexion of the woman emerges from the indistinct backdrop, and accentuates the sublime beauty of the features of the face, among which a delicate melancholy shines through. Abandoning yourself to the contemplation of Silent Mouvie means undergoing the enchantment of the painted gaze of the woman depicted, and above all being led to reflect on the original juxtaposition between the subtle similarity between two apparently different art forms. Pictorial art, like a silent film, is able to speak to the interior in a more direct and effective way than any word, transmitting an infinite plurality of emotions in a single - but significant - blink of an eye.

Art Curator Chiara Rizzatti

Jolanda Walther

Keanu Reeves view as Laurence of Arabia

Jolanda Walther

Silent Mouvie

Jolyane Abel

“For me, art is about expressing my aesthetic and working with colors”. Jolyane Abel

Experimentation is the basis of the artistic research of Jolyane, a talented artist and graphic designer. Jolyane was born with a gift, the ability to communicate through the use of color, wandering and exploring the universe of color play of light, contrasts, shadows, and shades. Her language is impactful; Jolyane is known for her unique creative approach and ability to create designs that capture attention and inspire people. Her art can be classified as abstract art in which the choice of color is fundamental as well as the movement and architecture of forms. At the international art exhibition INTERFERENCES in the international art gallery M.A.D.S. Jolyane presents Emergence. The artist states "In lyrical abstraction, color is the subject of the work. The resonance of color is based on its saturation and the contrast chosen. The play of transparency occurs with the opacity of various applications of layers. These layers create a slow, organic movement derived from the flow of water across the canvas. The sense of temporality is established through the succession of overlapping layers. The linear gesture contrasts and plays with the nuances of colors."

Art Curator Mara Cipriano

Jolyane Abel

Jonathan Pierini

Paintings that contain a collage immediately strike the human eye by superficial disharmony of materials. Trivially, we are faced with a dimensional confusion, a pictorial work that does not include tails or such materialisms, accustoms us to analyze what 'we have in front of us as two-dimensional, the addition of elements such as paper and glue to insert different elements, inevitably brings into play the concept of three-dimensionality. We can therefore say that we are faced with sculptural works of art, which reveal themselves in very little thickness. Collage breaks the mould, not only in technique, but also in form and content; it opens the door to imaginative worlds in which everything is possible, is hybrid.

Jonathan Pierini

These paintings have a very strong emotional component, they seem to exist because of a compelling need, a visceral need that prevents any other form of life but art. Sheets glued together like flaps of skin to be reunited after an irreparable break, a burn, skin to be replaced to resume its normal functioning. In the case of irreparability the only possible solution then seems to be superimposition, the addition of layers, of protection, of material to support an image, a thought, that of self. The artworks of this artist have the compositional force of opposites: the colors are bright, they are full, they occupy their rightful place instinctively, the overall view is only conducive when broken down. Emotionally clear, strong, confident art, jonatham Pierini is a pulsating soul.

Art Curator Erika Gravante

Jonathan Pierini

Jonathan Pierini

“Quel pomeriggio a letto”

Justin Chan

It's undeniable: Justin Chan is not only a photographer, he is a visionary artist who can tell a story through his artworks Perhaps, one of the main reasons why he is a magician in doing so, is precisely the fact that this happens without building it: his photography works itself no longer define a scenery, or an object as we know it, it no longer represents anything at all and it has become a new horizon of artistic impressions. There are five works on display that completely embrace the theme of the exhibition "Interferences", abandoning for a moment the harmony that characterizes his artworks, and creating an imaginary oxymoric that approaches a "chaotic harmony". An interference is the superposition of two co-operating phenomena and the subsequent summation or elision of their effects In communication, interference is any action exerted by a foreign signal, resulting in Disturbance and alteration of meaning It can be a meeting of different, mostly discordant actions, initiatives, interests, ideas, which nevertheless tend to affect each other, often leading to conflict. According to Friedrich Hegel, without conflict there is neither affirmation nor identity. In "HOMELESS" we find a concept of movement, an artificial dynamism that somehow recalls the imagination of the Fluxus group that, in the sixties, mixed different media and artistic disciplines. An electric rose dominates photography, emphasizing the abruptness of the facts that can interfere with our lives until they change it. "THE AWAKENING" connects to the theme of profound change, broadening the theme of the unexpected by showing the sudden openings that our mind can encounter at certain revelations. "AS ABOVE" seems to go elsewhere, beyond, trying to understand how what happens down can relate to what happens on (as above as below), identifying colorful and hypnotic links that, in an instant, bring us almost philosophically to the point in the half: the center of all things The ontological investigation does not stop and continues with "THE BOOGIE WOOGIE", characterized by the frenetic and enthralling rhythm typical of that dance and of that musical style. When we are happy in the face of change, we are unbridled, we know no limits. And you know why? Why "IT COMES IN WAVES", the arrival movements of un-imaginable events affect our lives. And it is with this delicate and, at times, psychedelic, guiding thread that Justin Chan shows us everything that, more than anything else, makes us and keeps us human beings: evolution

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

(Justin Chan)

Art Curator Sara Grasso

Justin Chan

Justin Chan

THE AWAKENING

Justin Chan

AS ABOVE…

Justin Chan

THE BOOGIE WOOGIE

Justin Chan

IT COMES IN WAVES

Kae Takashima

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

Takashima)

Kae Takashima, with her work, brings poetry to the international art exhibition INTERFERENCES in the international art gallery M.A.D.S. Kae is an artist based in Tokyo, Japan. Her works are characterized by the communicative power of questioning. Kae leaves the viewer's imagination free. As the artist herself states her work Untitled is about presence and absence: "Generating and disappearing, existence and absence, resonance with the human spirit with them. The work expresses their coexistence, The theme of this work is the coexistence of generation and disappearance. The poem is born and disappears as one movement, and the colors of light and shadow are born and disappear together with that movement." Games of colors, games of matter: matter is the protagonist of the work, Kae follows in the wake of the material art of Burri and Fontana to which she adds an oriental component. In the interruption of the work and its resumption, on the other hand, there is the interpretive key.

Art Curator Mara Cipriano

Kae Takashima

Untitled

Kai Nobuyuki

Vitalism is a now-defunct scientific theory that living organisms are animated by a "spark" of life, a life-giving energy absent in inorganic matter The difference between a living body and a dead body is precisely the presence of this energy. The idea that the human body and its state of health are linked to the existence of vital fluids has a very long history in Western medical thought. According to the theory of humors, already in use in ancient Greece, four basic substances-black bile, yellow bile, phlegm, and blood-coexisted in the human body in continuous flow. Unconscious alterations in their balance could have nefarious consequences, and disease was explained in these terms. The essence of life, according to these theories, was thus visible and took the form of a vital flow circulating in every living being going to lap every cell of their body. Although this thought does not, for obvious reasons, coincide with modern science, I like to think that Kai's works are imbued with this vital flow, this spark of life that dwells in the bodies of the animals the artist represents. In "Leopard × Red Wine × Gold," we can savor with awe the vision of that life-giving energy mentioned just above being transformed into art through the use of marks, spots and segments that dwell within the majestic leopard portrayed. Indeed, the feline's body is composed of innumerable chromatic patches with extremely thick and well-defined contours A stylistic cipher of Kai Nobuyuki, this treatment of matter suggests the existence of a strong vital stimulus that lies within the portrayed animals The small blobs, stacked on top of each other and each having a single formal and chromatic identity, have as their perceptual outcome that of inexorable movement. To the human eye, the leopard's body seems to move, seems alive, and seems to be feeding off the force of the same color. Fuchsia patches are juxtaposed with bluish patches characterized by white streaks; golden elements are placed alongside ochre-colored dots in a miscellany of elements designed to produce a highly expressive outcome. The contour line, in yellowish, orange and golden tones, allows the feline physiognomy to be delineated in a precise and timely manner, giving balance and formal understanding to the heterogeneous patches of color that dominate the work. The spot of color became flesh, the line became sense. Kai, through the distinctiveness of the art manages to infuse the flow of life by connecting the viewer with the animal portrayed. Looking closely at the work, it is possible to feel the warm breath of the leopard, observing the color patches it is possible to perceive the changes of light and shadow on the leopard's coat.

Art Curator Lisa Galletti

Kai Nobuyuki

Leopard × red wine × Gold

KARIMZA

The body can exhibit all the lacerations of the human soul. Frida Kahlo in her "The flying bed" of 1932, exhibits all her pain for an abortion suffered through the representation of a naked and bleeding body in a bed, from which the signs of a lived and not metabolized, as if to say that the body can sometimes also be a subject that acts independently of our will, not obeying us, just as happens in nightmares in which our mind is free and can lead us to madness. In the same year A. Giacometti created "Woman walking" in which the figure of the Greek Kouros di Milo echoes, with his elongated figure and solemn gait. Through the recovery of archaic sculpture, to which the mutilations also refer (the woman is represented without head and arms), Giacometti perhaps invites us to escape from the present, which prefigures itself as precarious and devoid of solidity, ephemeral like the gait of that woman's body, towards the future. A walking woman is associated with a walking man, a dramatic representation of the human being, made filiform by something that corrodes him from within, undermining his own physical presence in the world. As can be seen, the art that tells the body wants to be an invitation to understand how this generative process of images has evolved and how the artists have been able to translate into their works the signals of the changes that have, over the centuries, concerned the representation of the human body. Karimza with her work takes us on a fascinating journey through the human body offering fascinating insights into its complex structure. Interesting is the artist's reference to the arteriovenous system right down to the thinnest vessels which ends up exploding in bright and warm colours.

Art Curator Federica D'Avanzo

KARIMZA

Anxiety

Kelly Melgar

Kelly Melgar gives us a marvel for the eyes, a work of art that is a symphony, Kelly is the conductor and has a vision that is truly a talent. Kelly's great skill is to transform her thoughts, her emotions, her epiphanies into something tangible and visible. Leão at the international art exhibition INTERFERENCES in the international art gallery M.A.D.S. is a magic made by the artist that delights us and makes us reflect, essentially the very purpose of art. Leão is "a special work because it represents a guardian. It is an archetype of strength, security that inspires living nature to mirror what sustains us. The lion is a tribute, in my opinion, to the Portuguese people who discovered this region-Brazil." It is clear from the artist's words how extremely symbolic and reflective his art is, steeped in metaphors. This denotes a deep soul that delves into the truth of things and the meaning of thought. The lion depicted, created piece by piece, with great skill, is extremely proud, powerful, large and confident. The artist moves on several levels, the universal, general one, encompassing the whole of society, and the personal one, belonging to his own experience (the observer, however, also recognizes himself in this further, more introspective, personal level of interpretation) "in my rhetoric for his grandeur, confidence, intelligence, haughtiness, observational attitude it can be associated with the Portuguese [...]. This Leo also represents a discreet fondness for my husband, who is a person who accompanies me in life. His name is also Leão. " The work is composed of a 10-mm panel of naval wood, a hardwood from the region that was used for navigation and was scrapped for use in frames. This wood has been washed by the sea and its unique rusticity frames everything with the most natural look possible. Other Leão materials include glass inserts, stones, and ceramic pieces.

Art Curator Mara Cipriano

"Anyone who doesn't believe in magic will never find it” (Kelly Melgar)

Kelly Melgar

Kemono Gallery

To recognize exclusively in Light the Good, is fragmentary and separative, still an ignorant motion of the mind polarized in duality. While reuniting Light and Shadow one is complete in Self, reunited in the alchemical wedding, the polarities merge into the One. Shadow is the mother from which we came, the darkness, the silence, the space, from which we emerged into this world. The shadow is the foundation of our being, the support and nourishment, the lifeblood, the completion. The shadow is the Light denied. By Shadow here is meant everything that has been denied, rejected, censored since the beginning of time, since the first judgment that defined what is wrong, evil, negative, reprehensible, error, to be avoided, precisely to be repressed and hidden. Thus was born and developed the sense of separation, lack, incompleteness, scarcity and weakness. Light cannot exist without the existence of shadow, fullness cannot exist if emptiness does not exist. There are concepts that can live and feed exclusively by creating a close relationship with another element. This is the case with light and shadow and the eternal dualism that characterizes the two entities. One might think that light and darkness dwell light years apart from each other and yet, they are so intrinsically connected that they base their existence on the existence of the other element Kemono Gallery in "Existence" emphasizes the coexistence of lightness and darkness by representing, through color and form, one of the foundational and constructive conflicts that shape the human soul. The work is characterized by an intense pinkish glow. At first glance, it is possible to discern a winged figure. Those fuchsia and fluorescent spots indeed look like the outstretched wings of a butterfly about to take flight. The expressiveness is very high, and the color allows for real bright flashes that stand out against the gloomy backdrop. Yet, there is more to it than that. There is something peeping out of the darkness that is illuminated precisely by the inherent glow emanating from the pinkish spots. We glimpse a nose, a small mouth, two large eye sockets and goat horns. What are we observing? It is a serow that from the darkness and in a totally silent way peers with its eyes into the innermost parts of our soul. And only now, only at this moment do we understand that those reddish sources of light are emanating directly from the serow and from the darkness. As I mentioned earlier, the shadow is the mother from which we come, and this work is proof of that. Our whole existence is based on the dualism between light and shadow, between brightness and darkness, and yet, one should begin to think about the totality of existence, to see light and shadow as a unicum, as the One, the inescapable and foundational unity of the whole world Kemono Gallery, through its work and layers of color allows us to embrace this thought by making us think about the interpenetration of the two elements and their existence.

Art Curator Lisa Galletti

Kemono Gallery

Existence

Kerstin Kager

Austrian artist Kerstin Kager is known for her representative and symbolic works. In the exhibition "INTERFERENCES" organized by M.A.D.S. Art Gallery, she exhibits two artworks: "Back to the roots procession" and "Blue Poppy". The first work represents a journey to the roots, both on a personal and cultural level. The two women, represented in a similar way, symbolize unity and common identity, while their journey to an unknown destination represents the search for knowledge and understanding of their roots The long blue dress and golden head coverings recall tradition and culture, while the summary representation of the human figure suggests fluidity and the natural evolution of the journey to the roots. The symbolism of "Back to the roots procession" is further explored by the representation of the two figures as twins. This element suggests a spiritual union between the two figures, a connection that represents unity between the human being and the universe.

Kerstin Kager

The twin figures also represent the duality of human nature, showing how inner peace and knowledge can only be achieved through balance between the human being and nature. In "Blue Poppy", the blue poppy represents hope, vitality, and rebirth. The blue color is often associated with peace, serenity, and calm, and in this context symbolizes inner peace and connection with oneself. The white background symbolizes purity and simplicity, creating a contrast with the vibrant color of the flower. In general, both of Kerstin Kager's works explore deep and universal themes such as the search for identity and connection with cultural roots, and inner peace and rebirth. Her ability to represent these concepts through simple and minimal forms is what makes her work so fascinating and engaging. The Austrian artist demonstrates a great sensitivity and sensitivity to symbolism and a strong ability to convey emotions through her art.

Art Curator Martina Viesti

Kerstin Kager

Back to the roots: procession

Kerstin Kager

Blue poppy

Krisztina Arláth

Krisztina Arláth is a Hungarian artist based in Budapest. After completing her degree, she deepened her artistic practices, adding video and animation techniques. At the international exhibition 'INTERFERENCES' hosted by M.A.D.S. ART GALLERY, Krisztina presents “Haircut in memory of Mahsa Amini”. Mahsa Amini was a 22-year-old Kurdish woman who on 13 September 2022, while with her family in Tehran, was stopped and arrested by the local police because she was not wearing the hijab properly. After two days of beatings during her detention, she died on 16 September in the intensive care unit of Kasra hospital. Her tragic death raised several protests in Iran that resulted in worldwide demonstrations. Krisztina started from these protests to create her artwork. Against a grey background, a woman with long hair, taken from 18th century iconography, holds scissors. Funereal music plays in the background. Suddenly, the woman clutches the blades and cuts off a large lock of her hair, in the wake of the many women around the world who, in protest against the murders and violence that are affecting young women and men in Iran, are calling for the restoration of a minimum degree of freedom and civilisation through the symbolic gesture of cutting off a lock of hair. Krisztina Arláth's art wants in fact to, as she says, "analyse, mock and offer answers. With my works, I want to generate discussions and reflect on our world”.

Art Curator Matilde Della Pina

Krisztina Arláth

Haircut in memory of Mahsa Amini

Lanthar

"Art is expression, and expression requires 100% of freedom."

(Kurt Cobain)

A young Swiss artist, Lanthar possesses a unique expressive ability. She has identified the punk subculture and made it her own by using certain distinctive signs and important details in her artworks that differentiate and identify her. These signs are represented by the use of chains that are applied with spray in different variations, elements that make her artworks original and fascinating, expressing a sense of escape and freedom. Chains for the artist express the sense of imprisonment that we still find in the thoughts of modern society. Her visual language gives life to images full of bright, vibrant, shining colours combined with graffiti, collage, slogans and strong rebellious emotions. The end result of her artworks is seductive and captivating, artworks with subjects and symbols that aim to strike and amaze the viewer's mind and state of mind, leading him to identify in a profoundly different way with the styles contemplated by today's official culture. She loves to put the audience in a playful atmosphere of exploration and imagination and being punk for her means being yourself in modern society in a genuine and authentic way. Lanthar considers herself a punk expressionist artist. Her greatest source of inspiration comes from everyday life with everything that surrounds it, from the media to consumer society. Her art is influenced by other recognisable artistic styles, such as street art for its use of graffiti, spray paint and bright colours, but is also influenced by pop art and abstract expressionism.

Art Curator Mara Torretta

Lanthar

Private Property

Laurah

“Emotions are the movements of the soul, always accompanied by [varying degrees of] suffering or pleasure, which affect men, altering their judgments”

(Aristotle)

Intuition, body awareness, emotion. Laurah, a German artist, expresses herself through her affective states and her way of relating to her own perception of the world. In the act of painting, her body conveys the emotions it carries within. Consciousness of the body is her artistic repertoire. Indeed, in consonance with Carl Rogers, “When I accept myself as I am, then I can change; curious paradox”. To feel is to be in fullness, it is to accept yourself in full. Emotions are interferences, they are manifestations of the best and the worst in life, they take us from heaven and to hell, they drive us, they block us, they are light and shadow in us. Emotions have a reason for being, our emotional life is very vast and complex and that is what we can say when we look at her work: the human being is emotion. The artist creates a process of understanding her emotional nature to deal with it in the best possible way, then she experiments on her painting technique using acrylic paint and watercolor, also for reasons that portray her emotional state. Laurah makes use of watercolor when she sees herself more fluidly in her life. On the opposite, she sometimes marks her canvases with rectilinear and somewhat aggressive lines with acrylic paint The series represented here shows her painting in layers, sometimes applying the paint directly to the canvas The artist creates a kind of hiding place and mystery for her figures Through expressive and extremely visible brushstrokes in the foreground, the painting “Forbidden” and "Caught" shows us in the background the presence of two figures that relate through a forbidden love, they meet and observe each other attentively through the distance that separates them. The framing of the figures is covered by striking, aggressive, linear and direct brushstrokes. A cut, a blow, a reproach, a wound. In contrast to the rectilinear and geometric brushstrokes of “Forbidden”, Laurah presents us with “Inner light”, a painting full of textures and circular brushstrokes. “Inner light” guarantees the viewer movement in the eye. The center of the canvas is immensity, the brushstrokes and white textures which were purposely thought to be in the center evoke sensations of different origins. The abundance of paint applied by Laurah results in textures throughout the painting, which also has blank spaces on the canvas, willfully left by the artist: “The pure material must be as visible as the paint. The actual canvas, as a synonym of pure life.” Laurah leaves a message for the viewer: welcome your emotions, even those that are not pleasant. Feeling is a human phenomenon and emotions are guides to life and personal growth Laurah's art is both life drive and death drive, it is to allow to exteriorize, is to accept the totality of life and emotions

Art Curator Barbara Magliocco

Laurah

Too much!

Laurah

Caught

Laurah

Laurah

Hidden

Laurah

Inner light

Lidija Commeça

Lidija Commeça works with video, with the body, with performance, with images. Her works of art have the ability to appeal to the viewer's soul by teasing the pool of collective culture formed in each of us. These short-lived videos wink at the history of cinema, at George Millet's Le Voyage dans la lune of 1902, at the cinema of attractions whose main purpose was not to tell a story, but in fact to attract, to amaze, to entertain viewers. And in the moment of entertainment, one can find the freedom necessary to allow certain works of art to touch the genuine soul of the viewer. A female figure stages a choreography, hints at dance steps. Gentle, delicate movements that seem to elegantly touch other people's souls, souls on each side. This delicate touch, this refined choreography, is almost instinctive rather than studied, but one can sense the intention. As in every metaphor of a life truly lived to the fullest, instinct and spontaneity seem to guide the beating heart of this video, but it is in the refinement of the intention that we recognise the artist's presence and her desire for metaphysical ego contact. The artist seems to approach contemporary dance, a discipline based on the idea of space, time, line and curves through body movements. Emotions and feelings are intertwined with a sort of sketch drawn with the body and placed in an imaginative context that inevitably comes easy to the idea of life as such.

Art Curator Erika Gravante

Lidija Commeça

Lidija Commeça

Lidija Commeça

Part of the Machine

Lidija Commeça

Lidija Commeça

Rosebud

Luly Santos

“Artists do not need monuments erected for them because their works are their monuments. Because of this, originality consists in returning to the origin.” (Antoni Gaudí)

Waves of color spread through space in a virtuosity of soft waves that blend to create an overwhelming dynamism. Like ripples on a body of water, the artworks by Luly Santos, a contemporary Mexican artist, are tales of an intimate emotional quest, where every detail contributes to guiding our gaze. The power of water and its characteristic fluidity is completely embraced by the artist, in a constant need to flow together with time, freeing herself from an overly schematic reality. The archè, represents for the ancient Greeks the primordial force that dominates the world, from which everything comes and to which everything will return. In particular, according to Thales, water is the primordial element, the origin of all things: without water there would be no life, as everything is made of water and everything returns to water.

Luly Santos

Luly Santos, plunges into a path where fluid color becomes a symbol of calm and rebirth of the spirit, often juxtaposed with the use of gold leaf, which helps to define its value. Gold becomes a fundamental element and a distinctive sign in her creative journey, forming a link with a metaphysical and divinatory world, where art nullifies time. The timelessness and beauty that characterize Luly Santos's work are intended to remind the observer how important it is to remain strong to one's own values, while allowing oneself to flow in what is life and abandoning any attempt to force or distort what is proposed to us by it. The artist frees herself from the physicality of the body, entrusting herself completely to the creative act and the flow of emotions, thus reconnecting with the great primordial force and the origin of all things.

Art Curator Francesca Brunello

Luly Santos

Avanzando

Luly Santos

Magda Al-Hashmi

Magda Al-Hashmi is a visual artist and designer of experiential spaces. Born in Poland but raised in Dubai, the artist primarily approached design and then embraced the entire art world in all its facets. And so, combining her creative skills with emotion and storytelling, she managed to create a personal artistic poetics focused on the generation of positive feelings, serenity and joy. Her vibrant and powerful colors are combined with a fervid imagination, thanks to which Magda Al-Hashmi manages to create real alternative worlds, untied from any concreteness and aimed at the total subjective vision of the observer. Through her artworks, those who find themselves in front of it are led to embark on a long introspective journey within the artist's fantastic world, to then search for their own inner world, made up of visions, reflections and discoveries. The artwork "Height of Awareness" represents the full awareness and understanding of the concrete world, a world that stimulates and inspires, and the transfiguration, in a personal key, through abstract images deriving from a deep imagination and a great connection with the universe .

"Those who dream during the day know many things that escape those who dream only at night."

(Edgar Allen Poe)

Art Curator Federica Schneck

Magda Al-Hashmi

Height of Awareness

Mai Almansoor

Mai Almansoor is an artist specializing in the creation of realistic works Almansoor focuses on classic themes, especially in creating paintings that represent interior spaces of homes and historical places, in fact the artist herself has a background in interior design. On the occasion of the exhibition "INTERFERENCES" organized by the M.A.D.S. Art Gallery, she displays three works of art that are a cross between realistic representation and fantasy. In "Classic Dining," the artist uses a set table as a central element to represent the elegance and regality of the dining room. The choice to represent a set table without people or other living elements creates a detached image of the room that allows the viewer to focus on the detailed decorations and the feeling of luxury and elegance. The sunlight coming in from the window creates a welcoming atmosphere that invites the viewer to enter the room and immerse themselves in the environment In "Des Quatre Saisons," the artist uses the contrast between the dark forest represented in the painting and the bright and regal environment of the hallway to create an atmosphere of mystery and secrecy This contrast suggests that behind closed doors and windows there are hidden secrets and unknown worlds. Also, the fact that there are no living elements in the room creates a sense of loneliness and silence, as if the room had been abandoned for a long time. In "La Salon Rouge," the artist represents a luxurious sitting room with scattered chairs and a gold-framed mirror above the fireplace. These details suggest that the room has been used by many people in the past and that the chairs have not been moved or reordered, creating a feeling of abandonment. This feeling is reinforced by the use of dark and warm colors, such as red, which create an intimate and welcoming atmosphere In general, Mai Almansoor's works represent a fusion of realism and fantasy Her attention to detail and her ability to create an immersive atmosphere for the viewer make her a unique and talented artist Through the representation of interior spaces of historic homes, the artist creates an image of a world immersed in luxury and regality, but at the same time suggests the presence of hidden mysteries and unexplored secrets. This combination of realism and fantasy makes Mai Almansoor's works truly fascinating and worthy of exploration and appreciation.

Art Curator Martina Viesti

Mai Almansoor

Classic Dining

Mai Almansoor

Des Quatre Saison

Mai Almansoor

La Salon Rouge

Manae Iwamoto

Painting is one of the major modes of expression and representative spiritual content The colors, in their various hues, the tools and techniques used create a system of representation, communication and interpretation. Each painting carries with it something of what has taken place in the artist's psyche. Art is a record of stories, life moments and personal experiences. Through the canvas the individual can land, often unconsciously, to those archaic places of the soul, which until then have found no way of expression. On the canvas he can discharge his emotions, choosing the colors and the tools through which to fix them and has, in this way, the opportunity to leave an indelible trace of himself. Above all, color is rich in affective and emotional valences and meanings and i can consider it the revealer of the deepest layers of affections. Paintings can be the ultimate expression of the soul so, when we look at a painting with some attention, all we are doing is trying to capture the whirlwind of emotions that pervaded the artist at the time he was painting and that, through observation, are transferred to us, making us participants in his moods. It is inevitable, in this sense, to speak of true "interference" between the color material and Manae Iwamoto's soul. By definition, interference means, "Overlapping of two elements, with the relative possibility of adding or eliding " In manae's case, practical and creative intent and elaboration of her inner self overlap going on to produce a highly expressive work characterized by a quaint elaboration. "Fingers" is painted with literally the feeling of the fingers of the hand in mind when the artist produces a work of art. The work is thus interconnection between intent, experience, and artistic outcome by managing to elaborate within it the three planes of the work corresponding to the different stages of pictorial creation. A large black stripe stands out before our eyes. Like a flap opened by a strong earthquake, this serpentiform strip expands through the entire work acting as a kind of structure supporting the entire compositional scaffolding. All around her, small multicolored dots lie on a chromatic sea of shifting hues. The oil color is spread thanks to small speckles that, juxtaposed with one another, produce an effect of vibration, of still and fixed movement that characterizes the entire work. Yellow dots on bluish backdrops, pinkish spots that accommodate green dots. And again, vast reddish areas accommodate tiny pinkish and yellowish orphans within them. This overlapping of large solid color backgrounds and the tiny dots produces highly expressive outcomes due in part to the juxtaposition of complementary colors that self-empower the work with great expressiveness and depth of sign "Fingers" is thus interference in both intent and realization It is superimposition of color, it is layering of sensations, it is all that Manae perceives during the act of pictorial creation.

Art Curator Lisa Galletti

Manae Iwamoto

Fingers

Manami Takigawa

Art means telling one's life story through shapes and colors; art means making oneself known without saying a word; art means flying far away and not knowing what the destination of the journey is. Manami Takigawa is a Japanese contemporary artist who paints her magical inner world through her works. 'Myself' was created in 2022 using the technique of acrylic on canvas. In the center, a boy and a girl run fast...but where are they going? They do not even know; perhaps they are simply going where their instinct tells them, where there are no limits but only adventures to be lived to the full. Throughout the painting a small female figure is repeated and, as we can deduce from the title, she is identified with the artist herself. She floats in the void and follows the same path as the two characters: perhaps she is the guide showing them the way. Her multiplication is a metaphor for every facet of her personality: dreamy, but realistic when needed; strong, but unafraid to show her weaknesses; determined, but willing to listen to useful advice. Each characteristic often contributes to changing the trajectory of the path, but the important thing is not to forget the goal: she has encountered obstacles and crossroads in the road, but this has not prevented her from finding her way to happiness. Manami Takigawa invites viewers to fully immerse themselves in her works by giving them a free interpretation: navigate through the colors and let your emotions overwhelm you.

“Fantasy is hardly an escape from reality. It’s a way of understanding it.” (Lloyd Alexander)

Art Curator Camilla Gilardi

Manami Takigawa

Marc Conesa

Marc Conesa is an artist born in Barcelona who, after a career in the video game industry, decided to deepen the theme of colors and light through painting lessons. Today, on the occasion of the "INTERFERENCES" exhibition organized by the M.A.D.S. Art Gallery, he is exhibiting "Litura", a painting made with oil on canvas technique. The canvas is of medium size and the technique used allows the artist to create a great visual depth, with a sharpness that conveys the feeling of a very close reality. The choice to use oil was also very important, as it allows for a wide range of shades and to create very intense light effects. The figure represented is that of a Lady who appears very elegant and sophisticated. Her position is three-quarters, with her right hand resting on the balustrade and her left hand very soft on the dress. The choice to fade the lines of the lady's face gives the work an enigmatic appearance, denying her identity and making the figure much more abstract. The right hand resting on the balustrade conveys a sense of stability, while the left hand soft on the dress gives a very elegant and regal appearance. The colors used are bright and intense, with the lady's dress being a mixture of pink, white, and blue. The accessories, such as the gold star-shaped pendant on the neckline, the bracelets, necklace, and pearl earrings, give the figure an aura of royalty. The artist has chosen to create a completely abstract and very dark background, which goes from black to blue. This choice, combined with the enigmatic figure of the lady, conveys a feeling of mystery and mystery. In general, "Litura" is a very well made work that conveys a feeling of elegance and royalty. The use of the oil on canvas technique allows the artist to create a great visual depth and to give the work a very intense and clear appearance.

Art Curator Martina Viesti

Marc Conesa

Maria Alessandra Stanisteanu

The main goal of the artist Alessandra Stanisteanu, is to translate into art, throughout its process and materials, the human behavior and in particular, the human cerebro unpredictable behavior. Coming from a personal project entitled ‘E’ rétine’, made up of of seven works of art, ‘R-es’panso’, ‘Guàrda-[ci] ap’préss-alteri’ and ‘For’rést: dis-morfic nest’ here exhibited at M.A.D.S Art Gallery, are the perfect representation of semantic narratives The main character is the same in all the scenes: one, or more eyes depicted at the center of the canvas on a monochrome background. The subjects come to the viewer's attention thanks to the bright halo that surrounds them, giving a sort of divine importance The different colors used by the artist into the three paintings is a way to differ the several moments of encounter, vision an explicability that come from the profound human nature: << oil, acrylic and charcoal pencils are mostly used to dissect a demand for communication and profound understanding of the human cerebra-unpredictable behavior, combining pre-process studying with postexposition color encounter>> Showing how and what lives into our subconscious the artist wants to encourage, without any shade of fear to a self-dialogue, each of us to identificate ourselves throughout emotional acknowledgment.

Art Curator Martina Stagi

Maria Alessandra Stanisteanu

R-es’panso

Maria Alessandra Stanisteanu

For’rèst

Maria Alessandra Stanisteanu

Guàrda-[ci] ap ’préss-alteri

Maria Boström

The artworks by Maria Boström, a contemporary artist of Finnish origin, are the result of a meditative process, a path of deep reflection, becoming containers full of emotions. For her, art becomes an instrument of confrontation with herself and the world, giving the observer the possibility of coming into contact with a story of pure intimacy. In the three paintings ("Fragment of my life", "Orions birth", "The end is found in the beginning"), presented at M.A.D.S. Art Gallery for the exhibition "Interferences", we see how, through different expressive styles, the artist interacts with the canvas, leaving us at the mercy of color. Alternating between palette knife strokes, dynamic brush strokes and layers of paint, she constructs her works in a completely abstract language, letting her thoughts flow in the visual space, which is enriched with energy. In the work "Fragment of my life", we see that the painting shows itself as a collection of pieces distributed on the canvas in an apparent randomness, while "Orions birth" seems to be the result of a more gestural and instinctive approach and, finally, "The end is found in the beginning" is more fluid and the color traces a path reminiscent of a ribbon at the mercy of the wind. Three very different paintings on a stylistic level, but at the same time linked by a single story, that of Maria Boström: a story that tells us of the unpredictability of life in its eternal becoming. According to Heraclitus, becoming is the substance of Being, as everything is subject to time and transformation. What seems static to sensory perception is in truth dynamic and constantly changing, as in these artworks. The artist's reflection is rooted precisely in this concept, where the eternal transformation takes on tangible features, becoming for the observer an opportunity to confront the deeper self.

Art Curator Francesca Brunello

“Change alone is eternal, perpetual, immortal.” (Arthur Schopenhauer)

Maria Boström

Fragment of My Life

Maria Boström

Orions Birth

Maria Boström

The end is found in the beginning

Marie-Ghislaine Beaucé

Marie-Ghislaine Beaucé, a French artist currently active in London, has been interested in textile fibers since childhood, learning the ancient art of sewing from her mother. At the Ecole Nationale des BeauxArts in Nantes and during the years she spent working as an interior design consultant, she understood the artistic potential of textile fibers, the absolute protagonists of his artworks. In the panels made since 2015, the textile fibers, of different textures, colors and materials, intertwine and overlap each other, creating an abstract and purely geometric lattice. Through the structural design, at the basis of each work, the artist investigates and makes visible a vast, mysterious space, far away from reality, which can only be represented through abstraction, punctuated and delimited by the rhythmic and geometric succession of layers of fabric. By combining different textile fibers and playing on contrasts, Marie-Ghislaine highlights and enhances the peculiarities of each material, passing from the sheen of silk to the opacity of velvet, from the rough texture of crochet, to the light interweaving of cotton filaments.

“Art does not reproduce what is visible, but it makes visible what is not."

(Paul Klee)

Marie-Ghislaine Beaucé

The two-dimensionality of fabrics often joins the three-dimensionality of padded cotton tubes, making her panels a hybrid, a cross between patchwork and plasticism. The plasticity is evident in the panel entitled "Tissage 2", made in 2015. Padded tubes, made of silk, cotton and linen, arranged both horizontally and vertically, intertwine, overlap and knot, emerging forcefully from the background. The color palette used, on the delicate and natural tones of beige and taupe, unifies and harmonizes the entire composition. The same constituent elements return, with some variations, in "Rhapsody in blue", tablet of 2017. The decisive plasticity given by the use of padded fabric tubes is replaced here by a delicate relief, obtained through the interweaving of velvet strips: dark blue those arranged vertically a vibrant and bright blue those arranged horizontally; almost in the center of the panel, the distance between the strips of fabric increases, generating a sort of interruption of the rhythm, an empty space on which three crochet threads stand out, free from the weave. With her textile works, Marie-Ghislaine Beaucé looks to the future without forgetting the past; in fact, she actualizes and renews, proposing it in a creative and abstract interpretation, a great artistic tradition: the tapestries.

Art Curator Vincenza Ursillo

Marie-Ghislaine Beaucé

Marie-Ghislaine Beaucé

Rhapsody in Blue

Marina Bordovska

The acrylic painting "The Door to the Sea" by Latvian artist Marina Bordovska is a beautiful example of realism The painting depicts a room with a window that fills the canvas, opening up to the sea. The stylized seagull adds an interesting and dynamic element to the painting. The use of acrylic paint allows the artist to create a sense of depth and dimension in the piece. The colors are vibrant and the brushstrokes are confident and expressive. The artist's attention to detail is evident in the way she has captured the textures of the wood and the sea. The sea is painted with different shades of blue, which creates a sense of movement and fluidity. The seagull is stylized, adding an element of abstraction to the piece. The bird is flying in front of the sea and it creates a sense of movement and freedom. The composition of the painting is striking, the window dominates the canvas, and the viewer's attention is drawn to the sea. The painting invites the viewer to imagine the sound and smell of the sea and to contemplate the beauty of the nature. The painting is an invitation to escape the daily routine and to dream of a better life. The work of Marina Bordovska is a must-see for anyone interested in realistic painting. Her ability to capture the beauty of nature and the emotion of the sea is truly impressive "The Door to the Sea" is a powerful and thought-provoking piece that showcases the artist's technical skill and ability to convey a message through her art Sure, "The Door to the Sea" by Marina Bordovska is reminiscent of the works of the Dutch Masters such as Jan van Eyck and Johannes Vermeer, known for their attention to detail and realism in their paintings. The composition of the painting, with the window filling the canvas, is similar to Vermeer's "View of Delft" and "The Little Street", where the artist creates a sense of depth and dimension through the use of light and shadow. The use of vibrant colors and the stylized seagull in the painting is reminiscent of the works of the Fauvist movement, such as those by Henri Matisse and André Derain, known for their use of bold and expressive colors. Overall, Marina Bordovska's work is a unique blend of traditional and modern influences, creating an artwork that is both timeless and contemporary.

Art Curator Martina Viesti

Marina Bordovska

The Door to the Sea

Martina Karweit

Music has always been an inspiring muse for art. Caravaggio, Braque, are just some artists who have tried to paint works of art in which music is the protagonist. Leonardo was a good musician and like him also Giorgione, Tintoretto, Ingres and Delacroix. The music served as an indispensable companion in the moments of work in the studio, a background that was not given up even in a period when there were no recordings Leonardo Da Vinci painted "La Gioconda" in an atelier filled with musicians, while Delacroix is said to have painted the Parisian church of Saint-Sulpice with an organ in the background. The relationship between music and art intensified in the twentieth century with names such as Matisse and Kandinskij, passing through Mondrian and Paul Klee. Music played a fundamental role in helping these great painters of the twentieth century to find inspiration for their works but it was not limited to being a simple muse. While Kandinsky was influenced by a highly deconstructed form of classical music, many other contemporary artists were also inspired by the freedom of jazz music.

Martina Karweit

For the German artist Martina Karweit instead, rock is part of her artistic poetry with the role of a factor alienating from reality. In this way the artist is free to generate the most authentic works, full of expressive gestures. Martina has painted from a young age as a healthy, necessary and relaxing action. The communicative power of color triumphs in Martina’s works, particularly in this series where works such as "Energy never ends" and "Music is the solution" explode with a positive charge. Large multi-colored backgrounds of acrylic and ink overlap coexisting on the canvas in harmony. In "Colors determine my mood" we can see the therapeutic meaning of art and colors that, in fact, determine the mood of the artist. In this case it appears with more intrusiveness the black color that defines and stands out next to all the others. The "Smooth operation" closes the serie with a work that has a more liquid component and a narrower and cooler color palette. Martina Karweit’s art is the result of a constructive dialogue between life, nature and art.

Art Curator Eleonora Varotto

Martina Karweit

Energy never ends

Martina Karweit

Colors determine my mood

Martina Karweit

Smooth operation

Martina Karweit

Music is the solution

MASAKI

MASAKI's creative cosmos develops as a continuous change of the communion of light and darkness. This archetypal dualism is the starting point of an approach to seeing the world in its most extreme contradictions and dichotomies. The multiform potential of art AI allows to give life to a corollary of images, shapes and scenarios united by a powerful and introspective feeling, which strongly reveals the impulse at the base of the artistic process. The artworks presented during the Interferences exhibition offer an example of the sumptuous creations of MASAKI, whose genuine verve is well present in the colorful sea of pixels. Death in the air immediately transports the observer into a transcendental dimension with a metaphorical value. Although the vibrant beauty of a young woman strikes the eye for her delicate perfection, the contemplation of the work is not limited to an aesthetic admiration.

“We can easily forgive a child who is afraid of the dark; the real tragedy of life is when men are afraid of the light." (Plato)

MASAKI

In fact, one has the impression of perceiving the melancholic ineluctability of a fatal omen, and this sensation is accentuated by the combination with superb butterflies. The artist seems to suggest the ephemeral transience of life through the parallelism with the fragile existence of the butterfly, whose splendor is as precious as it is fleeting. With Evolution or Decay the artist develops a real "reflection" on the need to adapt to the surrounding world. The two faces embody an ambivalent inner drive, on the one hand oriented towards what is known and on the other towards what is new. MASAKI represents this ambiguity with the tendency to idealize the past in a nostalgic way, the more desirable the more unattainable. For this reason, the artist seems to suggest the need not to linger on the ancient ruins of a past world, and to direct one's mind towards the future, however dark and uncertain it may seem. A real visual allegory, which amazes not only the eye and the mind, but also the emotions of the observer.

Art Curator Chiara Rizzatti

MASAKI

Death in the air

MASAKI

Evolution or Decay

Matteo Epicheo

Matteo Epicheo (Cesena, Italy, 1988) is a self-taught painter who started painting out of passion during the first lockdown and has been totally devoted to it ever since. At "INTERFERENCES" exhibition hosted by M.A.D.S. Art Gallery, Matteo presents "The window we have inside", an oil on canvas. In front of us, a short flight of steps on a chequered floor quickly leads us to a large window: the harshness of the brick wall in which it is enclosed is contrasted by the vastness and elegance of the landscape we see beyond the window. An endless series of mountains extend around a wide river, almost encircling it, while the moon, observing everything from above, caresses them with its light. The result is extremely poetic and dreamlike, an image of great peace that almost makes you want to sit on the small wooden swing positioned between the staircase and the window. Another interesting element within the painting is the play on the fact that the window itself seems to be the painting, framed by wooden frames, creating a little disorientation in the viewer: is the painting the depicted environment or the window and the landscape itself?

Matteo Epicheo's art is a successful attempt to unite the real and the unreal, body and spirit. The window represents a journey into our own unconscious that results in the fusion of material and immaterial to create a unique image. As the artist himself says: "My inspiration comes from my inner research, analysing the benefits I could obtain by opening my 'inner window' (the heart) to life and experiencing true peace”.

Art Curator Matilde Della Pina

Matteo Epicheo

The window we have inside

Maxwell Stevens

“I’m interested in the domestic arena as the primary site for our psychological and emotional experiences, and in how we exist differently, historically, within each passing moment”, American artist Maxwell Stevens says His art is, in fact, not only the transmission of feelings that he has experienced but also a way to address the common dynamics that human beings experience in their lives. His main artistic style derives from the fascination for non-representational abstraction, which undergoes a shift towards a brilliant and personalised photorealism. Maxwell’s abstract language is multifaceted: sometimes it is pure colour and nuances, while other times, it becomes particularly evocative of certain visions of real space, representing something existing and recognisable. The paintings “Blue Dancer”, “Drum Circle, Central Park” and “Two Musicians, Central Park” are remarkable examples What is interesting in these paintings is the juxtaposition of easily recognisable figures with purely abstract brushstrokes Here, the abstract merges with the figurative and in this way, Maxwell gives new life to the subjects he depicts Maxwell’s is a personalised photorealism: starting from a photograph or a video, the artist creates a personal reproduction of it, characterised by sinuous lines and realistic figures overlapped by splashes of colours. This approach leads the artist to explore new subject matter while questioning the nature of the artistic representation and of painting itself. In this way, the real enters Maxwell's canvases but does not impose itself on them. Sometimes the brushstrokes are sharp with more defined shapes and contours, while other times, Maxwell's style seems to land on softer abstract forms. The three paintings are an explosion of pure energy given by musicians that play instruments near the Naumburg Bandshell in Central Park, a popular live music destination in New York City; energy that is emphasised by the abstract brushstrokes of colours painted upon the figures In this way, the overlapping and flowing brushstrokes create a beautiful and harmonious dialectic with the musicians of the park, who joyfully share their music with passing tourists, friends and family. This juxtaposition produces an effect that lies between the universal and the particular, causing everyone to see or feel something different in Maxwell’s paintings. As the artist explains, in fact, the dynamic abstractions of each image recall “the unpredictable nature of improvisation in art, music and life”.

Art Curator Martina Lattuca

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

(Leo Tolstoy)

Maxwell Stevens

Blue Dancer

Maxwell Stevens

Maxwell Stevens

Two Musicians, Central Park

“Art

Mayada Shibir

Mayada Shibir's art has roots and influences from different cultures, European and African. It is precisely these roots that characterise the creative act of Mayada, who is a spokesperson for the connections between music, poetry and the art of different cultures. Her works are in fact manifestations of the intangible, externations of a soul that grasps the hidden component of things, that intimate essence that goes beyond pictorial reproduction. Within these spaces, temporality is expanded and invites the onlooker to pause and suspend for a moment the daily frenzy in which she is catapulted to immerse himself instead in an aleatory, different, light atmosphere. Mind and spirit can abandon themselves in front of a painting that conceals introspection and is an expression of inner drives. Mayada Shibir's works are a return to origins, to traditions, to the primordial connections of different and distant cultures that used to be one. Her intention seems to be to return to her origins, in order to understand that moment as well as possible, but also to integrate it with the new insights and emotions created by the experience. Mayada transforms her thoughts into creative actions and thus succeeds in expressing her origins, the different cultures that formed her and opened her up to creativity. It is about pure intensity where the fusion of colours comes to life, considering the relationship between colour and moving brushstrokes. Colours and shapes thus become the appropriate tools for expressing feelings and emotions, forming a lineage of spaces that express visual emotions through the use of composition. The colours give the painting "Solstitium" brilliance, create contrast, animating the forms, whereby the brushstrokes of different thicknesses give the painting a sense of depth and at the same time formal lightness.

Art Curator Giulia Fontanesi

is the only way to run away without leaving home.” (Twyla Tharp)

Mayada Shibir

Megan Mickael

The talented artist Megan Mickael uses a very personal technique for her works, where drawing and colour are the main elements Her subjects are varied and varied, but the construction is always rigorous and geometric His art is an impulse that takes shape through thought and a touch of rationality, a process that develops unexpectedly and changes in the process because there is nothing planned in the mind of the creator. It is an autonomous and intuitive path that knows no premeditated plans but develops free to follow instincts and impulses to let its most authentic part emerge. Painting thus becomes an expression of the self, of variegated and complex inner worlds, where unstructured lines and shapes let themselves be carried along in the wake of the creative impulse. Megan Mickael uses an expressive code of great visual impact, based on the distortion of forms and explosions of colour, capable of transforming the objective datum into something different, into a new and synthetic vision, the result of the decomposition and recomposition of objective reality. His bold figurative compositions blend with abstract forms in an explosion of bold colours and wandering shapes intended to stimulate the emotions of both the creator and the observer. The chromatic richness and colour layering determine a conceptual and technical depth as well as a complex vision that demands to be explored. These are works that offer the viewer a space in which to wander in search of new horizons, inviting them to expand their perception. The artist experiences pictorial art as a creative medium that leaves room for the unconscious, he enjoys playing with reality, reinterpreting it, breaking it down and then returning it to a new perspective where the things of all times become others. The evocative content springs from an emotional research that feeds on the author's imaginative richness, and so he devotes himself to depicting scenarios of undoubted expressive complexity, deprived of a common and/or predictable recognisability but made of authentic identity and pure essence.

Art Curator Giulia Fontanesi

“I found I could say things with color and shapes that I couldn’t say any other way – things I had no words for.” (Georgia O’Keeffe)

Megan Mickael

Committed Acceptance

Megan Mickael

Common Uncommon

Megan Mickael

Par Squared

MELISSA FINN

Melissa Finn is a researcher and writer who creates acrylic art. Her works communicate strong and powerful messages through the color and the way it shines on the canvas. Melissa's work "Orchid with a Long Tongue" consists of various color fields of warm and cold colors combined. Following the shapes of the backgrounds, the observer will notice that it is not simply fluid art The composition very explicitly reminds the corolla of a flower: the orchid. As we know, the orchid carries with it a very important symbology; that of the female genitalia, in their uniqueness and beauty. The celebration of femininity in this case serves not only as exaltation of the female organ but as a social denunciation. Art once again confirms itself as a very effective tool to convey messages. In this case the artist uses art to rebel against the objectification of the woman’s body, its denigration and commodification. Today’s society belittles the female figure often reducing it to a mere symbol of pleasure or even taking the liberty of intervening on it with atrocities. This work is part of the series "Questions": paintings that pose questions in a gentle and calm; ineluctable in its call full of symbolic value. The question mark continues unabated to investigate, tirelessly until it comes to a definitive solution to this situation. Melissa's artwork and her upcoming album supporting #endFGM (female genital mutilation) advocacy with FGM survivor and educator Maryan Deeqa and funded by the Ontario Arts Council in Canada are forms of art ac-tivism against one of the most horrific and widespread human rights abuses on the planet, affecting more than 200 million women and girls alive today. Melissa’s art can now be worn as orchid couture through made-to-order designs created by Le Galeriste in Montreal. Female genital mutilation is a repugnant violation of fundamental human rights that causes permanent damage to the physical and mental health of women and girls. It is one of the most vile manifestations of patriarchy that pervades our world. We all have a duty to make our contribution, so that no more tears are shed, and the flower can grow healthy and flourishing, a source of life and salvation.

Art Curator Eleonora Varotto

MELISSA FINN

Orchid with a Long Tongue

Miho Muto

Miho Muto, a young Japanese artist, has had a great love for art since childhood and has been creating lace-like kirie art, choshi art and pencil drawings for more than ten years. Choshi art, real paper sculptures, is made by stacking several sheets of paper with different colors and textures and then carving the stack with a paper knife. All these artistic techniques have contributed to the creation of a precise artistic language based on the study and admiration for all the beauties that Nature has created. Through precise and meticulous work, Miho Muto tries to tell reality seen with her own eyes, a reality full of discoveries, vitality and surprises. The multitude of details recall the extraordinary beauty of the little things that make up everything existing on Earth and the entire artistic poetics of the artist aims to reach people's souls through the development of artworks with strong formal rigor and constructive but which, if observed in all their magnificence, suggest a deeper and more personal reflection not only of the outside world but also of the inner world, aimed at the soul.

"Looking at the beauty of nature is the first step in purifying the mind."

(Amit Ray)

Art Curator Federica Schneck

Miho Muto

Dazaifu Tenmangu

Miho Muto

Peacock and Peony Flowers

Miho Muto

Tiger

Miku Sekimoto

Memories resurface, emotions emanate light, and imagination flies far away. Miku Sekimoto is a Japanese contemporary artist based in New York. Through her works, she tells her story and at the same time invites viewers to identify with her protagonists by giving a free interpretation of what they see.

EXIT is a digital work created in 2022. In a long dark corridor, a girl - probably the artist herselfsuddenly stops and turns her gaze to the left. A beam of light draws her attention: a koi fish is diving into this vortex - Miku often draws this animal in honor of Japanese culture. The work can be a metaphor for the life of every human being. Every day we walk and step by step we draw our way: sometimes we encounter descents, but often obstacles force us to stop, and forks confuse us and make us lose sight of our goal. In EXIT a red arrow indicates the direction to follow, but what will the protagonist do? Will she follow what the directions suggest, or will she listen to her instincts? The choice is difficult, but her heart will lead her to the right destination. Miku invites viewers to immerse themselves in her magical, colorful world: may her works be a starting point for deep reflection and a journey through emotions.

“I paint objects as I think them, not as I see them.” (Pablo Picasso)

Art Curator Camilla Gilardi

Miku Sekimoto

mipps

HIKARI, the work by the artist mippis expresses hardness and movement at the same time, insists on the inner content that the forms want to communicate, creates a tension that is both stable and unstable, subdued and strong but also variable. The concoction of shapes and colours created carries within itself infinite tensions and arouses strong emotions in those who look at it and study it carefully. The observer's gaze is lost in looking at the whole but also seeks to observe the detail, finds itself among the nuances and combinations, creating a magical evocative power. Ines's abstract art represents the world of forms and ideas, in a sketched expressive language that liberates interpretation. In particular, painting is an inner expression; the Croatian artist lets herself be guided by her own emotions and impulses, rather than by a specific, real reason. The lines, shapes, juxtapositions and colours create a conflicting whole capable of conveying raw, uncompromising, unrestrained emotions to real subjects. For this reason, the viewer's gaze and emotion are free to interpret the different facets that make up his works. One can focus on each individual brushstroke and derive strong emotions and feelings from it, or study the entirety of the combinations, going beyond the representational purpose of painting to the pure sensibility of art. The expression of the most intimate feelings and emotions, unpolluted by external references, but a real object. And it is precisely for this reason that Ines gives us freedom, in the forms we can immerse ourselves and imagine what our mind sets before us, without limits or boundaries. She provokes raw emotion, without compromise dictated by the real object and subject but open to the discoveries and changing interpretations of our gaze. Ines' work also reflects her childhood days, when an interest in colours emerged in her, followed by an interest in pencils, charcoals, pastels and watercolours. Colours are in fact the means that guide her inspiration and her hand on the canvas; once the colours have been decided and clarified, Ines lets herself be guided by the emotions she draws from them and paints.

Art Curator Giulia Fontanesi

“It is important to express oneself…provided the feelings are real and are taken from you own experience.” (Berthe Morisot)

mipps

Monika Weiss

When you look at a child's drawing you are always amazed. From an early age, in a few strokes or in many details, in an exaltation of measures or in a creativity of colors, feelings and situations are expressed in full originality. We know that even the great painters have tried to steal from childhood that intelligent ingenuity that knows how to tell reality and the imaginary without the constraints that, in some way, instead trap adults. The children's drawings are an interpretation that comes from a new look at things. But drawing is also a way to know, the assumption of an alphabet of representation, which, while remaining personal, is increasingly able to show aspects of reality and of the individuality that lives it. And here then that expression and story come together in a personal synthesis full of details as can be seen in the work of Monika Weiss. The artist dedicates herself to painting trying to create something more real than reality itself, she creates a new reality as happens in dreams. It becomes her favorite tool for research into the mystery of existence and the enigmas about the obscure mechanisms that regulate our minds and our perceptions.

Art Curator Federica D'Avanzo

Monika Weiss

We/Are

NANDE

Before the image there was the stroke. Every graphic stroke originates from the movement by which the hand, holding a tool, traces, marks a particular support The gesture is what the hand organ or the whole arm or the whole body, on the biological, anthropological level, develops by making signs The trace is the aesthetic form of the sign on the material and technical plane, the result of the combination between the tool employed and the surface that accommodates it. The line is the graphic codification of the sign on the symbolic-cultural level. It can have different levels of abstraction and this depends on the communicative functions of the linguistic system assigned to it. Thus only when it is the artist's thought through the hand that becomes a gesture is language born; the language proper to that artist that is a construction of the knowledge of one's inner and outer worlds. Think, for example, of the meaning of tècne among the Greeks, that is, not just a simple manual skill but rather a way of knowing, a making to appear what by essence would not appear in itself, to see in a broader way. The sign is the seed that makes the whole work germinate and, at the same time, is the useful tool for representing in images what dwells in the hidden places of our mind. NANDE bases his artistic production on the complete and comprehensive meaning of sign. Sign as incipit but also as the unfolding and conclusion of a work of art. The line is not used for preliminary purposes, to sketch the general design of the work but as the scaffolding, cement structure and plaster of the work itself And that is how the eye gets lost in the myriad of lines that animate "○" Whitish lines sometimes more prominent other times more evanescent juxtapose each other without ever overpowering each other. In fact, one of the two rules of NANDE recites that the sign cannot overlap at all. The second, on the other hand, dictates that the work should be made through a long continuous stroke, never detaching the pen from the support. In this sense, the juxtaposition to the art of oriental calligraphy is therefore a must. "○" preserves within it centuries of calligraphic practice that see pure gesture and the continuous, sure line as the greatest source of expressiveness and realization of the practice. In calligraphy every stroke is visible, every mark is traced according to one's experience in the practice embracing the possibility of a small dose of chance. In NANDE's works, the uncontrollability of the end result takes over and it is the two rules mentioned above that make the final outcome of the work ungovernable. Only once finished will the work reveal its true essence, its unconscious nature and that which is most relevant to the real world. No need for color, no need for nuance, NANDE's art is pure gesture and pure gesturelessness. It is return to the essence of whatever can be represented, it is the use of the original element to represent the world

Art Curator Lisa Galletti

NANDE

Nano Uesugi

There is something magical about memory, surely. In the very sense of a spell that, if we can savor it, brings serenity, joy, and a very sweet melancholy. In the time of the present for everything and with everyone, cultivating memories is certainly not easy. One even runs the risk of feeling excluded and marginalized by the long wave of haste, of time that one must grasp on the fly, without depth, not caring about the past and thus lacking momentum toward the future. We can all remember. We all have things to remember. We are all imbued with a memory that envelops our existences. Each of us, in our own way, remembers events, facts, emotions and feelings, sometimes for a short period of time, sometimes for a lifetime. When we learn something, even as simple as someone's name, we form connections, called synapses, between neurons in the brain. These become stronger or weaker depending on how often we are exposed to an event. The more we are exposed to an activity the stronger the connections: the less exposure, the weaker the connection. Memory processes are possible because of the concept of brain plasticity. Every event in our lives produces changes in the structure or function of neurons, either temporarily or permanently. Events create new synapses between neurons, essentially remapping the brain. The enormous number of possible connections contertains unfathomable flexibility to the brain: each of the brain's 100 billion nerve cells can have 10,000 connections with other nerve cells. But this does not prevent the human soul from being afraid, almost terrified, of forgetting its memories and with them flashes of life lived and events and relationships that are now gone.

Nano Uesugi

Time is literally the sea of oblivion and nothing can escape the blanket of dust that often falls on the reminiscences of our memory. Nano Uesugi with her works emphasizes this very reflection by revealing and reminding all of us how frightening it is to forget memories. And this is how the past is transformed into a chromatic element, and this is how formal composition becomes a vehicle for melancholy and flashes of everyday life gone by. In "Vinyl" as well as in "Secret Thoughts," color and form serve as tools for the elaboration and reformulation through art of a memory, a particular event or atmosphere that the artist experienced in a past time. Among the veins, among the inlets and waves dictated by line and color, it is possible to perceive Nano's state of mind, it is possible to connect one's memories to those of the artist in order to identify our own experience and paint it with the colors of her works. It is as if, in Nano's intimate memories we can mirror our own as well and, in this way, find help and comfort in the constant battle against oblivion. The air moves crisply between the patches of color and, among the rivulets and ridges of pigment that stand out within the works it is possible to return to that place and breathe in the same colors, the same relationships and the same atmosphere that was once part of our lives.

Art Curator Lisa Galletti

Nano Uesugi

Nano Uesugi

Naoko Nankumo

“Art is a manifestation of emotion, and emotion speaks a language that all may understand”

(W. Somerset Maugham)

The universal character of art and emotions allows people to find themselves, connect, understand each other, to discover or get involved in new experiences and express and create through them. Another encounter point between art and emotions is that both are related to colors and memories. The Japanese artist Naoko Nankumo immerses herself in colors and the different sentiments they generate in order to develop her own artistic language. In her paintings it is possible to appreciate the presence of light, which acquires prominence by combining and highlighting colors and abstract shapes.

Naoko Nankumo

The intuitive and colorful universes created by Naoko are endowed with beauty conveying a pleasant and positive impact, although she is aware that the ideas or feelings behind them could be negative because, in the end, it is a whole that conforms and shapes us, the own perspective and significance will determine this. Therefore, Naoko's paintings shows that in art as well as the internal part of human beings (feelings, thoughts and desires) contrasts, textures and sensitivity are purely manifested for guiding, illuminating, interfering and inspiring life itself.

Art Curator Liliana Sánchez

Naoko Nankumo

Naoko Nankumo

Primitive Encounter

Naomi Uto

Her hand moves following the rhythm of her sensations, the emotions that her heart suggests, the reflections that chase themselves in her mind. Naomi Uto is a contemporary Japanese artist who paints in color the stories that come to life through her journeys of fantasy. Never standing still, but always flying and running towards new horizons: this is the key to opening doors that open wide towards infinity. 'The Face' was created in 2023 using the technique of sumi ink and acrylic on drawing paper. Cool colors dominate in the work: green, blue and a touch of violet are skillfully juxtaposed with each other. The title is very evocative: whose face are you alluding to? Is it the artist's own face or a protagonist of the stories from which she takes inspiration for her art? It is an abstract portrait in which certain facets of a complex personality are expressed: blue for the depth of the soul; green for the hope that is never extinguished in the face of anything; violet for the imagination that drives man to distant and magical horizons. Naomi's works focus on the purest sentiment - love: love towards someone close to us, love towards one of our passions, love towards anything that emanates a strong light in our eyes. Observe the artist's works, get to know her precious world and give an interpretation to it: art is universal, art is freedom.

Art Curator Camilla Gilardi

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

(Marc Chagall)

Naomi Uto

The Face

Natalia Rose

Natalia Rose is an artist with enormous talent. Her abstract creations are a perfect mix of symbolism and abstractionism. But what catches the eye most are the colours she uses, disruptive and brilliant. The contrast between them and black and white creates dynamism and movement. Each of her works delves into the human psyche, referring to dreamlike dreams but linked to everyday life. What the mind cannot explain, Natalia explains with her unique and original creations. It is impossible not to get caught up in her subjects that are able to capture the viewer's attention in an enigmatic and captivating manner. Abstract and decorative intertwine, creating new combinations and textures. In "Orange Dream", the colour orange acts as background and filling in the dance of blue lines with gold brushstrokes and white inserts. All blend together creating a swirling and intricate dance like a labyrinth that opens up in the viewer's mind. Natalia here gives free rein to the flow of her thoughts, detaching herself from reality to immerse herself in the dreamlike. In the work "Stop the Rain" the colour gold prevails over all others, becoming the undisputed protagonist. A visual and emotional rain that envelops everything and becomes simultaneously life and human tedium. In "Three Shades of Red" the contrast between the bold hues of red, geometrically divided into 4 sections with 3 different gradations; black that frames the geometric areas; yellow that takes over the canvas with stylised and graphic smiles; and finally white that gives light. The images she creates are poetic, seeming to juggle lightly with the thoughts of the mind. The colours wander through space unconstrained and unencumbered by anything. Colour, like the soul, floats in the environment describing shapes and creating new combinations.

Art Curator Ilaria Falchetti

Natalia Rose

Orange Dream

Natalia Rose

Stop the Rain

Natalia Rose

Three Shades of Red

Nathan Katz

Approaching Nathan Katz's art means immersing yourself in a vision of reality that shuns canonical conventionalities to give shape and color to the pure essence of thoughts and sensations. This ideal is emphasized to the max by the elusive nature of abstract art, which with its swirls of color outlines the contours of a world full of symbolic meaning. The artworks presented in the Interferences exhibition provide an astonishing corollary of Nathan's expressive capacity, starting with Alone Behavior. The painting, made with acrylic, is based on a skilful chromatic balance, which catches the eye for the mesmerizing combination of shades radiated by lighter lines. In this suffused atmosphere, the observer has the impression of perceiving the faint lament of melancholy solitude, in stark contrast to the explosiveness of Delusion Disorder. It is a creation of intense visual impact, which admirably combines the idea of disorder and chaos with a fascinating stylistic experimentation between acrylic colors and food coloring. The result is an irresistible ensemble of vibrant colours, which strike the emotional even before the mind. However the mix of materials and techniques perhaps reaches its highest point with Posh Omen, which combines acrylics with homemade gel pigments and charcoal. Furthermore, the artist demonstrates once again that he possesses a unique ability to make visible - and in some way concrete - the ephemeral essence of a state of mind. It seems to stand out through the emptiness of an indefinite dimension with the force of a sudden thought, inviting us to welcome it without prejudice.

Art Curator Chiara Rizzatti

"It is better to fail in originality than to succeed in imitation." (Herman Melville)

Nathan Katz

Alone Behavior

Nathan Katz

Delusion Disorder

Nathan Katz

Posh Omen

Nicholas P. Kozis

Nicholas Kozis is an extremely talented and multifaceted artist, capable of creating works with any subject while maintaining his unmistakable graphic style. His creations are recognisable from the shaded black frame that surrounds his extremely graphic and well-delineated drawings. The subjects that Nicholas represents are among the most varied. Nature, however, remains the main theme represented by the artist. Nature that varies from animal and plant subjects to the magnificence of the human body. The beauty, especially of the female body, is enveloping and Nicholas manages to render it in a soft and sensual way, focusing on plays of light and shadow. The colours are always bright and the compositions rhythmic. The black of the contours blends harmoniously with the dynamic colours chosen for the background. The natural subjects interpenetrate the landscape, becoming an integral part of it. They are so stylised that they create new and original compositions where the figurative blends with the abstract.

Nicholas P. Kozis

Nicholas is able to interact with the viewer through his language linked to everyday life, to images that are as real as they are imaginative and creative. Her artistic and graphic skills are evident, making her an extraordinary multifaceted artist. Her artistic process is laborious and complex and leads her to come up with creative and original images with a mix of historical and artistic references that are perfectly integrated with each other. What makes Nick's works unique are the creative processes behind a composition. The elements are well thought out, as is the structure of the work, the positioning of the subjects and the juxtaposition of them with each other. Each element makes sense, even when juxtaposed with the background colour. Nicholas is very skilful in using the technique that allows him to freeze an elusive moment in time, making it eternal. He passes through the object providing a different vision, from another point of view that departs from reality to approach magical and astonishing visions.

Art Curator Ilaria Falchetti

Nicholas P. Kozis

Balance 5

Nicholas P. Kozis

Murder Of Crowes 1

Nicholas P. Kozis

Nicholas P. Kozis

Nicholas P. Kozis

Gather

Nicholas P. Kozis

Old La Brea 4

Nil Tekelioğlu

The spontaneous freshness of Nil Tekelioğlu's art is one of the surprises of Interferences. Despite her young age, Nil has shown a particular predilection for art since the early years of her life, and has continued his creative journey in continuous experimentation with tools and techniques. The works presented by Nil project us into a manga-inspired atmosphere, and immediately make evident the artist's certain ease in the use of pastels, watercolors and acrylic markers. What immediately catches the eye is the ability to modulate bright and bright colors, which emphasize the somatic features of the characters, imbuing them with a spark of vitality, as happens in Armin Artlet and Hatsune Mike. The watercolor artwork

Chrollo Lucifer is particularly interesting for a more conscious compositional taste, starting from the effective contrast between the dark and indefinite background and the figure in the foreground, which seems to detach itself from it in an interesting three-dimensional illusion. These premises make Nil Tekelioğlu creations particularly promising for the future, waiting to see this young talent further blossom into full artistic awareness.

Art Curator Chiara Rizzatti

"Creativity takes courage. ” (Henri Matisse)

“The position of the artist is humble. He is essentially a channel.” (Piet Mondrian)

Nil Tekelioğlu

Armin Arlert

Nil Tekelioğlu

Chrollo Lucilfer

Nil Tekelioğlu

Hatsune Mike

Olivia Rose

Olivia Rose is a Viennese artist who draws on her psychological training to create artworks that delve into the human mind and psyche. Her works "CLUB'22" and "SocietyAtBay" are examples of how she uses her understanding of psychology to create deep meaning through her art. In "CLUB'22", Olivia uses the technique of continuous lines to represent dozens of pairs of faces that gaze at each other. These faces come together to form abstract and metaphorical hearts, symbolizing the importance of human connection and interaction. The continuity of the series of faces represented is interrupted by thick blue-colored stripes, which could be interpreted as a representation of physical separation between people, but also as a more metaphorical interpretation of the emotional barrier that sometimes prevents human connection. Ultimately, the interpretation is subjective and depends on the observer's perspective and understanding.

Olivia Rose

In "SocietyAtBay", Olivia uses black acrylic on a white background to create an abstract work that explores the theme of the near-anthropause experienced during the various lockdowns. The work represents humans confined to their homes while animals were exploring our built habitats. The black and white create a strong visual contrast that highlights the drama of the situation represented. The artist represents this theme through an abstract work, emphasizing reflection on the relationship between man and the environment and how the pandemic has impacted daily life. The choice of black and white color and abstract technique express a feeling of confusion, uncertainty, and ambiguity in relation to the situation experienced during the pandemic. In general, Olivia Rose's works represent a combination of form and content, showing her ability to create art that explores deep and meaningful themes. Her understanding of human psychology and her ability to use visual techniques to convey deep meanings make her work unique and fascinating.

Art Curator Martina Viesti

Olivia Rose

Olivia Rose

Society at Bay

Omitsu

The Japanese illustration of a semi-naked woman "TO BE CONTINUED..." presents a complex visual exploration of the interplay between beauty, sexuality, and narrative potential. The image features a female figure, depicted in a stylized manner with bold lines and bright colors. The subject is depicted in a semi-naked state, with her nudity partially obscured by a bold, stylized text that reads "TO BE CONTINUED " The use of text as a visual device to partially obscure the nudity of the subject produces a tension between prettyness and desirability, as the stylized representation of the female figure can be seen as both lovable and seductive. The bright colors and bold lines of the image contribute to this sense of stylization, making the image both realistic and unrealistic simultaneously. Omitsu's purpose to make the image both cute and sexy, as well as realistic and unrealistic, speaks to the ongoing negotiation of femininity in contemporary society. The use of text to partly mysterious the nudity of the subject adds another surface of complexity to the illustration, as it invites the viewer to capture in a process of creative conjecture about the future of the female protagonist. This concept of inviting the viewer to engage in imaginative speculation is central to the artist's work, and it contributes to the overall appeal of the illustration. The "TO BE CONTINUED..." text can be seen as a remark on the fluidity of cultural identities and the ongoing negotiation of femininity in different cultural contexts, as well as a commentary on the potential of art to inspire imaginative speculation. Overall, the illustration "TO BE CONTINUED..." is a thought-provoking and aesthetically enthralling work of art that illustrate the artist's abiliy of both traditional and contemporary art forms. It offers a nuanced investigation of the interaction between beauty, sexuality, and narrative potential, and it invites the spectator to capture in a process of imaginative consideration about the future of the female figure illustrate in the image.

Art Curator Giulia Marchegiani

Omitsu

TO BE CONTINUED...

Paul Hartel

Paul Hartel is an American artist who operates in the field of abstract expressionism and postmodernism. These two art styles are very different, but Paul Hartel manages to combine them in a unique and original way. Abstract expressionism is an art movement that aims to represent the emotion and personality of the artist through abstract forms and intense colors. On the other hand, postmodernism is a movement that criticizes the logic and aesthetic forms of modernity, proposing new forms of artistic expression. In "Resist Displacement" and "Temporal Executives", Paul Hartel expresses his vision of art through the representation of stylized faces. In "Resist Displacement", the face is represented with very deep black contours and a physiognomy made with orange. Colors such as blue, fuchsia and red are very present and the whole creates an atmosphere of intense emotionality.

Paul Hartel

The eyes are very open, emphasizing the impression of strong expression."Temporal Executives" is a more chaotic work, where the representation of a stylized face with black contours blends with the background, creating a more complex and layered ensemble. The physiognomy is made with a very light water green, and there are many geometric lines that create a feeling of movement and dynamism. In both works, Paul Hartel demonstrates his ability to combine abstract and figurative elements, creating fascinating and powerful works of art. His ability to represent intense emotions through abstract forms and colors is very impressive. In conclusion, Paul Hartel is a highly talented artist who expresses his art through abstract expressionism and postmodernism. His works "Resist Displacement" and "Temporal Executives" are a perfect example of his unique and original approach to art.

Art Curator Martina Viesti

Paul Hartel

Resist Displacement

Paul Hartel

Temporal Executives

Pertti Ahonen

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

Five precious gifts from our beloved and much sought-after talented artist Pertti, five new abstract facets of reality. Fireworks is an explosion of colors that echoes the eccentricity of our artist's bright, brilliant and metaphysical palette that features red, pink and yellow as protagonists. A more relaxed palette, on the other hand, is used for In the arms of the sea, Jazz, Reflections in blue water It is impressive how Pertti manages to convey emotional stimuli with the use of color and movement. One could classify this type of art as action painting, but we would be leaving out a fundamental component, which is the emotional component that roars through each of Pertti's works. So to summarize and classify we could refer to the art of our beloved artist as "emotion and action painting." Energy flows, vibrations are transmitted from the painting to the viewer. Pertti's works are therapeutic. There is harmony and balance in chaos, and in chaos lies the profound answer to our emotional needs. A very important reflection that comes naturally is related to the insight of Pertti's art: the artist has found the key to open that Pandora's box that is the human being. He knows perfectly well that behind the rational justifications we give to our behaviors is instinct. The engine of man, what drives actions is not rationality but a visceral impulse, the same one we find in his works. and that is why Pertti communicates with the viewer in a unique and profound way. Pertti Ahonen at the international art exhibition INTERFERENCES in the international art gallery M.A.D.S. brings this truth. Continuing to analyze his works, we find his favorite color palette, the one with a yellow background. We find it again in The center of the storm, this work only confirms Pertti's communicative power and explosive charge.

Art Curator Mara Cipriano

Pertti Ahonen

Fireworks

Pertti Ahonen

In the arms of the sea

Pertti Ahonen

Pertti Ahonen

Reflections in blue water

Pertti Ahonen

The center of the storm

Petra Jaenicke

Petra Jaenicke is an experimental photographic artist working in Odenwald, Germany. She studied media design and photography, graduating with a degree in design, and has been working exclusively on experimental photography since 2016, exhibiting in various art galleries. At "INTERFERENCES" exhibition hosted by M.A.D.S. Art Gallery, Petra presents three artworks belonging to the series 'When live became elusive'. "Being human without echo', 'Let go of fear' and 'When live became elusive' are three digital multi-layered photos which subjects are young ladies who, against neutral or city backgrounds, hover on their toes to perform dances with elegant and graceful movements. The figures duplicate themselves by repeating several times, or are represented simultaneously in negative and positive, increasing the sense of movement, strength but also three-dimensionality. The naturalism of the image is diminished, but the intrinsic meaning is enhanced. As the artist says: "By superimposing many realities, I open up the possibility of playing and experimenting with them”. This artistic practice stems from Petra's reflection over the years on what exactly makes reality itself real - many philosophers, including Sartre, Heidegger and Wittgenstein, have explored the question of whether there can be an objective reality and whether everything is filtered through subjective perception. The question "How real is our reality?" underlies all her work. For this reason, in her artworks she is concerned with the representation of something that lies beneath the visible surface of reality, beyond the limits of what can be seen and represented. The photographed motif allows for a form of personal reconquest of reality and thus for the birth of something new, which arises from reality but is detached from it. Petra Jaenicke's works thus become a dance with and around the 'real', leading the observer into a reality that can no longer be explained by intellectual judgement alone. As she herself says: "My works become the image of a journey in my poetic and aesthetic appropriation of the world, and yet leave the viewer ample space for his or her own perception and experience". Dealing with life-testing processes through the dissolution/change of the usual conditions of women's lives and the resulting irritations, the hope is that the viewer will understand the necessity of facing them and regain courage and hope.

Art Curator Matilde Della Pina

Petra Jaenicke

Being human without echo

Petra Jaenicke

Let go of fear

Petra Jaenicke

When live became elusive

Pietra Kireeff

Pietra Kireeff works with emotions. Sun & Music at the international art exhibition INTERFERENCES in the international art gallery M.A.D.S. is a work steeped in emotions and contradictions. As the artist herself indicates it fits into the Expressionist wake, while retaining an elegant and harmonious note, a precedent from the History of Art can be found in Klimt, focusing mainly on the refined component of lines and the attention to details that become decorative and symbolic at the same time, as well as the choice of subjects. Pietra's is a revolution in the language of figurative art; what we can objectively observe conceals meanings that the artist lets out and reveal to the attentive eye. Sun & Music is the first painting made by the artist and "is about feelings, not what is seen. The circular shapes and dots will continue to appear in all the other works and in the female faces. The girl's closed eyes confirm that the painting expresses feelings that we cannot see. The girl's face is serene, but the painting is full of visual information that gives the painting a certain neurosis. The colors in the frame are feminine, so that the girl experiences the light side and the shadow side of femininity and female power. She is a woman, but also a girl. She is calm, but also chaotic. She is cold, but also warm. She is light, but also shadow. And she lives and experiences everything intensely." It is evident how much symbolism is also a key component in Kireeff's works, but it is overwhelmed by the emotional and spiritual component; the artist's emotions end up on canvas.

Art Curator Mara Cipriano

"I am what I paint on canvas, and I also am what I haven't painted yet. I am what I perceive of reality, and I want everyone to see the same as I do. Not to agree or disagree but to perceive and to feel” (Pietra Kireeff)

Pietra Kireeff

Sun & Music

Przemo

What's better than the life of an artist to tell how the visceral passions, the magnificent obsessions, the fears of some men and women have found a way to express themselves in paintings or other forms of art?

If it is true that speaking of painting is difficult, as Bacon says, surely it has not been easy for pop artists to give shape and color to the most intimate thoughts and streams of consciousness of artists who, with their works, have changed, if not own layer, the history of art and painting. And probably the greatest effort for these artists was to mix the biographical events with the story of the aesthetic and artistic research undertaken by each of them. Przemo, inspired by colors and iconic subjects such as Leonardo's Salvator Mundi, a choice that reflects the spirit of the time.

Przemo

The artist gives space to objects and characters mixing them with the contemporary. The language that speaks of art and that aligns with the Pop philosophy. Thus the Salvator Mundi from a valuable work of art that can only be understood by a few, becomes the work of everyone.Picasso's Guernica has always been one of the strongest artistic statements that fades over time and seems to be almost a parody to those who have first-hand experience of war. The artist, just like Picasso, through art finds a way to channel his fears, ironically through cartoons, despair, pain, anger and hope, in his works created while the struggle in Ukraine continues.

Art Curator Federica D'Avanzo

Przemo

Salvator Mundi

Przemo

Qingzhu Lin

For Qingzhu Lin “a good work of art must be a precise interpretation of beauty that meets the wishes of the public”. The works on display highlight the artist’s idea of art, closely linked to the ideal of beauty. In the artist’s works we can see a combination of styles and cultures closely connected to the artist’s Chinese origins and the naturalism, the attention to the human figure and the aesthetic canons of the Renaissance. This portraits can be considered a reference to the works of Leonardo da Vinci, in particular to the great attention that the Tuscan artist devoted to the study and representation of the female figure, from the importance given to the light to the attention dedicated to representing the spirit of the protagonists Attention to the spirit of the subjects, and not only to the form, is at the same time a milestone of Chinese pictorial art Other characteristics of Chinese painting - culture of origin of Qingzhu Lin - that we can recognize are: the choice of subjects, mainly characters and landscapes; a free representative style of the impressionist type but at the same time precise, meticulous and attentive to details; and the use of ink, in this case oil and watercolor paint, calibrated in a distinctive way to give relief or body to the lines.

Art Curator Roberta Desolati

“Beauty perishes in life, but it is immortal in art.”

(Leonardo Da Vinci)

Qingzhu Lin

Angelic girl preparing breakfast

Qingzhu Lin

Sunny girl

Qingzhu Lin

Elegant ladyt

Qingzhu Lin

Thai girl

Qingzhu Lin

Tibet girl

R. Burak Tekelioğlu

What shape does the unconscious have? How is it possible to define its inexhaustible content, explore its nooks and crannies and its most illogical reasons? There is no certain answer to these questions, but despite the absence of confirmations it can represent a crux, in art it is precisely this absence that becomes the driving force of an enthralling inspiration. The creativity of R. Burak Tekelioğlu unfolds a cohesive vision of the introspective world before our eyes, and he does it with masterly accuracy. The artist's imagination in elaborating daring and unpredictable compositions also stimulates the imagination of the beholder in a crescendo of astonished amazement. Enemies In The Glass is the work that embellishes the Interferences exhibition for the irresistible singularity of a bizarre and symbolic scenario, in which the gaze wanders relentlessly to fully grasp the meticulous details. The grotesque set of figures, shapes and geometries coincides with a triumph of daring combinations, outside of rationality. Or at least of the rationality of our conscious. In fact, this is the fulcrum around which the work develops, and which the observer is invited to make his own. This is the only way to understand the witty spirit of the artist that spreads on the canvas together with the acrylic. Only in this way can we understand the artist's witty spirit that spreads on the canvas together with the acrylic, and to become a participant in an extraordinary possibility of abstracting our own thoughts.

"Beauty is not in the face; beauty is a light in the heart." (Khalil Gibran)

Art Curator Chiara Rizzatti

R. Burak Tekelioğlu

Enemies In The Glass

Rebecca Bamford

Rebecca Bamford, a young British artist, is able to capture our attention with very few strokes and bright colors. Her art is abstract, joyful, colorful, lively, with a childlike touch that makes us become children again just by looking at it. The artist says that she struggles to express herself with words, so her art is her personal way of conveying her emotions and showing them to everyone. With great creativity and imagination she creates colorful worlds, using acrylic paint or, as in this case, art markers, smearing the paper with more or less defined spots that together make up a figure or concept. These spots are then outlined with the ballpoint pen, which gives a graphic touch to the final work. The work featured in the exhibition is "The Cocktail Dress," which precisely because of its bright colors evokes a flamboyant dress for a special evening, perhaps experienced by the artist herself the night before, or that has yet to happen, and which the artist is imagining through the dress she will wear. The sinuous shapes, along with bangs, dots, circles and lines, are distributed naturally on the paper. Rebecca draws freehand, almost automatically, her colorful shapes come to life spontaneously. As she herself states, "once the paint hits the paper, there is no going back, only looking forward."

"I found I could say things with color and shapes that I couldn’t say any other way"

(Georgia O’Keeffe)

Art Curator Elena Scrofani

Rebecca Bamford

The Cocktail Dress

Ryo

The ability to interact with others, the result of so-called "social skills," is fundamental to human beings. Man is a social animal, wrote Aristotle, and he was right. A baby at birth is not capable of providing for its own needs or safety, and its survival therefore becomes possible only through interaction with its parents. Similarly, as adults we have the ability to survive, create complex societies and scientific or cultural progress through peer cooperation, that is, through interaction with others. This interaction between ourselves and other human beings, besides being explicitly physiological and necessary for survival is, in a more romantic guise, necessary to become aware of how diverse human nature and the whole world is. There is a Japanese saying that goes, "jūnin toiro" ⼗⼈⼗⾊ , meaning "ten people, ten colors." The meaning is clear: in the world each person is unique and unrepeatable and for that reason can contribute to coloring the world with the brush of diversity The reference to diversity prescinds from ethnicities, time coordinates and geographical areas to embrace the entire human essence. Each soul is different from the others and, as such, contributes differently to changing the world and relationships. In the end, our relationships and interactions with others change, if only for a limited period of time, who we are. Human beings are constantly changing and are shaped at every stage of life by their contact with each other and their surroundings. Ryo with "Ten People Ten Colors" perfectly expresses the concept in pictures. A sea of color stands before our eyes. The gaze wanders between one trickle of color and another, between an ochre-colored wave and a bluish streak. It looks like an aerial photograph depicting the mouth of some river in an exotic place on the planet. White replaces yellow and then gently resurfaces in the deep, dark pigment. The ochre knows the white, merging with it to produce chromatic patches of changing tones that peep through every part of the work. The colors, vivid and glossy, meet, touch each other and narrate their characteristics and qualities. Is this not something that human beings also do? We learn to coexist with each other by discovering new things, new horizons and new worldviews by nurturing a perpetual and continuous exchange of connections and information between our own souls, those of other human beings and our surroundings. The colors of our selves blend with those of other people during a discussion; the nuances of our feelings are reflected in the vastness of a boundless landscape. We exist and continue to change because of our relationship with each other. It is an osmotic relationship that soils the whiteness of our souls with other colors, producing unrepeatable and wonderful nuances that enrich our souls and our lives.

Art Curator Lisa Galletti

Ryo

Dieci Persone Dieci Colori

Sachie Yoshida

Drawing is the medium that allows the eye to access maximum clarity and bring maximum precision to thought, Matisse said. Thinking as drawing, in order to channel the incessant flow of ideas, give them a form, albeit a temporary one We draw the invisible contours of thought continuously, sustain its presence and becoming, build the levees that contain it and the oceans that ensure its infinitude and freedom. Pencil drawing has its own character of immanence; its fragility and lightness is its incredible strength. The pencil, the stroke, the smears and erasures, the presence of a sign that was and is not. This pencil drawing in the author's artworks has the flavour of an adolescent moment of the unconscious, a river of thoughts precisely that have an urgent need to be in the right hands and the right space. A space made of infinitely small cells, of infinitely modified and finally determined bonds. A body then in its ephemeral being finds stability. Gesture. Its result. Something to be admired with precise commitment, with an almost diagnostic gaze. A precise movement between the curved lines of the psyche made a graphic sign, again light, infinite, fragile, of pencil. On the clear surface of the host material then lies a carpet of organic fabric, whose main function is to bewitch us, perhaps astound us, even heal us.

Art Curator Erika Gravante

Sachie Yoshida

Lancer "D "5181

Saki

To paint in order to feel alive; to give voice to the colors that, when juxtaposed with each other, play a magical symphony; to create art every day in order to share one's emotions and deepest thoughts with the rest of the world. Saki is a contemporary Japanese artist who wants to illuminate the hearts of viewers and the universe through her works. 'Mugen Ryu' was created in 2023 using the technique of acrylic on paper. The protagonist is a dragon that, rolling up on itself, forms the symbol of infinity: as infinite as the love that binds two people, as infinite as the passion that drives man to perform great feats; as infinite as the magic that one breathes in front of the sea. A strong chromatic contrast can be seen in the work: the white and gold body of the protagonist stands out against the black background.

“Painting is just another way of keeping a diary.” (Pablo Picasso)

Saki

'Dragon protecting the most important thing in your life' was created in 2023 using the technique of acrylic, leaf painting and sculpture on wooden panel. In this case, the colors used - pink, gold and whitecreate a very bright atmosphere. At the center of the painting - as in the previous work - is a dragon. The title suggests the protagonist's mission: it is the protector of the most precious things each of us possesses. We should not be afraid of anything because when darkness approaches, it runs to our aid and shows us the way forward. Through her works, Saki spreads Japanese culture by giving beauty and communicating important messages.

Art Curator Camilla Gilardi

Saki

Mugen Ryu

Saki

Dragon protecting the most important thing in your life

Sara De Pasquale

The artist Sara De Pasquale explicitly reveals us our condition of absolute precariousness in the cycle of natural events, in what transforms and dissolves, in the panta rei par excellence. Through her works the artist manages to grasp the corroded aspects of the cycle of life. Her artworks are alive and celebrate the uniqueness of the moment, as the artist herself explains, thus managing to crudely photograph the exact moment of the transitory aspect of nature, in a conscious way. Everything transforms, dissolves to then be reborn, and we perceive this in the chromatic contrasts, in the texture of the materials used, in the violence of the ripples that are time that passes, that are life that flows. Through her art, Sara De Pasquale explores the concept of decontextualization: the moment is captured and vivisected to be then exposed to the public. At first glance, her paintings appear thus raw and violent. The cracks become a portrait of nature's wounds, wounds that are marked by the light that participates vividly in the visual experience of the work. In addition to the grooves that we can almost touch with our eyes, the light travels and reflects differently from the oxidizing mixture of the various metals in the composition. Her passage marks the concept of transformation and change, everything moves, nothing is still and the work itself comes to life. The main inspiration of her works therefore becomes the textures of nature and the light it illuminates and reveal. The artist shows us her unusual, corroded and lost places. Real places but also concepts that remind us of who we are: human beings.

"I decontextualise, then I reconstruct."

(Sara De Pasquale)

Art Curator Angela Papa

Sara De Pasquale

Shea

Words and images both arise from the floating gesture of the hand. In sliding over a surface, the hand leaves marks, which are traces of ideas and memories of a passage. Writing is also a desire to record and a need for memory. Language has an energy that is released in many directions; letters, in addition to having a meaning and sound related to linguistic conventions, are also signs traced on the paper; for this reason, in addition to the semantic meaning they possess, they are also readable as images Making art with words has magic, the artists of the past understood this This ancient gesture has its roots in the history of art When people began to incorporate writing into painting, the phenomenon had a "religious" character, although later it lost this sacred connotation and continued with the practice, which has come down to our contemporary times. The combination of formal and chromatic elements commonly defined as "painting" with words that go to define a sentence produces decidedly remarkable expressive outcomes. Shea in her works uses both the art of language and the art of painting to convey her feelings and intentions by addressing them to the world. With the union of these two arts, painting and sculpture reverberate within each other the expressive possibilities that characterize them going to emphasize the deep meaning of the whole work of art. In "Focus," a backdrop of brown tones pervades the entire pictorial space. The coloring is not uniform and we are able to understand that the brown hue is nothing more than the set of numerous chromatic strokes laid on the canvas overlapping one another. The chromatic universe that lies within the work resonates in the words written within "Focus": "Think about what you "desire" not what you fear" as if that sea of colors were the infinite set of thoughts that dwells in our heads, as if that brown born from the mixture of the various colors was the symptom a surplus of information that certainly does not help in making a decision This expressive conjunction between art and writing is also visible In "You Are " The work reads, "Fear is an illusion You are safe." The stroke is dry, dry and fast and characterized by black pigment that stands out against a multi-colored backdrop. The only word painted on a white backdrop is precisely "illusion." The backdrop therefore becomes the promoter and transcription in images of the swirling and distressing feeling that fear can bring. Yet, the work reminds us that it is all an illusion. That pinkish-greenish swirl silhouetted against a heterogeneous color blanket composed of dry, broken brushstrokes is nothing more than an illusion. One only has to change one's perspective to show oneself face to face with fear and win in the clash with it.

Art Curator Lisa Galletti

Shea

Shea

Shea

You Are

Sonni Carpenter

“At present, I am mainly observing the physical motion of mountains, water, trees and flowers. One is everywhere reminded of similar movements in the human body, of similar impulses of joy and suffering in plants.” (Egon

Schiele)

Photography becomes an instrument of personal analysis in the artistic research carried out by Sonni Carpenter, a young contemporary photographer. She chooses to put her body in front of the camera lens, in order to tell us about herself in her deepest intimacy, making us participate in her transformations. In fact, the difficulties that life is subjecting her to due to a major illness, muscular dystrophy, led Sonni Carpenter to start documenting her body within her home environment. Her images are mainly selfportraits where she lays herself bare in front of the public, to narrate, as in a daily diary, her life and the inevitable progression of the disease. Her work is characterised by a language rich in symbolism, which often includes cuts and distortions of the image, where her body takes on unpredictable forms each time, becoming a mirror of a reality that leads to profound reflection, not only from an artistic point of view, but also and above all from a social point of view. In the three photographs ("Cling Film Petal Strands #2", "Cling Film Petal Strands #3", "Cling Film Petal Strands #4") exhibited at M.A.D.S. Art Gallery on the occasion of the exhibition "Interferences", we see how her face looks irregular after the postproduction intervention. Surrounded by a floral pattern, her face seems to get lost in a myriad of small mirrors, which break the image into an infinity of reflections. Interference becomes an important theme in the life and artistic research by Sonni Carpenter, who in a language between photography and performance, accompanies us on a path of self-analysis, where art once again plays the role of mediator between the inner and outer worlds in its broadest sense.

Art Curator Francesca Brunello

Sonni Carpenter

Cling Film Petal Strands #2.

Sonni Carpenter

Cling Film Petal Strands #3.

Sonni Carpenter

Cling Film Petal Strands #4.

Sukey C.

At the “INTERFERENCES” exhibition, organized by the M.A.D.S. Art Gallery, artist Sukey C. displays two works of incredible visual impact. It is important to emphasize that in “Dax!” the artist uses a geometric aesthetic, which allows her to create a work that is both rigorous and visually appealing. The sharp lines and compact colors create a sense of order and structure, creating a deep contrast with the black that runs through the work, creating a dramatic effect. In “Enchanted in my own world!” Sukey C. uses a freer and more abstract style. The lines are softer and the black lines are thinner. The softness given by the different curves and spirals creates a dreamlike and surreal atmosphere, evoking the imagination of the observer.

Sukey C.

In both works, the artist demonstrates a great mastery of color and technique. In both works, the choice to use black as a contrast element between the brighter colors such as yellow, red and green, allows Sukey C. to give a sense of structure to the work and provides a vision of depth and solidity. In summary, Sukey

C.'s choice of colors is very important for the creation of her works and contributes to transmitting the artist's intention and vision. Her use of bright colors, geometric shapes, and dramatic contrasts creates a strong visual presence and a lasting impression in the observer's mind.

Art Curator Martina Viesti

Sukey C.

Sukey C.

Enchanted in my own world!

Teresa Tolentino

At the "INTERFERENCES" exhibition organized by M.A.D.S. Art Gallery, artist Teresa Tolentino is exhibiting her work "One Earth - One Humanity". The work is a perfect example of abstract expressionism, where the colors used are inspired by nature and symbolize the connection between humanity and mother earth, this concept represents the basis of the artist's thinking. The choice of colors, such as green, yellow, orange, shades of white and blue, represents nature and the world around us. The use of vivid and intense colors creates a powerful and vibrant atmosphere, evoking the beauty and strength of nature. The artist's intention is to convey that we are all part of a whole that is much greater than the sum of its parts. Teresa Tolentino's style is heavily influenced by abstract expressionism, which emphasizes emotion and inner meaning over the realistic representation of reality. This style allows the artist to create a work that expresses their vision and perception of the world in an intense and profound way. In the work, the artist uses abstract forms and shades to represent the relationship between the human being and nature. The soft lines and fluid colors suggest unity between the two elements, while the more structured and defined forms represent the strength and stability of the connection. The symbolism present in the work is very powerful and significant. The idea of one Earth and one humanity represents the artist's vision of the nature of life and human existence. The deep and intimate connection between the human being and nature represents a positive and optimistic vision of the world, where each of us has an important role to play in creating a better future.

Art Curator Martina Viesti

Teresa Tolentino

One Earth - One Humanity

Vlad Aryanov

Vlad Aryanov (Saratov, Russia) is an artist and designer whose work is based on irony and caricature, emphasising certain aspects of life, such ecology, politics or society in general. At the international art exhibition 'INTERFERENCES' by M.A.D.S. Art Gallery, Vlad presents the digital artwork 'Virtuality Kills’. Against a pastel yellow background, a flock of birds in flight is silhouetted, fleeing in fright from the exploded bomb in the centre of the image. The terrain all around is barren and bleak, and the bin with toxic material on the right is truly alarming. But in all this, a child on the left calmly observes the scene through the visor fixed on his head, drinking a fizzy drink in a pose that suggests tranquillity and relaxation. Above the explosion stands the provocative inscription 'Reality Kills', where the first word is however deleted and replaced by 'Virtuality'. The artwork is therefore intended to make us reflect on how technology is now increasingly invading our lives, making us detach ourselves almost completely from reality: the result is that we are no longer able to perceive the serious problems around us - primarily environmental ones - as impending dangers to humanity. Instead of acting and becoming protagonists of history, we are mere spectators to be moved like pawns. Vlad Aryanov best describes and represents this condition, which is increasingly frightening and dangerous for us and the generations to come.

Art Curator Matilde Della Pina

Vlad Aryanov

Virtuality Kills

Yasue Hashimoto

There is something fascinating about botanical art. Something that stimulates our senses by reconnecting our bodies with nature, reminding us that we are all part of the same life cycle. Nowadays, crammed into our concrete houses, we have lost contact with mother earth. Our circadian rhythm is disrupted by the blue light of electronic devices, seasonal cycles no longer influence our lives as they once did, we no longer look at the sky and its stars to figure out the time of day or to relax even for a minute. Rather, we prefer to turn on the television, play video games and post some content on social media. Human society lives in the world while ignoring the rules and laws of the world itself. It doesn't give a damn about nature and, from the height of its pride, prefers to continue living among concrete and blue screens rather than getting its shoes dirty with the mud of a grassy meadow. Yasue Hashimoto, with her botanical art, manages to bring our minds and bodies closer to nature by literally stopping the cycle of life and death. Nature has never been so beautiful, so perfectly harmonious, and our eye can only rejoice before it. The lotus leaf, falling from the mother plant is destined to perish. It, slowly and under the actions of the weather and soil, is destined for a slow and inexorable decay that will lead it to rot and recast with the earth from which it was born. Yasue collects these leaves and gives them new life through the studied formal composition and attention to color palettes that characterize her works.

Yasue Hashimoto

Pigment becomes liquid lifeblood and interposes itself between the inlets and veins of the foliage. Formal composition stands in for Mother Nature, giving beauty in imperfection; the vital energy bouncing between one leaf and another. In "Love," a golden carpet of leaves of different sizes stands out before our eyes. The composition is all about composition and differentiation between the lime leaf and the lotus leaf. The former ethereal, small in size and almost transparent contrasts effectively with the latter which has large dimensions and a somewhat opaque and impenetrable organic structure. The interplay between the different sizes and between the transparencies produces a formal alchemy that is combined with a chromatic alchemy where yellowish pigment blends with more pinkish and orange pigments almost imperceptibly. And this is how "Love" takes shape, layer upon layer, leaf upon leaf, becoming a mirror of deep and indissoluble bonds where all elements resonate in unison. Different sensations, on the other hand, produces "Relationship." This time the protagonists are only large, round lotus leaves portrayed in numerous color shades. From golden to ultramarine blue, from bottle green to the sweetest pink. All these colors illuminate the leaf giving it new life and new companions. Each leaf is different from the other and each of them is related to the plant element beside it. It is a wonderful transposition into art of interpersonal relationships and the uniqueness that is contained in each person.

Art Curator Lisa Galletti

Yasue Hashimoto

Blue Dance

Yasue Hashimoto

Heartbeat

Yasue Hashimoto

Yasue Hashimoto

Relationship

“The job of the artist is always to deepen the mystery.” (Francis Bacon)

The encounter between figures, words and cut-outs develops a continuous search for meaning that the observer is subjected to. The work Chaos _ #A by artist Yoshi is an endless chromatic and geometric dialogue. The words draw the eye into a continuous search phase, for meaning, for reason, inducing the observer to question himself. Yoshi, through his work, manages to harmoniously balance instinct and reason, strength and fragility. It is a personal dimension animated by changing forms that lead one to reason, to think 'outside the box', to change one's angle, thus opening up new interpretative keys that take their cue from subjective elements and are then expanded to embrace broader fields of objectivity. What emerges powerfully is a suggestive dimension that rests on the vibrant use of a wide and intense colour palette that contributes to giving shape to the content, delving into the meanders of the soul and becoming the lifeblood of the entire creative process. The painting becomes the space par excellence in which to let one's feelings flow, without premeditated intent, without formal schematisms and/or academic dictates, always arriving at original and convincing results. The observer is captured by the propulsive energy of a painting that emanates its force from within and reaches the heart and the most intimate part of ourselves. A free, everyday painting and above all a further expressive metaphor.

Art Curator Giulia Fontanesi

Yoshi Chaos #A

Yukio Takamori

Panta Rei is a Greek locution literally translatable as everything flows, in Greek παντα ῥεῖ, used as an extreme summary of the thought of Heraclitus, among the major Greek pre-Socratic philosophers, who lived in Ephesus between 535 B.C. and 475 B.C. One cannot descend twice into the same river and one cannot twice touch a mortal substance in the same state, but because of the impetuosity and speed of change it disperses and gathers, comes and goes, Heraclitus wrote about the eternal becoming of reality. Everything changes, everything is transformed, nothing remains unchanged. Like the river that continually renews and transforms itself, so that it is impossible to dive into it more than once because the second time, having completely renewed its waters, it will not be the same river as the first Thus it is impossible for man to have the same experience twice, since everything in its apparent reality is subject to the inexorable law of change Each of our instants is never the same as the next, and we are never the same from one period of time to the next.

Everything changes within and without us, although we cannot always perceive this continuous change. The most conspicuous thing about us, our body, is always different from one moment to the next, and we live in this continuous diversity. Something is born and dies in us at every moment of our existence and at every moment we are no longer what we were a moment before. All events are constantly changing like the landscape that rushes past us from a train window and of which we can retain very little. It is impossible not to lead our minds back to the thought of the philosopher Heraclitus while looking at Yukio Takamori's works. "Isometric" is change in its pure state, it is element that then becomes another, it is chromatic alchemy that changes incessantly under the influence of different stimuli. Through the changes of our gaze, depending on whether we observe the work from one side or the other, from near or far; the latter changes Yet, the work also changes its connotations through other external stimuli such as light, its temperature or its intensity "Isometric" is continuous becoming in its stillness For a moment it seems to us that the stain of dense chromatic matter is inflamed by a passionate purple color only to change our thoughts a second later and realize that, out of the carmine sea peep green reflections. The iridescent element is the driving force of the work, and the work itself changes and reveals its true being only in the presence of the person who, at that moment is observing it. Without a moving viewer, without a passing time that makes the light change, the work would remain motionless in its glassy beauty. Yet, this work as well as we are, is part of the world and also undergoes the law of constant change. Everything flows, "Isometric" changes, and so do our bodies. Everything flows, "Isometric" changes its coloring, and so does the sky outside the window. Like Heraclitus' river, dense color laps against the black backdrop, bewitching us with the truth of existence that shines through the sinuous color curves.

Art Curator Lisa Galletti

Yukio Takamori

Isometric

Yuto

The immanence of time has been woven. Yuto presents “The weaved canvas No.43” for the “Interferences” Mixed Reality art exhibition at M.A.D.S. Art gallery. An acrylic painting has been weaved and been displayed in a square composition surrounding a moment in the creation of cosmos. Orthogonal spaces are being delimited by how the artist has weaved each section of the canvas. It is imperative to compose the immanence of time to contemplate the demanded stillness for a new beginning. Blue and red tones are intended as two characters merging to create a pattern, a continuum, which stands still only for us to witness it. An intrinsic understanding of creation itself. Different mythological characters such as Ananke, the Greek goddess and the Fates, the trio of goddesses spinning the thread of creation, have been surrounded by weaving acts in order to emphasize the idea of creation and how different perspectives can be bounded into one idea, which could evolve into reality. “The weaved canvas No.43” becomes a manifestation of a future reality, a virtual reality with interferences crossing by to acknowledge the network of perspectives meant to be merged into a virtual cosmos of how the immanence of time has been woven.

Art Curator Karla Peralta Málaga

Yuto

The weaved canvas No.43

Zhou Mo

We live in a pluralistic and multicultural society that has disproportionately expanded the choices available to individuals. However, this can be matched by an extremely deep-seated sense of bewilderment and disorientation. To live means at least in part to be challenged in and by the world: external and internal reality pose us questions, problems, challenges, sometimes simple, sometimes complex And we are bound to respond to them in some way Of course, we might not even accept challenges or avoid them as much as possible However, a challenge is such in that it necessarily implies a reaction on our part, some decision Associated with this universality of challenge is, in today's society, an increase as never before seen in individual freedoms and life chances. It is now possible to lead lifestyles, to buy products, to make trips, to connect instantly with people on the other side of the globe, as never before. We are faced with an abundance of choices to make, and the traditional values that had guided us so far are no longer able to do so today, especially in a pluralistic and multicultural society such as ours. Now, this increased presence of options and possibilities for choices seems very attractive: indeed, who would like to have fewer choices than they have? A thousand possibilities, decisions and choices We can choose to become any person we wish Yet, there is a feeling that the earth is crumbling under our feet If the world offers so many possibilities, why is there this sense of uncertainty? The problem lies in the too many opportunities for choice that a person faces during her or her lifetime. Protecting this risk is the projection of oneself to places in one's childhood where life was essentially characterized by instinctive, childlike decisions. And this is precisely what Zhou Mo wants to portray through her work-"My" Moment-. Through the device of the dream she narrates her relationship with her family by returning, in mind and color, to the home of her childhood. In the first three works that make up "My" Moment, it is possible to savor the smell of one's home and that comfortable warmth that permeates the walls of the house in which one grew up The viewing angle is greatly distorted through the use of the fish-eye gimmick and a view from below Then again, Zhou Mo has become a child again and everything around her seems to have exaggerated dimensions. Yet, this idyllic childlike dream at a certain moment disintegrates. The tranquility and warmth of the house give way to worry, anxiety, and agitation. Everything shakes, bottles roll down the stairs, and electric shocks fill the air. The artist then, seeks and finds comfort in her parents, loving and protective figures. Zhou Mo tells a dream that is both a story that is at the same time a reworking of memories and reflections on her life today. Returning with her mind to the warm house where she lived with her family in the past serves as a sure antidote to melancholy about her own family by making her process in images the strong concern that life flows for everyone, including her parents Among the thousands of scenarios and choice options that the world gives us, we all always return to the simple and genuine things, to the warmth of family and the good old days, it is an inherent choice in our existence and we can do nothing but accept it by painting our lips with a sweet and wistful smile.

Art Curator Lisa Galletti

Zhou Mo

"My" Moment