Curated by Art Directors Carlo Greco and Alessandra Magni Critical texts by Art Curators Angela Papa Camilla Gilardi Carola Antonioli Chiara Rizzatti Eleonora Varotto Elisabetta Eliotropio Erika Gravante Federica D’Avanzo Federica Schneck Francesca Brunello Francesca Catarinicchia Francesca Mamino Giorgia Massari Giulia Bresciani Giulia Dellavalle Giulia Fontanesi
Giulia Marchegiani Ilaria Falchetti Karla Peralta Málaga Liliana Sánchez Lisa Galletti Lucrezia Perropane Mara Cipriano Matilde Della Pina Martina Lattuca Martina Stagi Martina Viesti Salma Eltoukhy Sara Giannini Sara Grasso Silvia Grassi
Don't think of an orchid. You will think of an orchid. A simple and satisfying act of resistance, a mechanism that attacks proper knowledge to overturn the dictates of the relationship. The perverse thinking. Perversion as a modification of instinctive tendencies, abandonment of the faith, of the orthodox, of the normal. Interruption of innocence before its own fulfillment. A melancholy and intoxicating state that through the work of art declares a siege inviting pure aesthetic contemplation. The beauty, the subjectivity of the supreme kind of values. The resolution of conflict and disturbance, order and decorum. At the same time, the conflict, the turmoil, the chaos and the indecent. Perverse is the beauty at the time of the super-present, sparkling and elusive that forces the user to pure contemplation as an indefinable means of enjoyment. An emotional composition, made of delicate gestures and graceful bodies that join the wind for the tribal dance of the new day. An ecstatic shock that transforms us, the perverse thought as an experience. Aesthetic event that leads to the reflection of ideal primitiveness, "You have to change your life”, Rilke in front of an ancient torso of Apollo, perversion travels in the archetype of things, from which there is no point that he does not see life as such. "So we instinctively run after objects that can excite our passions, although they exercise impressions on us that often cost us restless nights and unhappy days; but men suffer more from a life without passions than from the suffering aroused by passions". With these words, Jean-Baptiste Du Bos describes the deep disturbances of the human soul, those that make the nights pass awake and that make the belly twist at the thought of something that stirs the imagination. Man is attracted to what he does not understand and what frightens him deeply fascinates him at the same time. Philosophers such as Kant over the years have studied how the concept of "sublime" is combined with art and Friedrich represented it in his paintings, which leave spectators and viewers fascinated and frightened at the same time. Every human perversion is justified by instinct and overcomes the fear that instils the idea of the forbidden and manages to go beyond the concept of danger itself. Man cannot help but pursue his deep cravings and desires, even though these ultimately lead to intrinsic suffering and despair. By nature, we are led to follow instincts and to satisfy our desires, however far they are from socially shared ethics and rationality, all in their intimacy show inclinations or behaviors that in everyday life in front of others do not let it leak out and this is part of the human spirit. The sight of fire is beautiful to the human eye, yet it burns. As well as the view of the glaciers or the open sea. They are fascinating and arouse deep emotions, yet they remain a danger for the man who does not know how to live with elements of this type that can harm his safety. This does not mean that he will begin to avoid them, but he will find himself more and more involved and fascinated by the force of nature and the beauty of danger. Perversion itself carries a series of taboos in which man feels stripped of his security and dignity, yet as Oscar Wilde wrote, "the only way to get rid of a temptation is to yield to it”. Artists have always exercised their autonomy with deliberate acts of resistance to the expected, the reasonable, the moral. The recent history of art cites Joan Jonas, Carol Rama, Amalia Ulman, Camille Henrot, as authors with an undisciplined mind, whose precise and attractive gesture is also a way to establish themselves as authentic beings whose artistic product is perversion and existential will. What's my purpose, if I only do what makes sense? Why is my conscience more relevant than my instincts? Fresh, intoxicated and intoxicating, emotional landscapes, portraits of adolescent vivacity, here and now. M.A.D.S. ART GALLERY calls its artists to navigate unknown waters, to exercise their will, to let themselves go to the sublime, to experience that interrupted innocence that will inevitably make itself felt with a sigh, perhaps melancholy, perhaps perverse. Concept by Federica D'Avanzo Art Curator
7even “The object of art is not to reproduce reality, but to create a reality of the same intensity.”(Alberto Giacometti)
Portrayed by colours, shaped by lines on the canvas, depicted through visual imaginaries on videos and narrated by a deep and dramatic voice, the works by the artist known as 7even are peculiar, idiosyncratic and unconventional in their essence. The interdisciplinary approach is what distinguishes 7even inside a contemporary art world without a well-defined and uniform principle, which dynamically continues to overstep boundaries and combine materials, methods and concepts. 7even is, indeed, living his time by being a son of contemporary art. The artist makes use of different narrative tools to tell a story he has experienced, to share his emotions and to convey messages and ideologies. The almost concealed meaning of his abstract paintings becomes transparent and open in his videos, unmasked by stunning visual languages and his narrating voice. In the works presented by 7even for this exhibition, his second collaboration with M.A.D.S. Art Gallery, the image of the woman is consistently present, thus becoming the common thread of the three painting-video works. Here, the female figure arouses an almost obsessive feeling in the artist. The woman is neither the object of the works nor just a mere reflection of the artist’s gaze on visual languages; she is both a sleeping and talking woman, who does not lack the voice and the courage to express and to do what she wants and who, at the same time, lets herself be watched and desired by the artist. Different visual and pictorial sceneries overlap with musical notes by depicting different women’s silhouettes which arouse the artist’s desperate feeling to be with her, to “get some of her loving”: “You are on my mind, and I thirst for you each time”, 7even narrates. The atmosphere is tense, intense and thrilling, and the music accompanies the viewers on a loving voyage between the woman and the artist. From “Double Vision” to “Candy Strippers” and “She’s Always On My Mind (On My Mind)", the woman is represented as a nurse, muse, dominant, submissive, sensual, angel, perverse and compliant; no matter what she is and how she is portrayed, she holds the artist in the hollow of her hand.
Art Curator Martina Lattuca
7even
Candy Strippers
7even
Double Vision
7even
She’s Always On My Mind (On My Mind)
Abir Nasri There is no instinct like that of the heart. (Lord Byron)
We often try to describe in words what an expression can explain in a light blink of an eye. The astonishing corollary of sensations unfolding on a face takes on a central role in the artworks of Abir Nasri, who gracefully involves the viewer in a bewitching journey through human emotions. The artist transports the predilection for portraiture in works halfway between exteriority and interiority, as can be admired in the paintings presented for the "Pretty Perv" exhibition. With Thoughts Abir evokes in an instant the whirlwind of thoughts that crowd into the mind of the man represented. The quick brushstrokes around him almost seem to emphasize the intensity of still unexpressed considerations. The penetrating gaze, the furrowed forehead and the pursed lips "photograph" with admirable realism the moment that precedes the enunciation of an idea, that is the exact instant in which a thought comes to life through the word. While Thoughts releases a palpable intellectual tension, A hand of an old man projects us into a meditative dimension that has the features of an elderly man. The skilful use of complementary colors (played between the background and the man's scarf) becomes synonymous with serenity of mind, which reveals a deep awareness in a smile just hinted at. Abir's sensitivity manages to capture the essence of a wisdom obtained over the years, and which leaves on the face the signs of a long-sought and finally achieved harmony. Along with this peaceful way of being, the artist in Longing represents an attitude of lust, outlined by the features of a beautiful young woman. The lightness of the watercolor painting emphasizes to the utmost the delicacy of the features of the face, gently reclining backwards. A few thin locks of hair move in the breath of an imperceptible wind, and follow the direction of the dreamy gaze, lost towards an intangible object of desire. Contemplating Longing means opening the mind to the possibility of something wonderful, to be sought not only in the surrounding reality, but above all in the most intimate essence of ourselves.
Art Curator Chiara Rizzatti
Abir Nasri
A hand of an old man
Abir Nasri
Longing
Abir Nasri
Thoughts
Adela Osmani “What do artists do? Artists give people something they didn’t know they were missing: a dance, a piece of music, a painting, a piece of sculpture. Catering to that need is the best business strategy.” (Daniel H. Pink)
The passion for art of the young artist Adela Osmani manifested itself from an early age, becoming stronger day by day. What emerges first of all from her artworks is her true essence, her spirituality and her emotions: the body, mind and inner energy come together, play with each other and, thanks to the use of stimulating and vibrant colors, they give birth to works with a strong personal message addressed to humanity. Through art, Adela re-proposes herself and confronts herself with the outside world, studies its movements, language, the people who inhabit it and then brings everything back to the canvas and generates artworks with an elegant and sinuous aesthetic impact. The abstraction of the shapes and the vivacity of the colors come together to generate very personal works that however want to be reflected in the soul of the observer, to invite him to immerse himself in the reflection of his own inner self in relation to concrete reality.
Art Curator Federica Schneck
Adela Osmani
LUXURY ADN
Ahmadali Seif Nasseri We must act out passion before we can feel it. (Jean-Paul Sartre)
What moves Ahmadali Seif Nasseri's creative process is a vocation for beauty and experimentation. These two components have led the artist to focus on photographic art and to create emblematic and fascinating works, which induce the observer to a curious and active observation. The propensity to abstraction is the focal point of Ahmadali's art, and we can admire an example of this in Erotocrepitus. The artist transports us into a dimension of warm voluptuousness, based on shades of red, orange and yellow. The power of the image lies in the ability to evoke an immediate emotional sensation rather than rational, and captures the mind in a seductive river of explosive tension. The vibrant notes of Erotocrepitus give way to the intense chiaroscuro contrasts of Pahoehoe (Lava flow). The skilful play of light and shadow emphasizes the viscosity of a liquid and bubbling material and gives the photo a palpable three-dimensionality. It almost seems to perceive the incandescent substance that gushes from the earth, almost touching the observer. If in Pahoehoe the artist has created a creation based on the force of suggestion, in Periwinkle Bliss he projects the imagination on a more meditative and intimate level. The soft tones of blue, purple and green run vertically through the compositional space, creating a sinuous movement, and pushes to abandon oneself to a reflective contemplation, which takes the hypotheses on the subject represented into the background. The artist creates a real dialogue with the observer, and does not provide a univocal interpretation: in this way, he allows everyone's imagination to glimpse their own truth.
Art Curator Chiara Rizzatti
Ahmadali Seif Nasseri
Erotocrepitus
Ahmadali Seif Nasseri
Pahoehoe (Lava flow)
Ahmadali Seif Nasseri
Periwinkle Bliss
Ai Iromoto One of the most conspicuous aspects of the malaise of modernity, which is so widespread among millions and millions of people today, is the evil of living that spreads like a giant metastasis and plunges them into neurosis, anger, and suffering against each other and against everything. It is as if a gigantic cry of suffering, anguish and despair is rising from countless individuals, some of whom dissimulate to others and to themselves their deepest evil, pushing it deeper and deeper, while others let it erupt in overt forms, plunging into the abyss of despondency. If we then ask ourselves about the causes of such a vast and generalized evil of living, we will not be slow to realize that they sink not into individual situations and events, although - often - the people who are afflicted by them firmly believe so; but into a general attitude toward life, into a widely spread state of mind, which can be summarized in the schematic but effective expression of loss of love toward life. And by this expression we do not mean something generic and almost abstract, but, on the contrary, something extremely concrete and which must be understood in the most literal sense: that is, as distrust of life, as disenchantment with the world, as loss of hope, as nausea of existence, as deep disaffection with oneself and hatred of the world that is externalized by abusing and trampling on the weakest. Just when life seems to have become more comfortable, or at least easier, for everyone, here is spreading like wildfire a feeling ignored by past generations, no matter how hard their daily existence was: dislike of life. Ai Iromoto through her works tells of this suffering, this challenge to survival where the strongest overpower and abuse the weak. The artist tells how in our world, so highly evolved and organized, instinct occupies-willingly or unwillingly-a foundational element of society. The survival instinct that makes you cry out in joy or in pain, depending on which side you are on: that of the strong or that of the weak. And Ai Iromoto's works preserve to their intent the subdued cry, the cry of suffering of those who, in the eyes of all, fail at integration into society, at being a "normal" person. The looming dark clouds, the streaks of sanguine color, the nervous and decidedly instinctive stroke of Ai's works. The drippings, the splotches of color, the chromatic layering that characterizes the entire works are a symptom of a cry, a shrill, sometimes subdued yet continuous cry. The background noise of our society and human being.
Art Curator Lisa Galletti
Ai Iromoto
Rays of the Rising Sun
Ai Iromoto
Even Monkeys Sell Sex
Ai Iromoto
Earth, Life in a Moment
Akitsugu Sugisaki
One face, two faces, many faces. Recognizable physiognomies: eyes, nose, lips, cheekbones. Yet there is something strange. There is something that disturbs our vision and shakes the identity of the individual in front of us. What are we observing? Logic leads us to think that these portraits are essentially portraits of human beings, and yet there are jarring details, deformations, Francis Bacon-like impairments. The flesh liquefies and then becomes hard as a boulder, the eye sockets disintegrate, the mouth appears barely recognizable because of the reddish color with which the lips are dyed. What are we observing? Above a pinkish backdrop scratched and stained with bluish pigment is a portrait of a man. A taurine neck accommodates the head that stretches upward. The large, red, emphasized mouth clashes with the faint, subtle presence of the eyes. The latter seem almost nonexistent, as if a thin veil of skin covers the eyelids and eyeballs. Although the scratched color, the distortion of facial features, and the accentuation of shadows are predominant elements in the work, the combination of form and color gives us a rather faithful representation of the human being portrayed. If we look at the second work in the "Portrait" series, the feeling and setting of the portrait change. The duller color palette, the nuances and the smoky, uncertain and labile chiaroscuro contribute to the creation of a face that has lost its salient features.
Akitsugu Sugisaki
A face that seems to liquefy with every movement, a face that looks soft, swollen, bruised and gaunt. The cold color and the lack of detailed vision of the features of the face makes this second work evoke something sinister, ambiguous, and disturbing. The disquiet of the soul that characterized our vision is solidified and made more tangible in the third work. Here the facial tissues are completely soft, dissolved. Where before there was a mouth there is now a pinkish stain. Where there used to be eyes there are now faint bluish flashes. The pigment shuffles, twists in on itself producing a swirl of sinister sensations. It feels as if that face, once characterized by normal features, is decomposing before our eyes. Looking closely at the work we can smell the sweet, sickening odor of death and rotting flesh. Feelings of morbid and sinister disquiet dominate our soul until we reach the climax of the series painted by Akitsugu Sugisaki. In the last work portrayed, flesh gives way to invisible entities that reveal themselves to our eyes in the form of ethereal, vaporous color clouds. The head is completely disintegrated; there is no trace of flesh, bone or even blood. Blue and red spots can be glimpsed in the cloud, the last semblance of a body eaten by darkness. That's right, eaten. The human being eaten by his own foibles, sins, ugliness and wickedness has become nothing but ashes.
Art Curator Lisa Galletti
Akitsugu Sugisaki
Portrait I
Akitsugu Sugisaki
Portrait II
Akitsugu Sugisaki
Portrait III
Akitsugu Sugisaki
Portrait IIII
Alexander Gutyrya “The object of art is not to reproduce reality, but to create a reality of the same intensity.” (Alberto Giacometti)
Magic between one brushstroke and another; gestures that tell stories; colors that whisper emotions. The contemporary artist Alexander Gutyrya’s works represent a world that, if in some respects it seems surreal, for others we think it is the perfect description of everyday moments in our life. In “Family” (2022, oil on canvas) on the back of a cow a child holds the hands of his mother and father. The painted animal is a symbol of union and motherhood and reflects exactly the essence of this work: the presence of love generates more love. Being strong in the face of difficulties, overcoming obstacles with courage and determination: "Moving Forward" (2022, acrylic on canvas) is a tribute to the willpower towards which each of us must go in search when darkness is stronger than light.
Alexander Gutyrya
Do not sink the boat you are sailing on but keep it afloat thanks to the energy that flows inside you. "Noah's Ark" (1999, oil on canvas) depicts the boat protagonist of a famous biblical story: men and animals gather on the ark to escape from the Flood that would have left no way out. The artist painted an event that invites us to reflect on how much man, in a moment of great need, can be brilliant and creative. Unity is strength and generosity is synonymous with love for others, but also for oneself: "Seven" (2022, acrylic on canvas) represents the strength of the group. Don't be afraid to ask for help, don't think that you can always do it alone. The artist's style is very recognizable: it is not the details of the faces that convey emotions and set our thoughts in motion, but the gestures of the protagonists' bodies and the play of movement through which the brushstrokes meet. Alexander uses colors to shape his inner world: we observe his works, we learn about the artist and let ourselves be carried away by the flow of our sensations.
Art Curator Camilla Gilardi
Alexander Gutyrya
Family
Alexander Gutyrya
Moving Forward
Alexander Gutyrya
Noah's Ark
Alexander Gutyrya
Seven
Alinambivalent "Choose only one master - nature." (Rembrandt)
Alina Ambivalent is a contemporary artist with over ten years of experience in the art and design world, who lives and works between Cyprus, Moscow and Dubai. Her artworks are an interesting analysis of the concept of Nature, represented here from a point of view that is completely alien to traditional logics. In "Rhythm & Blues", a work exhibited at M.A.D.S. Art Gallery on the occasion of the exhibition PRETTY PERV, we see how all the elements contribute to describing a psychedelic scenario that captures our gaze, drawing our attention to a dense network of sinuous lines that weave ceaselessly. Fluorescent colors, manifestations of an altered reality where unpredictable lines and shapes twist in space with an apparent illogic. The resulting textures lead the observer into a neural universe made up of luminous synapses running through the space, like an intricate network of roots in search of a source of life. The artist's intention is precisely that of narrating Nature through pure psychophysical experience. Alina Ambivalent thus allows her body and mind to open up completely to let the powerful energy emitted by Mother Earth pervade her. Her works are thus a description of the experience itself, in which her body rises from the ground overflowing with light and overwhelmed by an ecstatic moment. The lines and shapes in ''Rhythm & Blues'' are not only the pulsating veins and arteries of a leaf, but are also the recording of pleasure impulses sent to the brain. They are colorful, invisible threads that keep us connected to the Origin.
Art Curator Francesca Brunello
Alinambivalent
Rhythm & Blues
Ally Hendriks
Dreams, surreal realities and distorted figures are key components in the artworks of the multi-media Canadian artist Ally Hendriks. The creation of these new possible realities is a gateway for the artist to express emotions and thoughts that are otherwise impossible to put into words. They are a projection of states of mind, absurd scenarios and bizarre conjectures in which the artist can find comfort and understanding. Bright colours and bold contrasts, the observer enters a new dimension that feels like a lucid dream. The unconscious comes together with the conscious, losing awareness of the boundary and letting them blurry into each other in the psyche. With a strong Freudian influence, Ally here proposes a scenario in which id, ego and super-ego are represented by three female figures that are vanishing in an electric stream in the air as they surrender to the self. The three figures are standing up in a current of water that symbolises the stream of conscious thoughts by which the self has to abandon itself in order to reach growth and renewal. The transformation into electrical streams is brain signal that invites the psyche to lose itself from the representation and the sense of self.
Art Curator Francesca Mamino
Ally Hendriks
Currents
Amarildo Ruçi Amarildo Ruçi is an artist born in Tirana, he is an artist recognized nationally and internationally. For six years his artistic production has evolved allowing the artist to create works only through the use of his hands, without brushes or other tools. Amarildo Ruçi is, for the first time, the guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "PRETTY PERV" he exhibits three works with an evident surrealistic and fantastic vein. On the one hand, Jean-Jacques Grandville whom we see at times in the work "ardor", a body reminiscent of a mythological animal, half woman and half animal, specifically a reptile. The creation of the work shows the artist's great skill in transporting the observer in a completely new and dreamlike way, in which anything can become reality. “Deja vu” always has a female figure as its subject, which turns out to be one of the fil rouge of the works of Amarildo Ruçi, as he himself explains “The feminile figure is always present in his work by him. It is his inspiration muse of creation and is closely related to the love and passion for life. ”, Also in this case associated with an animal that resembles a reptile from the way it is represented. The figure seems to come out of the void as if it were presented on the canvas from another place, unknown, devoid of time and location. Finally, "insomnia #darkseries" is a real journey into a dream, the woman's face seems to be set among flowers, plants, clouds, a rainbow and the water of what could be a river or a lake. The work is reminiscent of a real nymph from Greek mythology, an ethereal being with an imperturbable and sweet charm. The artist consecrates himself as a real surrealist artist and tells dreams, this ability allows him to come into intimate contact with the viewer who feels completely and deeply captured by his works.
Art Curator Martina Viesti
Amarildo Ruçi
ardour
Amarildo Ruçi
deja vu
Amarildo Ruçi
insomnia #darkseries
Anke Riemenschneider “Art is the only way to run away without leaving home”. (Twyla Tharp)
Sounds and visions mingle in the canvases of artist Anke Riemenschneider, who manages to play with colours and shapes by combining digital painting, new materials and video art. Her works are the subject of a slow creative process, the result of a profound study of the artistic media used. From an inner research of the artist, fades, discounts and subtleties alternate on the paintings. A fundamental fact to understand them better is to study the symphony of colours when the curved and more sinuous lines are read like a musical score. The result of the artist's reminiscence and love of music, the colours follow the musical notes. Warm and cold colours, always held with soft lines, represent the various colour sequences, with a chromatic crescendo towards the centre of the painting. Here we find ourselves in a crescendo of rhythm, tension, lines and colours. Colour is the sign, a fundamental element in the perception of the image as it leads the human eye to experience different sensations. Anke Riemenschneider's art does not represent reality but creates images that express themselves through lines, shapes, curves, without imitating real life. The figures complement the background, forming an inseparable whole, conveying the positivity of activity. As far as video art work is concerned, Anke manages to make the two worlds of art and music coexist by creating a dynamic and swirling sequence, poised between reality and fantasy. She uses technology to share and distribute the images to develop an interaction with those taking part in the viewing. The collage of images that follow one another in sequence, in relation to the musical rhythm, make this work one of a kind, conveying the artist's true tastes.
Art Curator Giulia Fontanesi
Anke Riemenschneider
Amygdala’s birds
Anke Riemenschneider
Il Penseroso
Anke Riemenschneider
Macbeth_2022
Ann-Brit Christoffersen
On the occasion of the international art exhibition Pretty Perv, the artist Ann Brit Christoffersen presents two artworks. Although the technique used is similar the composition and the message sent by the artist beyond the canvas is different. Starting from the first artwork presented we can see the use of red color that communicates infernal suggestions. In fact the title of the work is "Inner demon", so we soon understand how the artist wants to talk about something deepest that belongs to the human psyche. The composition appears complex with a lot of different elements that are connected with this deepset world of human life. As if the artist wants to describe the vision of the unconscious in Freudian suggestions. we can see the elements of eyes, faces and figures. Some white spots that stay on the canvas like the borders of this vision remind the observers the image of the tears.
Art Curator Elisabetta Eliotropio
Ann-Brit Christoffersen
In a very particular way the artist Ann-Brit is able to tell us about the unconscious, a deepest part of us full of memories, hidden dreams, persons and happenings. We can call it the place of the demons which sometimes want to come back to life to tell something more and hidden about us and our life. The second artwork presented is titled The human Egg. Ann-Brith also with this work wants to talk about something that belongs to human life at the same time in another perspective. That of birth, the connection we have with nature and the environment. In a very simple way the artist is able to describe the analogies we have with nature, as she says << we are nature >>. So the message she wants to communicate is that taking care of nature is like taking care of ourselves. Because we are not just similar to nature but we are the same thing, with our needs and our fragility.
Art Curator Elisabetta Eliotropio
Ann-Brit Christoffersen
Inner demons
Ann-Brit Christoffersen
The human Egg
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
Il mio Universo , Gioia Profonda, Il tutto are the original abstract paintings presented by the talented italian artist Antonietta Grimaldi at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. Antoinette's works are the profound expression of her being, the messages the artist communicates are deep, definitive and very heartfelt, as well as universal. Antonietta is decisive, as is her line, her works convey great passion and an immense reflective attitude perfectly combined with movement and action. Grimaldi Antonietta has a great deal of experience and knowledge of the art world. At the age of fourteen, she began her passion for painting. Il mio Universo represents "the key to herself and her artistic sensibility. Through the vital energy of colour she gives the viewer the right key, the key that opens the gates of her pictorial universe. From warm to cold colours, which intertwine with inexorable energy, generating a magical alchemy that delights the eyes of the beholder. Everything starts with colour, the true protagonist of a theatre of contrasts generated in the moments when the reins of reason loosen their grip". Gioia Profonda is a vortex of emotion. The colours flow from an inner impulse and the very choice of dark or bright tones is dictated by that impetus. In Antonietta's works, the decisive, flaming tones of her emotions and feelings resonate. Finally, Il tutto brings out emotion and composes a poem. Sweet glimpses of a world barely hinted at, but alive and palpitating. With her art, Antonietta makes us fly high, free and sincere. Her works are a travel diary and the more you move, the more the horizons and the panorama change.
Art Curator Mara Cipriano
Antonietta Grimaldi
Il Tutto
Antonietta Grimaldi
Grande Gioia
Antonietta Grimaldi
Il mio Universo
Aria “Art to me is fun. And fun means not taking things seriously”. Aria
Original, authentic, unconventional is Aria's art. The idea for the cardboard relief works came about during a move, when the flat was full of boxes and she had a deadline for a creative project to meet the next morning: 10 hours later she had engraved Jimmy Hendrix on a cardboard box. Aria presents her work, Smoke, at the international art exhibition PRETTY PERV hosted by the internationa art gallery M.A.D.S. Remarkable is the artist's ability to convey the emotions and feelings of her characters through the media she uses, here she demonstrates her talent. Born in Athens, Greece, in 1983, she now lives in California. She has always loved art and has used drawing as an outlet for fun and relaxation. Aria fits into that vein of arte povera or the great masters like Burri. That art that makes its medium noble. The concept of art is overturned: Aria rejects techniques and supports to resort to 'poor' materials with the intention of evoking the original structures of the language of contemporary society after having corroded its habits and semantic conformisms. In this way she overcomes the traditional idea that the work of art occupies a supratemporal and transcendent level of reality.
Art Curator Mara Cipriano
Aria
Smoke
Astrid Cheung
The artist Astrid Cheung on the occasion of the international art exhibition Pretty Perv presents the really beautiful artwork titled Lost in the City. The composition takes place in the tone of black and withe and the effect is the product of the work with the pen and mixed media. With this particular technique the artist is able to tell us about her personal vision of the reality around her. In the grid created by intense brushstrokes we can discover the expression of different faces. What is important to say about this is that Astrid Cheung doesn't want to represent just the image of faces but wants to underline their expressions to say how they feel in this moment. In a very elegant way the artist is able to singularize the character description and give them a soul, a life. They are not just objects of the representation but they are persons. If we connect this idea to the reality of the city, we soon understand how the artist wants to connect this representation with the relationship between the persons with the city dimension. The question could be <<how do we feel in the city? Does the city respect our individuality? our singularity? >>. Astrid Cheung says: <<Those of us living in the city inevitably feel lost by these social rules, which is especially reflected in the hollow and even disturbed images of the characters in the paintings. It forms a silent indictment of social norms, established concepts, and even more, a desire for rebellion and resistance.>> The final message that the artist wants to say to us is to resist and continue to affirm yourself as a person, to break rigid rules of the society and affirm himself and his dimension to not get lost anymore.
Art Curator Elisabetta Eliotropio
Astrid Cheung
Lost in the city
Astrid Hutengs
Astrid Hutengs' watercolour paintings investigate the unknown using the central presence of something very familiar, something loved and hated, something that manifests its presence and strength also, and sometimes above all, in its absence. In Greek symbolism, the hair has a strong symbolic relationship with its owner: it represents his roots, because it encloses his memories and is at the same time an antenna that connects him to the sky, a thread (several threads) of the soul that are woven together and thus held tightly, guarded as in the artist's works of art, so that their fall is often experienced unconsciously as a state of regression to an infantile and asexual condition, as a loss of strength and power. No culture in human history has ever remained indifferent to the problems of hair. In human beings, hair has the function of being seen to express complex social messages. In all cultures of the world, it is also an ornament and instrument of seduction, especially by women. In some places in the West, girls to be married wore their hair loose on their shoulders to indicate a free state, but as soon as they were married they had to cut it off or tie it up, to signify a lack of sexual availability. Once again, therefore, the hair has a connection to a sensual and outstretched self towards the man. An iconic image of the symbolic role of hair is surely that of Magdalene's hair washing Jesus' feet, a gesture of extreme submission of woman to man, a gesture that has something blasphemous, perverse in it. In front of these watercolour images, one therefore wonders if the unknown is not really the known, and the inquisitive is not the inquirer.
Art Curator Federica D'Avanzo
Astrid Hutengs
Basket of plait
Astrid Hutengs
Endless cycle
Astrid Hutengs
What happens while you´re dreaming?
Astrid Hutengs
Hiding a secret
Astrid Hutengs
Which secret do you hide?
Attika Dahri "First of all, the emotion! Only after understanding!" (Paul Gauguin)
Raised within two cultures, what Attika Dahri expresses today through her art is a mix of cultures that, since childhood, have helped her to grow, mature and be who she is today. And the comparison with the outside, with the world, with what surrounds us is what inspires her to let herself go to the creation of abstract artworks with a strong chromatic impact. The dense and vibrant brushstrokes tell of an out of the ordinary sensitivity, of an attention to one's inner self in connection with the universe; to the emotions and feelings of others, to the good things in life that need to be celebrated. The music, the dance, the words, the sensations, the encounters. Attika Dahri opens her heart, lets herself be carried away by the power of art and creates artworks that connect with the observer, almost as if both were joined by a long invisible thread. The memories of the past are revealed, and their effects and teachings are welcomed to face the present, in view of the future.
Art Curator Federica Schneck
Attika Dahri
Peace within chaos
Attika Dahri
Hiya
Attika Dahri
Softness
Aura Wooldridge “A work of art is a world in itself reflecting senses and emotions of the artist’s world” (Hans Hofmann)
Every person is a world. His mind, emotions, actions, feelings and ideas may show a little part of that world, but, still, there will be some things unknown or others that neither that person nor the others can understand. Art makes people have a pure contemplation of themselves and makes them be face to face with their true self and soul, their own feelings, emotions and desires. What is it and what does the inner self want? Do people show that self all the time and let it guide them? What would be the result of that liberation?
The result would be positive because art allows artists to find themselves and allows the viewer to connect and have a cathartic effect. This is the case of Aura’s artworks, as they enhance a pure connection and contemplation of the inner self by abstract shapes and vibrant colors. They encourage the awareness of the present moment where the artist and viewers can feel (regardless of the character or type of that feeling), leave behind their analytical part and flow with their own life and time. Aura’s paintings are a symbol of resilience, hope and rebirth; they lead to the realization that "no feeling is final", as Rilke said, and that like King Protea, the native flower of her country that she represents, despite adversity and fire there will always be a moment to be reborn.
Art Curator Liliana Sánchez
Aura Wooldridge
King Protea
Aura Wooldridge
California Dreaming 2.0
Ayako Inakazu Layers of color on layers of color. There is something fascinating about the modulation of pigment on the support. When a color is laid down in the compositional space, it is aware that it will not be the only pigment in the work. It is as if the color is aware that as it lies on the canvas it can become anything. This change in nature on the part of color occurs for a variety of reasons. A color can change emotions it causes or brightness depending on the pigment next to it. A light pink will seem darker when placed next to a white but lighter when placed next to a black. Thus, there is no one answer to the soul a color brings. Its individuality and characteristics are based precisely on the experience it has "lived." The juxtaposition between two hues, the layering of several colors, the mixing between two still unique pigments are all elements that combine to create the final identity of the color, the one that we see on the canvas and that is part of the whole work. Like the weave of a fabric, in "Tsumugi," color is treated precisely as a malleable material. Like a piece of fabric, the work has no sense of vision; perspective is decided by the person looking at this work. Ayako Inakazu performs a slow and impressive layering of pigments to make a work that is beyond labels and concepts. Her works may not even have a title for example. Her works can be viewed from multiple angles. Her works have multiple meanings within them and not one single meaning. What is important, however, is the becoming, the change inherent in each trace of pigment or form that Ayako conveys within the work. Virgin matter, change, blending and mixing with the elements are all part of the inherent experience of color from the moment it is transmitted onto the canvas according to Ayako's will. This experience gives the work a character of mutability, of constant change, of perpetual motion in search of the true identity of the color and the work itself. The artist, who is acutely aware of the malleability of the work succeeds perfectly in conveying within it the subjectivity and continuous change that is the basis not only of the work itself but also of the existence of a life.
Art Curator Lisa Galletti
Ayako Inakazu
Tumugi - Weave through the days
Badria Shamsi "When a woman is talking to you, listen to what she says with her eyes” (Victor Hugo)
Badria Shamsi, an artist from the United Arab Emirates, found her natural creative form in Expressionist art. Being self-taught has always spurred her to learn, to have a thirst for knowledge and experimentation through different artistic techniques. The lines intertwine, generating a constantly evolving flow and movement, and a skillful use of colors gives the works intensity and a strong emotional charge. The artist plays with the various shades of colors, which convey the profound message that is conveyed, a simple, essential but profound message like art itself. The eyes rise as real protagonists of the works of Badria Shamsi, mirror of the soul and universal symbol of the connection between human beings. Eyes as a reflection of the immensity of the soul, of the hidden sides of the soul, eyes as a link between the artist and the observer, who is almost hypnotized by the multitude of symbols that coexist in the works.
Art Curator Federica Schneck
Badria Shamsi
Gathering3
Badria Shamsi
Public gathering
Badria Shamsi
Gathering1
Barbara Kunz
Ephephilia is the word that describes some sort of passionate love for fabrics. People susceptible to such a perversion tend to get aroused by the sight of them and even achieve pleasure when they rub them on their bodies. After such an introduction, thoughts of Barbara Kunz's intense work will be many and dense in their contradictions. We are faced with what the artist calls a cloud: a circular canvas, the colour white and white, the apparent softness of the surface. On closer inspection, we realise that what at first glance evokes soft sensations, is the result of a decisive, almost violent operation to block this fabric. of its independent life, of its original function. The sculptural element of this work of art is thus adapted to the needs of the artist, somehow, going back to ephephilia, the fabric is abused, raped, taken out of its context and bent to the service of art. What ensues, however, is anything but a violent and explosive form, we witness as viewers of the work the realisation of a light thought, of a cloud. Barbara Kunz succeeds stupendously in rendering an act of such force magically graceful. Clouds, softness, roundness, light and shadow, a touch that was and now seems unattainable. In this work we can also find a very antique technique of pinstriping, a gesture of care, that perhaps explains the attractive force we are subjected to, in front of this painting. A caress that is filtered by anonymous texture, the mixed feeling of being touched with no gloves but with no intrusion. A gentle presence, a gentle piece.
Art Curator Erika Gravante
Barbara Kunz
Cloud
Barti Color Art
Barti Color Art is an eclectic artist who combines, in his artworks past and present trends both on paintings and on furnitures. What Barti wants to share through his art, is the utility, combining passion and professional work. The artist’s paintings are the reflection of his visions, as in ‘His Majesty’, a piece in which the viewers are accompanied into Barti’s dream. It presents various subjects coming from different planets represented by the little one, Saturno, drawn on the left high corner of the piece. The background gives to the whole scene a pleasant and magic atmosphere, almost confounding with the purple umbrella that the elegant man holds in his hand. The presence of the big lion is symbol of regality, perfectly standing close to his human companion, it represents Barti’s aim to express himself and his emotions while meeting the needs and taking into account even the most expectations demanding customers. Different in their abstrctism but always representing something symbolic and that comes from the artist’s mind are ‘ARA’ and ‘Barcelona’. The first one more colorful and hot in its atmosphere where the colorful spots fluctuate into the piece as to represent Barti’s thoughts; the second one, instead can be read ad a dark piece, in which the little geometrical and yellow symbols are the representation of the artist’s numerous dreams, waiting to come true. The application of the paintings to the furnitures, is visible in ‘Markiz Portofino’ and ‘Afrodyta’, through which, the artist gives to his viewers the vision of the furniture that differs from the furniture designs available in standard chain stores.
Art Curator Martina Stagi
Barti Color Art
HIs Majesty
Barti Color Art
ARA
Barti Color Art
Barcelona
Barti Color Art
Markiz Portofino
Barti Color Art
Afrodyta
Béatrice Bartosch Color! What a deep and mysterious language, the language of dreams. (Paul Gauguin)
For some, the creative process is part of very specific moments, separated from everyday life by an impassable veil. But is it possible to enclose a personality dedicated to art in limited portions of time? The irrepressible verve of Béatrice Bartosch seems to strongly affirm the opposite. If art is a way of expressing oneself, the true artist never stops making art, and represents an indissoluble element of her whole way of being. The "Pretty Perv" exhibition allowed to welcome some of Béatrice's colorful works, which involves the observer in a joyful and playful universe. The chromatic contrasts are the absolute protagonists, as can be admired in Desire. The predilection for abstract art allows the artist to give free rein to her emotions, emphasized by bright and lively colors, on shades of blue, pink, yellow. The work becomes the emblem of an overflowing joie de vivre, free from conventionality. In fact, if on the one hand the artist wants to give space to the externalization of her own emotionality, on the other she vigorously reaffirms her own intellectual autonomy and originality. Everything's fine strikes for the even sharper detachment between the different shades of acrylic colors, which create a motif made of alternating horizontal and vertical brush strokes, supported by small white dots. The strong contrasts of Everything's fine soften in the nuanced shades of The Insight, which unravels before the eyes a balanced work of warm and enveloping colors, reminiscent of the superb hues of a sunset. The enveloping atmosphere allows the imagination to delve into the extraordinary inner microcosm of the artist, who succeeds in making visible the ineffability of an incipient inspiration. But above all, it manages to share the very essence of a thought, and to let the observer experience the magical glimmer of intuition that unravels from a background of indefiniteness. A worthy affirmation of a modus vivendi consecrated to art.
Art Curator Chiara Rizzatti
Béatrice Bartosch
Desire
Béatrice Bartosch
Everything's fine
Béatrice Bartosch
The Insight
Benzane Human behavior flows from three main sources: desire, emotion, and knowledge. (Plato)
The unpredictable nature of Benzane's art finds its right dimension in the versatility of the collage, and in particular of the digital collage. This technique is perhaps more than any other able to enclose the frenetic conglomerate of symbols, writings, graphic elements in a fascinating, strong and exciting composition. Caught, in particular, combines advertising pieces with floral elements (sunflowers) and tiled motifs, and arranges them around pieces of photographs of two models. The attention is captured by the mischievous gesture of the hand in the center of the composition, and the artist deliberately induces to dwell on it: with an irresistibly voyeuristic spirit, Benzane embodies the hidden pleasure that comes from observing the object of desire. The observer can not help but participate in this game of gazes and to feed the fantasy of finally getting what he want. The explosion of colors only emphasizes the volcanic unleashing of passionate and instinctive emotions, which flare up in the imagination. If on the one hand by "capture" we can mean the longed-for satisfaction of a desire or being caught by surprise, on the other hand we can glimpse this ideal on a broader level: it is the spectator himself who is captured. by the artist, who observes, pleased, his prey. Nothing great in the world has ever been accomplished without passion. (Georg Wilhelm Friedrich Hegel)
Art Curator Chiara Rizzatti
Benzane
Caught
Bertig Pier
Very espressive and emotional are the paintings presented by Bertig Pier during the ‘Pretty Perv’ exhibition at M.A.D.S. Art Gallery. Concerning with the concept given, the artist has exhibited three scenes, two nudes and a portrait which have, as main character some women. Refigured in different ways, in order to give to each of them, their meanings, the three paintings catch the viewers’ attention for the feelings they are able to transmit. ‘Fragile’ is the bigger one and the most representative, thanks to its deep meaning. Weakness and, at the same time feebleness, are the main feelings governing the whole scene, associated with hot colors such as the red and the yellow/orange, attracting the viewers’ gaze. The artist’s ability in paying attention to the details, is also visibile throughout the different lines composing the bodies, thicker for the main character at the centre of the scene and for the one on the right side, and thiner for the group on the left side. Bertig Pier traits another toucans theme into ‘La Ferita’. The main character of the scene is a female body merging from a dark background while blocked by two hands. A clearer spot of white color on the left side of the piece seems to represent a presence, moving softly and giving dinamicità to the whole scene. The same deep brushstrokes used into this piece, are repeated also in ‘Sentimental’, a portrait that catches the viewers’ attention thanks to the red flowered crown hold by the woman depicted. With her deep gaze, the woman seems to capture te one tanned in from of her, transmitting her feelings and emotions. As a sort of sequence, the three paintings are the representation of a sentimental path, starting from the pain, is able to rebirth.
Art Curator Martina Stagi
Bertig Pier
Fragile
Bertig Pier
Ferita (Wound)
Bertig Pier
Sentimental
Biggi Vrgov “Life can only be understood backwards; but it must be lived forwards.” (Søren Kierkegaard)
Biggi Vrgov is a contemporary artist who lives and works in the United Arab Emirates. Her expressiveness is intimately linked to the traditional painting on canvas. However, she wants to move away from a figurative representation, preferring a more dynamic language linked to the movement of the body. No constraints or impositions, just pure and intense freedom. In the three works ("A Dream Of Colors"; "Mr. Neon"; "Hope") displayed on the occasion of the exhibition PRETTY PERV at M.A.D.S. Art Gallery, we can see how the use of bright colours, often fluorescent, and the gestures that accompany them, are fundamental elements in Biggi Vrgov's research and style. Wide brushstrokes and diffuse materiality surprise the observer, accompanying him along a path that is as vital as it is spiritual: the work "A dream of colours", shows itself wrapped in reds, magentas, purples and blues that swirl in space like leaves in the wind, while thin gold foils contribute to illuminating the entire painting. This work, together with 'Mr. Neon', is imbued with an almost electric energy, whereas 'Hope' maintains a more metaphysical expressiveness. Indeed, in spite of its fascinating materiality, it communicates mysticism and, as in a cloud, white and gold amalgamate with elegance and gentleness. The artist uses the creative act as a moment of pure meditation, with the intention of reminding herself of the beauty of life. She thus banishes the pain and anguish of the past from her mind, in order to turn a confident gaze towards the future.
Art Curator Francesca Brunello
Biggi Vrgov
A dream of colours
Biggi Vrgov
Hope
Biggi Vrgov
Mr. Neon
Brian J. Legan The term "Abstract Expressionism" is due to the historian Alfred Hamilton Barr who coined it in 1929 to comment on a painting by Wassily Kandinsky. The term was later revived by critic Robert Coates in 1946, and applied to American art of that period. This artistic current takes its name from the combination of the emotional and expressive intensity, typical of expressionists, with the anti-figurative aesthetics of abstract painters. It’s within this emotional flow that we can place the works of the American artist Brian J. Legan. The extraordinary sensitivity of the artist permeates every masterpiece, the result of years of research, experience and connections with the interior. An untiring experimenter, Brian excites the viewer with creations that strike at the chromatic and figurative levels. Each stroke is an invitation to look inside, to reflect and above all to immerse yourself in the deep meaning of his works. "Tibetan Madonna on the Mount" for example, is an opera depicting a religious figure gathered in prayer with a red flower in her hand. The Virgin is enclosed in her impenetrable silence but that gives serenity to the soul. The colors used and the fragmentation of the figure recall the stained glass windows of Gothic cathedrals immersed in the light of spirituality. In the works of the artist we often find a connection with the divine or with another dimension that suggests calm and relaxation to the viewer. "Blaulita" is in fact a redundant work of indigo color, par excellence the color of the sky, of the sea and therefore of all the immense and vast expanses that there are in the world. The soft movement of the brushstrokes guides the observer in a path of inner motions that find peace immersed in the reassuring blue of the sky, or the sea. "Multiple Marlena, Marlena" dazzles for its bright colors, a rainbow of brushstrokes on which the artist intervenes in a sign, to define the gestures and action of creation. A female figure emerges from the vortex of colors looking up and illuminated by a dazzling light. The travels, experiences and artistic preparation of Brian give the viewer of the works full of contagious vital energy and great inspiration in everyday life.
Art Curator Eleonora Varotto
Brian J. Legan
Tibetan Madonnaon the Mount
Brian J. Legan
Blaulita
Brian J. Legan
Multiple Marlena,Marlena
Briwé The artistic production of the German artist Briwé is harmoniously contaminated by the artist’s life experiences, theatrical activity and painting. When so many artistic expressions dance together, the result is an extraordinary dialogue between different languages that merge creating works of extraordinary beauty. The triptych proposed by Briwé for "Pretty Perv" fully represents the eclectic and mature style of the artist. The two works "SoulLights" and "Stay" feature fields of blue-green and gold. The process behind these works is slow and almost lyrical. The layers of color overlap, the various shades of blue darken and lighten in a thousand different shades following a movement that recalls the wave. The artist then intervenes at the sign level on the canvas; the gesture rhythmically defines the passage of time. The landscape element is shown in this case as the predominant component. The implication of emotional sense shines through when the image manages to fulfill its role as a container of multiple visual possibilities. The observer’s gaze flies on the canvas internalizing signs and colors that evoke ever new sensations. These two works are the landscape background of the video art work "The story of WENIWO". Filmed by Briwé, Musik and noise by Markus Poschenrieder. The protagonist of the short film, Mrs.Weniwo, is a young woman who goes on a journey in search of immortality. At the same time, old Mrs Wewo lives her end and her new beginning as Mrs.Wewo. The curious thing, and also the key to understanding the whole work, is the word "Weniwo" a neologism that in German means: don´t know where! This in turn indicates that the immortality so sought by Mrs.Weniwo is actually in an unknown place. Old Mrs Wewo, at this point she finally knows where to find immortality! This work combines pictorial art, theatrical art (the interpreter of the character is the artist herself) and video art. The observer’s imagination is stimulated by many different inputs and not without irony in order to awaken in it new sensations to add to the existing personal baggage in new and unprecedented associations.
Art Curator Eleonora Varotto
Briwé
Soul-Lights
Briwé
Stay
Briwé
The story of WENIWO
Bug Adams
Bug Adams is a Brooklyn, New York-based art whose attention is captured by sculptural expression. Their work is distinguisced by its uniquness both in the subject matter and realization. They create mixed media artworks using unsual techniques such as ripping apart the artwork into pieces, then riuniting and binding it by a thread. They switch on the light or rip pieces of their artwork apart, trying to seek the truth. They combine photography with a variety of mediums, including light, motion, and found objects. Their work is mainly an elaboration of the past, a way to recreate their past in a modern way according to their new identity. They use a red thread attached to new images created in the studio to archive pieces often found from their religious past. Guilt and shame are common emotions they faced daily from those who have dedicated themselves to the church. Bug sews bits and pieces of themself and their past into this body of work. They push for the triumph of being true to who they are while taking back their lost time. They use art as a way of recovering and expressing their true self.
Art Curator Salma Eltoukhy
Bug Adams
Kiss of Judas
Bulgan Khatanbataar
‘Innocence’ and ‘Lust for Life’ are the artist’s way to fight against society and the whole world. Two luminous paintings underline Bulgan’s desire to shine also after a negative period that life has presented at her doors. The monochrome but at the same time dynamic backgrounds confer to both the pieces a positive atmosphere that highlights the hidden meanings. Contrasted colors are used to differ the single elements composing the scene: ‘Innocence’ and its main character, a young lady, with her blue hair, covering her naked body from the viewers’ gaze and, ‘Lust for Life’ in which the purple brushstrokes are violently drawn on the gold background in order to create a sort of sequence with the previous piece.
Bulgan Khatanbataar
The choice to depict a naked lady, recall the ancient and classic sculpture, but in this case, the ‘innocence’ which the title refers to, can just be found in the act of the girl to cover herself, that underlines the difference from that style. The enthusiasm for living, that is the main meaning of the artist’s paintings, can be perfectly caught looking at ‘Lust for Life’, in which the desire to approach to a different life is represented by the aggression with which Bulgan paints, and the return of the brushstrokes.
Art Curator Martina Stagi
Bulgan Khatanbataar
Lust for life
Bulgan Khatanbataar
Innocence
Camille Groll I believe in being strong when everything seems to be going wrong. (Audrey Hepburn) Camille Groll's art represents a multiform and colorful universe, which admirably summarizes a curious and experimental attitude. The artist, in fact, conceives the artistic process as a liberating moment, whose cathartic effect also extends to those who approach her works. In fact, if on the one hand Camille's paintings catch the eye for their visual impact, on the other hand they induce the observer to participate in the emotional, sociological and symbolic implications conveyed by the paintings themselves. Witch one - presented on the occasion of the Pretty Perv exhibition - is an admirable example of the artist's intrinsic philosophy and a strongly feminist perspective. The artwork embodies a representation halfway between the real and the ideal, and takes the form of a young woman, projected into an achronic dimension. The beautiful face seems to be framed by bright beams of light, which unravel from the cerulean background, giving the impression of a celestial entity, surrounded by an aura of bewitching charm. The artist conveys a powerful metaphorical meaning into the work, capturing the essence of ineffable emotions, impossible to describe in words. At the basis of this ideal, there is Camille's departure from traditional representations, as well as the ability to shift attention to a vision that reaffirms the inexhaustible strength of the female gender, no longer bound by constricting social bonds. The pun contained in the title Witch one once again sums up the acumen of Camille Groll, who invites each of us to transcend the limits of social conventions to embrace a new perspective.
Art Curator Chiara Rizzatti
Camille Groll
Witch one
Candi Soul Sparkles We are such stuff as dreams are made on, and our little life is rounded with a sleep. (William Shakespeare)
Candi Soul Sparkles is a young Icelandic artist, with various origins (a bit Irish, French, British). Enigmatic, deep, sensitive, in search of the emotional sensations that lie behind the appearance: this is what makes Candi Soul Sparkles a complete and passionate artist, excited and exciting. In her two works presented at the exhibition of M.A.D.S. Art Gallery, entitled "Pretty Perv", we can understand her desire for introspection in the human soul. "She is the Sons Whisper" (2021) is a masterpiece that combines technique and emotions...it represents a silhouette of feminine and sensual figure that seems to advance towards the viewer in an undefined space, with only a few hints of vegetation, wrapped in an aura of light that is released behind her. But is she physical and real?
Art Curator Giulia Dellavalle
Candi Soul Sparkles
It comes from thinking, in a more careful way that it is a shadow, a memory, a thought, a dreamlike moment, an inner sensation that transmits to the viewer a sense of positive energy combined with a veil of melancholy and nostalgia. The second work presented in the exhibition is "Sweet voice of the desert" (2020): it is a spectacular, scenic, impactful piece, but it also reveals to the viewer deeper and secret thoughts. In the foreground, there is a glass wrapped in smoke and inside it the reflection of a female figure in the act of meditating (that is also che background). Her thoughts are ephemeral like smoke, what he feels and thinks is taken away, made to fly, turns into a sweet sound that wraps everything. In front of the works of Candi Soul Sparkles you have to turn off reason, let yourself be carried away only by your feelings, emotions, to be able to see beyond the simple drawing and savor the deep.
Art Curator Giulia Dellavalle
Candi Soul Sparkles
She is the Sons Whisper
Candi Soul Sparkles
Sweet Voice of the Desert
Carina Navegante I hope for nothing. I fear nothing. I am free. (Nikos Kazantzakis)
Those who are preparing to observe a artwork by Carina Navagante must be ready to abandon all preconceptions, and to let themselves be involved in a suffused and dreamy atmosphere, suspended in a uchronic wonder. The talented Brazilian artist, in fact, involves each of us in an extraordinary journey into our own inner cosmos through an artistic language aimed at a continuous experimentation of materials and colors. A vibrant language, which gives shape to dreamy and imaginative scenarios, as in Blooming, the artwork admired during the Pretty Perv exhibition. The work develops around an enchanting female figure, a true paradigm of grace that spreads its delicate essence to the rest of the composition as well. The fascination for the study of portraits and female figures admirably accords with Carina's creative vision, suspended halfway between the real and the ideal. The beautiful girl portrayed is wrapped in a soft blue cloud, which covers it like the impalpable corolla of a flower. She seems to become a single entity with the surrounding fairytale landscape as she "blossoms" in it with a new selfawareness. The artist creates a real metaphor on canvas to represent the serene affirmation of oneself, which leads you to detach yourself from the superfluous elements of reality to embrace a totalizing freedom, in harmony with nature. Carina Navegante allows us the privilege of entering a feminine world that is both graceful and self-determined, ready to soar like a graceful butterfly.
Art Curator Chiara Rizzatti
Carina Navegante
Blooming
Carolina Brissos
If we consider the action painting, we can find some peculiarities to give meaning to Carolina Brissos's painting. It is easy to intend this picture as a certificate of presence, where the subject of the ontological speech chooses the figurative language to escape and self-assert itself. It stands out on a colored backdrop with beams of light and strong colors. A series of different shapes and forms on the bottom seems to intertwine in a melting pot of strong actions to underline the other marks, more singular, made by bright and lively colors. A game of contrasts of shades that do not choose a gradation to emerge, but stand out to highlight the violence of the gesture in the figurative construction of the picture. It is the abstract expressionist logic that tries to evoke a singularity, which now, with the mark, in the composition, becomes an allegory of an emotional state. A post-expressive research, where the unconscious comes out by the vision, to try to understand itself. This means that the artist's will to assert herself, as a perceptive instance, a presence that exists and reacts to otherness in all its possible manifestations. If we want to use an expression to describe this concept, is like to say after waking up: <<I don't remember much about the dream, but i could say that Iwas there too>>.
Art Curator Elisabetta Eliotropio
Carolina Brissos
As Cores: Recomeço I
Cata “Art is for me, the pure state of being, both of the creator, and of the created work. Where the ego vanishes between the brushes. My art is Light, Color, Joy and Love” Cata
Elegant, original, innovative is Catalina's art. The artist follows in the wake of the Surrealist current, certainly of an abstract matrix and with an eye towards the geometry of forms. Cata has a great sense of space, her palette and the shapes she uses convey a great personality, confident and decisive. Her works convey positive vibrations and show her passion for painting, colour and the reliefs that the paste leaves behind. Her art is material, materials and colour correspond to an idea, as do geometric shapes. As a matter of fact Catalina has been a Stylist in image. For more than 20 years dedicated to her craft, enjoying it, and evolving until she became deeply immersed in the world of painting, she is passionate about color, textures, large formats and impressive creations with a lot of relief. At the international art exhibition PRETTY PERV hosted by the internationa art gallery M.A.D.S. she presents: Atlántida, Cairo and Casiopea. Atlántida is "the lost world that arises again because it never disappeared. Mystery that unites the existing nebula with the lost one. The innocence of being knows that both can coexist for the glory of life". Cata shows character and imagination, in fact, with Casiopea "The energy flows through my hands, I create a whole infinite galaxy where the colour arises together with the stars. Its light points my north and inspiration". Finally about Cairo she states "all the jewels of the pharaoh and his wife slept the eternal sleep in the pyramids. The hidden beauty is impossible to conceive, I was given the gift of being able to show them to the world with my gift, art".
Art Curator Mara Cipriano
Cata
Atlántida
Cata
Cairo
Cata
Casiopea
Célia D'Amico "The best thing about photography is that you don't have to explain things in words." (Elliott Erwitt)
The young Célia D'Amico, graphic designer by profession, is an artist who has directed her entire artistic research towards the world of photography, developing a personal artistic poetics based on conceptual photography. Self-portraits are what interest and intrigue the artist who, with the work "Looking times 12", offers a personal vision of herself through the manipulations of the photograph itself. These changes recall her interiority and, above all, the mutability of mood changes and create a play of shapes and lines that determines an ambiguous and, at times, mysterious aspect. The human mind is the undisputed protagonist of the entire production of Célia D'Amico, which explores the many facets of emotions, moods and sensations that every human being can have. The artwork shows itself as a self-portrait but tends to assume, in the end, a more universal character, addressing the observer and inviting him to reveal the mystery that lies behind the artwork, to undertake a path of unveiling of this. which is beyond what is seen, what is beyond us.
Art Curator Federica Schneck
Célia D'Amico
Looking times 12
Chiara Mazzarino In a 2007 study, researchers conducted interviews with friends and family members of people who had recently taken their own lives. More than half of them were described as perfectionists. The perfectionist is good at hiding his or her pain-Sharing it would be experienced as a form of unmasking in which the fragile and suffering side would come to light, a risk too great to take, A need for higher control takes over. Chiara Mazzarino has been painting for quite some time; she has spent years reproducing works by Tamara De Lempicka as faithfully as possible. A painstaking and borderline obsessive search for perfection in this tribute to the well-known Polish artist. An almost turpentine pleasure, a practically unattainable enjoyment, a punishment almost. In 2019 she finally breaks away from that twisted reality of hers to flourish artistically in her now liberated painting. Oil colors that float on the surface, forming skies, rivers, seas, airs of light music, encounters of inner and outer worlds where obsession and perverse pleasure for the perfect exist only in uncontemplated universes for which there is no longer any space. Chiara Mazzarino conveys with her hands the story of a mature painting that has traveled an intense path. It is with the abandonment of the predestined structure that freedom appears in the form of artwork. A deep journey into the abyss that has had return, a successful ascent and a baggage to empty. This is one of those artist's journeys that has the potential to reach new heights of great sensibility each time.
Art Curator Erika Gravante
Chiara Mazzarino
"La bolla"
Chiara Mazzarino
"Restart"
Chiara Mazzarino
"Leela"
Chiara Mazzarino
"Pace"
Chiara Mazzarino
Coral highlands
Chiara Stucchi “Beauty is no quality in things themselves: it exists merely in the mind which contemplates them; and each mind perceives a different beauty” (David Hume)
In Ancient Greece, beauty and perfection were vaules extremely important and present in life and art. Chiara Stucchi refers to these values through the greek sculptures, the bright and colorful orchids that interact with the human bodies and the image of sea that are present in her series Perversion is in the eye of the beholder I, II, III. However, as the title states, she breaks with the classical conception: instead of presenting them as objective and ontological values, the artist presents them as subjective values. Therefore, the conception, contemplation and appreciation of beauty will depend on the mind and the eyes that look at it, that is, on the viewer. And such as the sea, the artworks can be experienced and interpreted infinitely, can transmit different emotions at different times and can be considered beautiful, as they convey harmony and peace, or sublime, as fears, pleasure and desires come out and intensify. In addition, the artist also makes an aesthetic and pleasant combination of colors and shapes that lead to contemplate each one individually and the artworks as a whole. Therefore, Chiara Stucchi encourage the spectator to discover and face without repression or censorship his own perspectives about beauty, his own desires, fears and instincts.
Art Curator Liliana Sánchez
Chiara Stucchi
Perversion is in the eye of the beholder I
Chiara Stucchi
Perversion is in the eye of the beholder II
Chiara Stucchi
Perversion is in the eye of the beholder III
Chobo Memory is not merely a storehouse of memories but is an individual's ability to retain past information and use it to succeed in coping with present and future life situations. In psychology, memory is defined as the process of encoding, storing, consolidating and retrieving information and experiences derived from the environment and thinking activity. This definition implies that the recovered content is not an always faithful and accurate reenactment but rather a reconstruction. Although memories act profoundly on the formation of our character, our desires and aspirations as human beings, memory is not perfect and, with the passage of time can erase entire memories or alter others. The river of forgetting flows slowly, inexorably, and there is no process or drug that makes us remember our past and our past experiences perfectly. And that is how even the most vivid memory turns into ethereal and vague presence. People's voices begin to fade, landscapes begin to lose their colors, space loses its depth and begins to become two-dimensional. Yet, there is a tool capable of making experiences and memories indelible. The camera lens captures and records anything the eye sees helping our memory to hold firm and alive in the years to come. Yet, what happens when photographs are forgotten in the camera roll? The photographic snapshot is documentation of something that, at that moment, we longed to remember and yet, too often, we forget the many photographs. Chobo uses the forgotten photographs to make new testimonies and new works of art. Like new universes, they reveal themselves to the viewer's eyes as explosions and chasms of color. And so it is that an abandoned flyer in the mailbox loses its flat, rectangular physiognomy to transform into an incorporeal fluid with bluish-blue tones. The image is decontextualized and literally reconstructed to create something unprecedented, something that in reality and memory never existed. And so it is that a t-shirt that has never been worn is transformed into a marble image so agitated that it seems to be continuously shot through by a current. Chobo transforms photographic snapshots into new realities. In other words, the artist performs an inverse process to what our memory performs. Memories in our memory-which we do not want to forget-inevitably become foggy and are in danger of disappearing. Chobo transforms memory into something totally new that our memory cannot recall since what we see in the works never existed.
Art Curator Lisa Galletti
Chobo
Crumpled flyer in the mailbox
Chobo
Someone's election poster
Chobo
T-shirt never worn
Christelle Benaglia “Color is the place where our brain and the universe meet”. (Paul Klee)
Personality, transparency, deep and continuous research come together in colours that explode on the canvas forming a spectacle of matter and juxtaposition. The representation of the forms does not focus on real images but emphasises the symbolic aspect of the contrast between space and matter, where the lines represent fantasy in space, a space that propagates in all directions and that by its being unlimited emphasises the limitation of forms. The colours used stand out due to the artist's different combinations, in particular blue suggests spatial depth while red, vitality. The painting thus becomes free from its mimetic function, it strips itself of reality to represent the painter's own inner state, thus leaving the observer great freedom of interpretation. Christelle Benaglia's brush guides the observer's gaze and leads him on an imaginative journey, indulges him, leads him to savour his imagination to the full. In the artist's works, space and time merge in a play of colours and spaces, contributing to the journey, bringing the artist's soul to the surface and transmitting its strength to the eyes of those who lose themselves in these colours and spaces. The work is the result of a slow creative process, where nothing is dictated by chance, but is accomplished through a profound study of inner research. Colour is the sign, the fundamental element of image perception, it reflects light and leads the human eye to experience certain sensations. This abstract painting therefore does not represent reality but creates images that have nothing to do with the visual experience of each of us. It expresses itself through lines, shapes, curves, without imitating real life but managing to communicate, to express content and meaning. It is an art made of colour, lines, curves with a strong emotional charge.
Art Curator Giulia Fontanesi
Christelle Benaglia
Feux de paille
Cienna Szeles
Looking at Cienna Szeles' artwork, we are struck by a very strong disturbing feeling. You can feel the pain, thanks to her fine painting you can feel the skin splitting, you can feel the cuts, you can feel the suffering, the extreme tiredness. The artist speaks of mental discomfort, against the stigmatisation that unfortunately still takes place on a daily basis. Some of her paintings look like self-portraits. We do not know whether the self-portrait belongs to a sphere of the imaginary, the unconscious or to the pure representation of reality, but it hurts nonetheless. Psychoanalysis has defined the two main figures of perversion as sadism and masochism. Always speaking in relation to the other. Because after all, beyond what perversions represent for the clinic, they are figures that the subject can assume in the encounter with the other, with his own enjoyment, with his own life. Lacan states that the masochist does not so much want the other's desire, but rather aims to arouse anguish, the other's anguish being indicative of his desire. Lacan speaks of making oneself an object, and in particular of making oneself a discarded object. Masochism, however, has as the ultimate goal of the drive not the other's response, but one's own: an antivital, anti-desiring pleasure. The idea that paintings can recount a world as painful and obscure as the causing of evil has something extremely fascinating about it. Perverse perhaps it's us, who derive pleasure from enjoying these works of art? However Cienna succeeds in her intent.
Art Curator Erika Gravante
Cienna Szeles
Violent Mind #2
Cienna Szeles
Violent Mind #8
Cienna Szeles
Violent Mind #11
Cienna Szeles
Addiction
Cienna Szeles
Father
CLARTE365
Instinct and stimulus are the motors of Clarte365 art. He is always guided by what he lives and sees, he has no one technique to follow but he creates his scenes using different ways. Thick rough brushstrokes are used to give birth to human figures coming from an abstract and colored background, such as in ‘Café Paris’; ‘’Sicilian Man’ and ‘Fountain’s water’. All of them, similar to humans’ portraits, are instead the representation of what the artist has seen. The main characters are in fact the results of the artist’s memory, and this is the meaning of the brushstrokes almost covering the faces, as in ‘Café Paris’, or the absence of the Sicilian Man’ eyes. The interpretation of what these figures mean, and of where they come from, has been left to the viewer’s imagination, this is why the abstract background. Different is for ‘Fountain’s water’, the visual representation of the myth of Lake Pergusa, known as the Rape of Proserpina. Always coming from the artist’s experience, this painting is the result of a trip he had in Sicily. The myth is represented here through the fragments of the fountain: the head and the hand on the foreground. Almost of the same color of the background, as to push the viewers to imagine the contest of the scene.
Art Curator Martina Stagi
CLARTE365
Sicilian Man
CLARTE365
Café Paris
CLARTE365
Fountain's water
Clio Sears Clio Sears is a young and talented artist working in London. Through the combination of different painting mediums and more, she explores the visual and perceptual dimension of the viewer. Her creativity leads her to create unique and original artworks, characterised by a personal and well thoughtout style. The textures she creates, the plasticity of the forms she represents, contribute to experimenting with collective subjectivity, opening up new visions and horizons. Clio is a polymathic and very daring artist. Her artworks tell a lot about her personality, brilliant and full of energy. She never stops experimenting and perfecting her work. She explores every possibility, making experiments and tests that turn out to be true works of art. Her concept is evident in "Bublgum" where through an opaque emulsion, sand and spray paint on wood she experiments with the combination of these elements and their behaviour. The materials interact with each other to create a special and sophisticated texture. The colours are bright and focus on pink, declined in all its shades. In "CaribSea" the blue colours recall the crystalclear waters of the oceans. The artist in this artwork tells a story, encapsulates an experience that she wants to convey to those who look at her. The materials interact with each other creating a new and unprecedented combination. In "Earths surface circa 2030" there is a clear reference to the surface of the earth, which the artist describes as a mass of cracks and volumes of great emotional impact. It tells of a process we will inevitably undergo if we continue to disrespect our earth. Clio's skill lies in expressing ideas, concepts, fears and contemporary situations in an artistic and not at all obvious way. Interesting how the concept and titles of the works are closely linked to visual perception. Clio gives these artworks a value and allows the viewer to create a relationship with them, suggesting a key to interpretation through the title. It refers to everyday life, to the baggage of human and everyday experiences. It brings art closer to the viewer, creating an atmosphere that is familiar and not as distant as art might seem.
Art Curator Ilaria Falchetti
Clio Sears
Bublgum
Clio Sears
CaribSea
Clio Sears
Earths surface circa 2030
Constantina P. Jones The artist's painting is one of the most intense and full of ambiguities, contrasts and interesting grey areas in which to search for uncomfortable answers. The demonic image depicted and the title immediately begin a reflection on the meaning of Lucifer. Warm blood quickly brings to mind Philip Zimbardo who conducted the infamous Stanford Prison Experiment in which he randomly assigned a group of volunteers the role of prisoners or guards within a simulated prison. The participants in this experiment were selected because they were considered to be well-balanced and without a criminal past. Zimbardo was forced to stop the experiment after only six days because the guards had become violent and sadistic towards the prisoners. The result of the experiment was called the 'Lucifer effect' because it demonstrated how essentially good people can turn into monsters capable of inhuman acts. Here, however, the blood runs cold and the reflection continues. The name Lucifer literally means bearer of light: a great ambiguity considering the malignant energy it traditionally represents and from which the title of the previous effect derives. From a perverse and purely linguistic point of view, we could therefore say that he who brings light into the world and thus allows things to be revealed is the creator and therefore that Lucifer is the creator. Creator and destroyer therefore at the same time. Constantina P. Jones' paintings depict this idea of a Lucifer who brings life, guards consciousness and intellect. A Lucifer effect far removed from Zimbardo's experiment but its potential coming is nevertheless glimpsed. Here good art does its job, it generates a conversation.
Art Curator Erika Gravante
Constantina P. Jones
Lucifer 01
Constantina P. Jones
Lucifer 02
Constantina P. Jones
Lucifer 03
Cristian Diez Sanchez Art is able to make people think on the one hand and to give moments of lightheartedness on the other. For this exhibition, the artist Cristian Diez Sanchez shows us both these faces of art and his works of art in particular. In fact, he presents works taken from two series that seem truly polar opposites for messages they want to convey, stylistic or communicative choices, but which in reality simply show two sides of the same coin which is reality, with which we face every day. In the works, images and videos of the series "The will of God or the madness of man" he confronts us with the brutality of which the human being can be capable with his fellow men, who is weaker and more defenseless. History shows us how man has always tried, through all possible ways, to make his ideas prevail over those who think differently: those who are different from us, those who have an opposite thought to ours, those we fail to understand, who does not agree with what we say is the enemy and for this we must fight him. History should teach us that this way of acting has always brought only pain and failure, but unfortunately man has not yet learned and continues undaunted this trail of brutality. Through this series of works, with a strong visual and emotional impact, Cristian confronts us with this harsh and cruel reality, which we are forced to see and experience every day: wars, massacres, cruelty, injustices. Here the artist places particular attention, in the work "Why me", on the war in Ukraine and dedicated the work - here I want to quote the artist's words - "to all children and adults who are dead in this mad killing; to all the children and adults who had to flee […] and are now far from their homes without a clear future; […] To all the misery that this burnt policy has generated; to all the people who are fighting to defend their land […] ”.
Cristian Diez Sanchez We must not look helpless and silent, but we must ask ourselves questions and understand that no one can truly be immune from these brutalities. But above all we must make our voices heard to defend those who have no voice, those who cannot make themselves heard. A very strong and crude image is given to us by Cristian also in the work "Awaiting his fate" in which he re-proposes, through his art, those brutal images with which we have been bombed for months and years of the executed ISIS prisoners live streaming in the name of their ideals of dominance and power. These images of these people truly awaiting their brutal fate have marked the lives of all of us and will forever remain indelible in our minds and hearts. It inevitably makes us reflect on the world we live in, which makes us shiver at the very thought. But we are really lucky, because for us life is also joy and happiness, lightheartedness and gratitude for what we have. The other works presented here are in fact part of the “At Sunset” series and represent that magical moment of the day when we can take a break and, despite everything and everyone, enjoy the peace, the beauty of nature and life. When the sun goes down, the light changes, takes on a thousand different colors and facets, thus giving us time to stop, even if only for a few minutes, and enjoy a moment of silence with ourselves or whoever we love deeply, as in the works of Cristian. The works of this series and in particular those shown here are able to convey all these emotions and this lightness that is needed by each of us.
Art Curator Silvia Grassi
Cristian Diez Sanchez
God's will or the madness of man
Cristian Diez Sanchez
WHY ME
Cristian Diez Sanchez
Awaiting his fate
Cristian Diez Sanchez
Al Tramonto
Cristian Diez Sanchez
Looking at Pause N°2
Cristian Diez Sanchez
Pause N°7
Daniella Muñoz Daniella Muñoz is a Costa Rican artist whose artistic production combines still life with the reinterpretation of abandoned landscapes. The artist is, for the first time, a guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "PRETTY PERV" she exhibits three works entitled "Ghost Town" which fully expresses Daniella's way of seeing the world, in fact, the use of flowers and nature allows her to travel through the places she photographs and discover their individual and collective meanings. This photography series perfectly embodies the philosophy that it is possible to find and discover beauty and life in places where the essence and the beauty is not visible to the human eye, but a closer look is able to discover it and the artist presents himself as real spokesperson. Daniella Muñoz's artistic operations are incredibly coherent and perfectly balanced and equable, accompanied by a profound aesthetic taste that allows her to reach a wide audience. There is a constant reference to the past and to the history that the places preserve, at the same time, however, also a great sensitivity towards the future. The union of desolation and flowers create an atmosphere that is sometimes disturbing but at the same time familiar. The artist Daniella Muñoz therefore has an evident ability to create a new world thanks to the use of flowers that are at the same time precious, delicate and ephemeral associated with places that, on the other hand, remain over time devoid of vitality and delicacy.
Art Curator Martina Viesti
Daniella Muñoz
Ghost Town
Daniella Muñoz
Ghost Town
Daniella Muñoz
Ghost Town
Davinia Watson
The body is the essential experiential mode for knowledge of the world and of the Other as well as of oneself, so it must be cared for, loved, preserved as one with the mind. Unfortunately, these days we are witnessing a body that no longer seems to be part of the person, but is merely a body, standard, without nuances, and those who do not fit into the parameters are excluded. This sociological climate has certainly not helped self-acceptance and has led to a desperate, obsessive and, consequently, pathological search for perfect physical form. In the 1960s, with Body Positivity, we decided to change our perspective, to be grateful for our bodies, to treat them with more respect, to no longer feel uncomfortable if they somehow did not fit into certain standards, to not self-judge, and then no longer fear the judgement of others. But also this view of one's body, makes it as an object of judgement first and then of pleasure and function. Davinia Watson at this point seems to enter into the limelight with her own pictorial message and seems to propose on canvas the concept of body neutrality: accepting one's body for what it is, with its changes, its transformations and scars derived from them. A body whose function of pleasure is evident in these paintings. A body that dances in its liquids and caresses the air of its ordinary and gracefully possessed space. A painting that sinuously approaches the viewer to whisper: dance with me, you perfect being amongst other perfect beings.
Art Curator Federica D'Avanzo
Davinia Watson
Alive
Davinia Watson
Golden Girl
Davinia Watson
Sensual
Designer’s Ro
Designer’s Ro is a painter and visual artist, who uses different mediums and techniques to express specific messages. For example, on occasion of the international art exhibition Pretty Perv she presents a work titled James Baldwin Uncensored. As the title says the artist with this work wants to celebrate the life of this famous writer. In the composition we can see different images of the writer as if the artist wants to show to the observer various expressions of the protagonist. In this way the artist is able to create a visual story of this famous writer and invite the observer to empathize with this image and know more about him and his story.
Art Curator Elisabetta Eliotropio
Designer’s Ro
James Baldwin Uncensore
Dina Samir
Dina Samir, presents “Coral” for the “Pretty Perv” Mixed Reality art exhibition at M.A.D.S. Art gallery. Arcane knowledge is needed to comprehend how vast are our surroundings. Our entire lives are meant to make simpler and narrower paths, we have to first pay attention to where we want to create our entire self. Simplicity is often perceived as something easy to achieve. If you perceive something as easy then the one who made it look like such, has done a very good job. The artwork portrays a result after turmoil and the relief to acknowledge it. Subtle cool tones are meant for the background, the surroundings, the place where it has chosen to live, the strong and bold ones are made to make precise shapes in order to create a new nature. Warm and alive tones try to reshape an atmosphere where quietness and stillness is meant to be perceived as a strong statement. The attachment to someone or something can be understood as weakness, it is not considered as such, if we perceive the difference between asking for help and be helpless. Dina Samir creates effortlessly a new type of nature, which is attached to its surroundings asking for help and in exchange brings live and color to the new environment it has chosen to live. The artist has created symbiosis between her created nature and the spectator’s perceived beauty.
Art Curator Karla Peralta Málaga
Dina Samir
Coral
Donegel' Chong “If you are going to decide to be a painter, you got to decide that you’re not going to care if you make a real fool of yourself.” (Francis Bacon)
The Swiss artist Donegel' Chong, originally from Malaysia, began his artistic career not many years ago, following an illness. From that moment the artist has never stopped, developing an intriguing and personal artistic poetic that sees in the art of the artist Francis Bacon the main source of inspiration. The works of Donegel 'Chong, defined by himself as "personal reflections of life", are an aesthetic projection of his interiority. The artwork "ICON: Cruci-fiction of Bacon" shows itself as a reworking of the famous work "Three studies for figures at the base of a Crucifixion" by Francis Bacon: the artist's intention lies in the desire to take up particular figurative elements of Bacon's work, adapting them to his own style and, at the same time, bringing out the most hidden and private sides of his interiority. Donegel' Chong's work violently turns to the observer, providing a very captivating first aesthetic impact, and showing all its communicative charge. The message that the artist wants to convey is something that goes beyond understanding: the symbols and representations present within the work impose themselves as totems of a severed interiority, which feels the urge to scream at the world and to make know your own existence. And the observer is appointed as a direct interlocutor, as a vehicle of the artist's emotions in view of a personal and profound reinterpretation of his own inner self, in search of the most mysterious and hidden sides.
Art Curator Federica Schneck
Donegel' Chong
ICON: Cruci-fiction of Bacon
Dr. Niklas Henke “Private, professional, and public life needs more colour!" Dr. Niklas Henke
Dr. Niklas Henke amazes us with his work Honneth vs. Hanybal presented at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. His work is a masterpiece of communication and leaves the viewer intrigued, stimulating to reflect, to go back and look again, to understand. He combines social issues and combines theoretical and creative perspectives all through Japanese calligraphy on a book, assembled in Gif animation. Regarding his work Niklas states "The most violent critique of modern societies is written by Francfort School authors. This is summarised by Axel Honneth as he indicates the current role of a Critical Theory for the XXI century. The artwork from Dr. Niklas Henke, takes one of Honneth’s major works as a background. He contrast this work with the violent lyrics of the Francfort Gangster rapper Hanybal. Thereby, he contrasts the intellectual, historical perspectives of the Francfort School with contemporary, urban realities. The emerging dialogue questions nowadays society and western focus on technoscientific rationality". Great is the study behind this work, which is designed and therefore stands out and is unique in the current artistic context. The books of Adorno, Horkheimer, Habermas etc. serve Niklas as sketchbooks, and which he loves to transform into confetti. Confetti actually represents his leading colour paradigm. His work encourages to bring more colour into public space. He loves to contrast the intellectual perspectives of for example Axel Honneth, with contemporary lyrics from gangster rapper (for example Hanybal). Since Niklas Henke is an enthusiastic Aikido practitioner he tends to incorporate Japanese calligraphy into his artworks. Dr. Niklas Henke is a Düsseldorf based Communication Scientist and experimental Mixed-Media Artist. After working in Berlin (Germany) and Grenoble (France) for innovation-, and design agencies, he started mixing Science–Design–Art via his HenkeundHenke agency – an agency specialised in creative communication consulting.
Art Curator Mara Cipriano
Dr. Niklas Henke
Honneth vs. Hanybal
Drew Whitaker
The artist Drew Whitaker is able with few elements to create a composition full of vivid and brilliant colours. The composition seems to be cutted in different shapes and forms. With this technique the artist is able to create harmony with all the shapes and colours used in which the observer feels involved in this game of shapes. What emerges from this Vision of an Eagle is the ability of the artist to use the artistic expression to create a contact with the other. It's as if the art was a pretext for him to say: <<I'm here and I want to talk with you>>. This is visible not just for the harmonic colours of the composition but also for the point of view. That is too ravvicinate with the subject represented. So this passage permits the viewer to focalize his glance on the vision in a really intimate way. Is like the viewer was invited to stay near to the vision, to give all his attention, and listen to the voice of the artistic vision, and in this way also the voice of the artist Drew Whitaker.
Art Curator Elisabetta Eliotropio
Drew Whitaker
Vision of an Eagle
Dziuginta Didziokaite “Every artist dips his brush in his own soul, and paints his own nature into his pictures”. (Henry Ward Beecher) Through her works, artist Dziuginta Didziokaite talks about her personality in order to convey her vitality and inner spirit. On the subject of interiority, for the artist, the movement of colour is a vibration that touches the chords of the soul. Hence he describes colours according to emotions and conveys them on canvas in an order of energetic beauty. The artist focuses on the problem of light and space in consideration of the relationship between colour and moving forms, while remaining firm on constant abstraction. The intention is thus to communicate inner and spiritual content, which is based on the use of colour and affinities with forms and movements. Colours and shapes become the appropriate tools to express emotions and sensations in a language that is detached from the representation of reality but is used to express visual emotions through the use of composition. Colours give the painting brilliance, create contrasts, animate shapes. One could even think of a fantasy landscape with lines and colours typical of the rainbow. The colours are skilfully used as sounds, making them vibrate within the spectator's soul. They are warm and cold colours: a contrast between vitality, joie de vivre and darker colours. And it is precisely from this contradiction that the positivity of the painting stands out, that energy that comes out of the canvas and manages to sweep the viewer away in a whirlwind of emotions.
Art Curator Giulia Fontanesi
Dziuginta Didziokaite
I am going to
Eirma by Eirine Man has always sought to graphically represent images and concepts in order to express and pass them on, guided by feelings of creativity and sharing with others. All Matter in our Universe interacts with each other following certain patterns and rules, observable and inscribed in these representations that take on more complex, important and profound meanings and concepts. In fact, it is no coincidence that the analog collages of Eirma by Eirina have a very strong geometric composition component, which almost overpowers the subject in its sense of figurative presence. "Thales" i.e., presents precisely a triangular structure that emphasizes its mysterious and mystical aspect emphasized and reinforced by the black lines present in the work. A dissected body, emasculated of its function as a body, a divided figure whose legs become the protagonist of a matriarchal organization. Legs that dangle, like those of the trinacria in heraldry symbolizing Sicily:a female head with three bent legs. The head refers back to the gorgons, which were three and represented perversions: Euryale represented sexual perversion, Steno represented moral perversion, and Medusa represented intellectual perversion. Thus, the artist's collages can be admired on different levels: the universal symbolism of the triangle as the manifestation of the return to primordial unity, symbolizing the ascent from the manifold to the One, and representing an intermediate entity between the quasi-abstract spiritual substance and sensible matter.
Art Curator Erika Gravante
Eirma by Eirine
Take A Step Forward
Eirma by Eirine
Thales
Eirma by Eirine
Do not listen the Sirens' song
Eirma by Eirine
Phila Me
Eirma by Eirine
In Tactu
Elaine Ashburn Elaine Ashburn participates for the first time in an exhibition organized by M.A.D.S. Art Gallery on the occasion of "Pretty Perv". With her works, you can not be confused: the distinctive feature of the artist is the originality of her artworks and their subjects, which give them a recognizable and well-defined whimsical style. "Digital Découpage", this is her pattern of interpretation, also derived from the fact that she was a creative professional in the advertising world, first as an art director and later as a creative director. "She who laughs last" has two female faces as protagonists: the one in the foreground laughs and has her eyes wide open, the one in the background is serious, with her mouth closed and almost wrinkled and her eyes closed. The common traits may suggest that it is the same person, happiness and sadness that are part of our opposing aspects and that manifest in us continuously, alternating throughout our existence. "Angels of the balcony" has an extremely mythical, mystical, spiritual atmosphere. The angels are not well defined, we are faced with almost faded, hinted, heavenly wings.
Elaine Ashburn The location around is classic and elegant. It’s like a leap into the past, we seem to be able to peek into antiquity, to be privileged 'little gods'. Regarding "Mannequin Madonna”, extremely symbolic, it is better to let the artist speak: "While I was creating this piece, I thought it needed a halo similar to the ones in Old Masters' paintings used to depict holy entities. Of course, you can’t find a good halo anywhere these days, so I got out my paint pens and drew one." "Astral Goddess" looks like a movie poster, combining past, present and future. The classical statues are paired with an astral background reminiscent of a spatial location, and seem to hover in hyperuranium. All her artworks have a magical, fairy-tale atmosphere, almost dreamlike, that makes them approach our subconscious, they seem fast-moving images in our minds, while we sleep or when we are not completely lucid. Elaine Ashburn masterfully manages to eliminate our filters and our preconceptions, to make us grant moments of pure neutrality by ourselves, making us embrace directly by our emotions and our most intimate thoughts.
“I’ve pushed people to go where they thought it wasn’t safe and now. I am pushing myself. I call what I do Digital Découpage.” (Elaine Ashburn) Art Curator Sara Grasso
Elaine Ashburn
She Who Laughs Last
Elaine Ashburn
Angeli del Balcone
Elaine Ashburn
Mannequin Madonna
Elaine Ashburn
Astral Goddess
Elisabeth López At "Pretty Perv" exhibition hosted by M.A.D.S Art Gallery, the Spanish painter Elisabeth Lopez presents three oil on canvas. The first one, "The Birth”, depicts a woman inside a transparent bag, caught just at the moment when it breaks and the woman opens it with her hands. Placed against a dark red background with veins, we then understand that that sac is none other than the amniotic sac in which the fetus stays and the environment is the womb. The work therefore represents the act of birth, that in which the fetus is expelled from the warm environment that has housed it for nine months and is ready to come into the world, to begin its life journey, to grow and become the person it is. Being represented, however, is not a fetus, but an already formed woman who, with a curious but watchful gaze, is crouched inside the sac ready to come out, her hands leading the way. Elisabeth therefore represents a metaphor for moments in life, for new stages, new beginnings and new possibilities to come. In "The human subconscious," the second artwork exhibited, a glacier caught in its totality in the sea is represented. If only a small relief emerges, to be hidden by the dark sea is instead a large part, composed not only of other reliefs but also of hands intertwining, reaching out, grasping. Again then, Elisabeth uses this image to metaphorically represent what the title suggests: the unconscious. She prompts us to reflect on the fact that what we see only the tip of, in reality conceals immense depths and as such should be respected, understood and welcomed. The last work presented, “Wolfmoon”, depicts the body of an anthropomorphic woman, with a wolf's tail and a moon-shaped head. The setting is extremely dreamy and surreal, allowing us neither to understand who the woman is nor where exactly she is. But that is not for us to know: what is important in fact is that, by once again using metaphor and the human body, with this image Elisabeth conveys to us a sense of strength and power, perfectly embodied in the wolf woman.
Art Curator Matilde Della Pina
Elisabeth López
The Birth
Elisabeth López
The human subconscious
Elisabeth López
Wolfmoon
Elisabetta Amoruso
‘I look at myself but I don’t see me’ is the perfect representation of what the current exhibition ‘Pretty Perv’ asks for. The artist Elisabetta Amoruso, has created a self-portrait that shows her emotions without any hesitation, marked by a raw appearance and a drastic, firmed and deep sign left by the brushstroke. Significant and symbolic is the QR code at the centre of the mirror through which the main character of the piece is looking at. It hides a video, an explicit video with Elisabetta’ performance. The artists’ attention is focused on the viewers’ attraction to whom she wants to transmit her emotions. The whole scene is characterized by dark and disordered colors that create a dynamic atmosphere governed by the feelings coming out from the mirror image - as for the QR code. The choice to not show the face of the girl is what the title refers to: she is looking at herself without identification. The artist’s ability in using the colors is visible also through the girl’s body, whose back and shoulders seem to be made of flesh.
Art Curator Martina Stagi
Elisabetta Amoruso
I look at myself but I don't see me
Emiliano Pizzuti
Emiliano Pizzuti uses artificial intelligence to produce his artwork: a generator of images that interpret a text. The text is given by the artist. On the concept of creativity of artificial intelligence a rather interesting debate has arisen, when and if AI can surpass man in creative capacity. Creative genius does not simply lie in the work itself. An intelligent algorithm can certainly compose something spectacular, but it would only be a creative accident. Because cultural creation consists in introducing a new worldview, and no matter how developed AI technology is, a machine is not yet endowed with the intellectual and social faculty that enables it to intentionally produce new textual forms capable of influencing human culture.
Emiliano Pizzuti
AI is to be considered exactly as Pizzuti does, a valuable tool to amplify and aid creative genius. The artist with his Sun-eater Brothers reinforces this thought. The images produced by the AI programme used, reflect his unique thought that could not exist otherwise. Two brothers, dark, feeding on light. Two perverse personalities who seem to have no conscious intention to harm, but only to survive in their only known way. Two characters who absurdly tenderise and show the divine capacity of the human to generate natural contradictions, present in the human soul and only human. Two digital paintings that tell of what lies in the shadows of the present. Twisted and fascinating. Simply real, like the artist's intentions. An inviting darkness.
Art Curator Erika Gravante
Emiliano Pizzuti
GORA
Emiliano Pizzuti
SUR'RI
Emily Dingmann Emily Dingmann participates for the first time in an exhibition organized by M.A.D.S. Art Gallery on the occasion of "Pretty Perv". "Along the Unsaid 14" presents a white background that alternates square geometric shapes and more fluid and fluffy color fumes. The painting has a smoothness all its own, does not have a center, it demands to be observed in its entirety. A black and blue sphere occupies the right side of the painting: the artist combines subjects related to the real world with more abstract and imaginary figures and forms. There is a particular contrast between a large "empty" and silent space and small colored and overlapping details. The most accentuated shades are those of blue, but we also find black, purple, orange and brown elements. As the title suggests, the painting requires time and peace to be admired, does not present intrusive subjects and is not intended to disturb the emotions of the observer: it can be said, on the contrary, that the painter’s art is to emanate peace and calm, thanks to the choice of colors and the delicacy of the brushstrokes. "Along the Unsaid 14" is able to involve us in a completely natural way, without any forcing, allowing us to use the time we need to connect with each of its elements. The main merit of Emily Dingmann is the ability to express a disarming depth through minimalism and articulated simplicity.
“My paintings are abstractions of personal narratives. I set out to create emotionally immersive painting passages taking the viewer on a visual journey through my compositions.” (Emily Dingmann) Art Curator Sara Grasso
Emily Dingmann
Along the Unsaid 14
Erica Cecchella Fava Only one thing matters, one thing; to be able to dare! (Fëdor Dostoevskij)
The language of art owes its expressive power to the ability to recall a plurality of imaginaries, thoughts and sensations with the immediacy of a glance. With a simple blink of an eye, we can find ourselves immersed in joyful or distressing atmospheres, in realistic re-propositions of reality or in evanescent and uchronic universes; or again, in remote worlds, solemn evocators of fantastic places and characters. And the creative flair of Erica Cecchella Fava finds its privileged location in this arcane and dreamy dimension, accompanying the observer on a suggestive journey, starting with Drago. The composition revolves around a majestic female figure, portrayed on the verge of drawing a sword. The static magnificence of the woman is harmoniously balanced by the spiral trend of the dragon's skeleton, which starts from the lower part to culminate at the top with a skull. The coils of the creature envelop the sinuous body of the female warrior, as if to symbolize belonging to the same being, of which each is the expression of the other. The golden scales on the hands and armor give strength to this vision, and the preciousness of the decorative elements (made with glitter) brings to mind the Norse myths linked to the legendary treasures guarded by dragons. Erica's experimental nature leads her to become a real narrator of a tale of magic and imagination, allowing everyone to immerse themselves in a cosmos with an epic and visceral flavor. The artist proposes an amazing escape from worldly reality, and indicates her own vision with a powerful and suggestive image, which also invites the observer to participate in her bewitching fantasy.
Art Curator Chiara Rizzatti
Erica Cecchella Fava
Drago
Erika Nojiri Mother, virgin, prostitute. These alone seem to be the social roles imposed on women. To these roles derive the characters of female sexuality: centrality of reproduction, need for suckling, obligation to fidelity, sense of modesty (extreme with indifference to pleasure), passive acceptance of men's activity, seduction aimed at producing desire in consumers. To the point of offering herself to them as a material support without enjoying them, neither as a woman, nor as a mother, nor as a virgin, nor as a prostitute. Woman, in short, seems to have no right to her own enjoyment. According to psychoanalytic psychology, woman is a castrated man. A phallocentric view that takes men as its role model dominated social and political culture until just over 20 years ago. Although today things are finally turning positive, many limitations still confront the woman in the development of her identity. She learns from an early age that being male is better. But what if this way of seeing has remained so for centuries only because woman herself has never recognized herself as an autonomous entity, with her own peculiarities, simply different from man, neither better nor worse? Many women continue to lead an existence they despise, punctuated by rules they do not agree with, because they feel they have no other choice, that they deserve nothing more than these compromises. They do not feel worthy of fulfilling their plans. Erika Nojiri enters inside the female condition by being a woman herself first, devours its limits and fears, distills the weight of centuries of abuse and abuse through graphic sign, form and color. Concentric lines still dominate the composition. Erika uses them to shape the flesh, blood, faces and bodies of women yet adds an element. Golden stripes flood the entire composition, taking over the representational space and the women themselves. The contrast between the soft bodies of the people portrayed, the light modulation of color and the golden lines create a layered vision symptomatic of works that tell stories protracted over time that will never be erased. These golden stripes are not precious elements in the true sense of the word but wounds, cuts and lacerations that once bled. It is said that time is healer; in fact, woman has a regenerative capacity beyond the ordinary. A woman's spirit is naturally inclined to overcome difficulties-just think of the pain and anxiety of childbirth-and, for this very reason, she turns blood into gold as a testimony and especially as a warning to herself and other women. The woman is a castrated male, we said earlier. In reality the woman is a whole other being, a whole other flesh, a whole other blood, a whole other soul.
Art Curator Lisa Galletti
Erika Nojiri
One Moment
Erika Nojiri
The Valley
Erika Nojiri
Re Create
Fatemeh Rafighdoost "When I paint, I feel both excitement and calmness, while painting I listen to the conversation between my mind and the heart of the artwork and yes! ...that's where everything happens" Fatemeh Rafighdoost
Eternity of colours... this is how the talented Fatemeh Rafighdoost presents three of the works in her collection at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. A riot of colours, of shapes, of emotional intensity. Fatemeh's art evokes the currents of contemporary abstractionism, that which leads to communication between the unconscious and the canvas. The artist gives us a tribute of the purest art, which goes beyond the representation of real objects. She uses a visual language of shapes, colours and lines with the aim of creating a composition that can exist with a degree of independence from visual references in the world. The Fauvist and Cubist experiences are fundamental: the former enhances the artist's state of mind through the non-traditional use of colour, while the latter pursues the simplification of forms according to the order of geometry and space. Fatemeh expresses her feelings through shapes, lines and colours. Form is understood as the result of the artist's encounter with the world, alternating between empathy, i.e. approaching reality, and abstraction, i.e. rejection of reality.
Art Curator Mara Cipriano
Fatemeh Rafighdoost
Untitle
Fatemeh Rafighdoost
Untitle
Fatemeh Rafighdoost
Untitle
Fest
The artist Fest is able with different techniques to break the usual rules of the canonic art and play with different mediums and styles to use his peculiar and personal way to intend the art. Is a mix of abstratism and ready made technique. His technique seems to take objects of reality and give them an exact artistic meaning. As if the artist wants to research in the reality around him something with an own soul and own meaning. In fact, watching the work presented on the occasion of the international art exhibition Pretty Perv we can discover this process of artistic creation. Starting from Scomposto a colored cylinder is welded to the back of a canvas. Different spots of colors and brushstrokes decorate the composition. The result is a vision of important impact, in which the viewer feels the importance to break the roul and the power to revolutionise the system.
Art Curator Elisabetta Eliotropio
Fest
In the same way in the second artwork titled Macchia, the artist also decided to consider the frame as the space of art and artistic expression. In fact the frame is presented uncompleate. This wants to communicate the idea to not close the art in borders or confine. He wants to give freedom to artistic creation, something that does not want to be closed in a vision. At the center of the image we can see a big white spot that involves all the space of the painting. This spot expresses the power of the gesture and the power of the will to create art. In this way the observer can create a contact and empathize with the artist, and in this way feel the power of the art that wants to be different and revolutionary.
Art Curator Elisabetta Eliotropio
Fest
Scomposto
Fest
Macchia
FIR “Knowing your own darkness is the best method for dealing with the darknesses of other people.” (Carl Jung) FIR is a contemporary French artist whose artistic research revolves around the juxtaposition between the beauty of childhood expressiveness and the darkness that lurks in everyone's conscience. In his works, the body takes on unpredictable forms, while the colour surrounding it is altered, transmuting reality into dreamy, psychedelic visions. In the work “Tout sur ma mère” exhibited at M.A.D.S. Art Gallery on the occasion of the exhibition PRETTY PERV, a black background engulfs the entire space of the canvas, accompanying the entire scene of the painting. A male figure floats in the void, his body dyed blue within pink outlines. In front of him, from the upper left-hand corner, appears a vulva surrounded by long tentacles moving in his direction. He gazes at her spellbound, stretching out his arms, waiting to receive her. This work carries a variety of meanings, becoming a perfect blend of consciousness, religion, unconsciousness and animal instinct, which merge elegantly before our eyes. FIR's style is influenced by artists such as Schiele and Bacon, as well as by a profoundly precise graphism. The absence of shadows alters the sense of depth, throwing the observer into a phenomenal reality that is both fascinating and perturbing. This continuous juxtaposition between the immediate visual pleasure and the inner torment that ensues shortly afterwards, allows the artist to open a dialogue with the outside world, thus freeing himself from the solitude of silence. In this way, the artist not only undresses in front of the vulva, but also in front of the spectator himself.
Art Curator Francesca Brunello
FIR
Tout sur ma mère
fleurie “May your heart be brightly illuminated and healed”. fleurie
"Everyone has a golden feather, each with a unique brilliance" these are the words of the talented artist fleurie while presenting her artwork Golden Feather at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. fleurie is a multiartist with many faces including crystal therapist, singer, and painter. When she paints, she follows her inspiration. Bright, vivid, alive is fleurie's message, just like the palette used. The artist possesses the rarity of looking into the best of the human soul, she possesses an inner light that she reflects in her work. The world needs and needs the brilliance of fleurie's personality just as much as it needs her art. The work abstracts itself from figurativeness linked to reality and takes on forms of its own that go beyond the mere faithful representation of the world and reaches a higher level, belonging to the imagination of the unconscious. Colour, movement and materiality are the absolute protagonists of the work. The pictorial material is an important component that makes the message more decisive and leaves a trace of an art, that of fleurie, original and unique.
Art Curator Mara Cipriano
fleurie
Golden Feather
Fransie Malherbe Frandsen
The egg as a symbol of fertility and eternal life is depicted in countless works of art. In Alchemy, as the Egg of the Philosophers, the egg is the receptacle for that inner transformation from raw material to philosopher's gold, the so-called Great Work. The figure of the egg is by philosophical and popular instance frequently associated with that of the Serpent, a universal archetype representing the cosmic forces of Nature and regeneration through them. In the sphere of Christian symbolism, the egg has been adopted above all in relation to its connection with the idea of birth to a new life, i.e. resurrection. It is in this sense, therefore, that the various figures of Madonnas with Child holding an egg are to be interpreted. Fransie Malherbe Frendsen points out to us, as a matter for reflection, her bewilderment at the very intention of hatching this egg. The egg which, as mentioned, represents the birth of a new life. In this thought translated into painting with its gentle strokes, pleasant colours and soft rendering, a very strong image of feminine subversion is concealed. This Madonna can lose herself while guarding the seed of life, this woman can find herself disinterested in her given task as guardian of human life. The egg is thus elegantly placed, not abandoned, set aside to self-generate in a protected condition, see the frames that delimit its space. A message, among others, of how the idea of hatching can be so overcome. A woman who can lose herself in her own self-generation, a self-hatching figure.
Art Curator Erika Gravante
Fransie Malherbe Frandsen
Lost while hatching #1
Fransie Malherbe Frandsen
Lost while hatching #3
Fransie Malherbe Frandsen
worn
Frédéric Unia We continue to shape our personality all our life. (Albert Camus)
The intimate battle between conscious and unconscious is the focal point of Multifaced Personalities, the work presented during Pretty Perv by the eclectic artist Frédéric Unia. The composition is configured as a whole of great visual impact, which focuses on a chaotic ensemble of wide eyes and grinning mouths. The initial estrangement for this overabundance of faces finds its raison d'etre in the lower part of the painting, in which the bust of a man is sketched. Thus begins to make its way into the mind the generating idea of the work, that is the coexistence of moods, emotions and sensations different from each other, and allows you to focus with amazed interest on the individual elements. Faces embody the plurality of moods that can harbor in a single person, and differ from each other in attitudes and expressions. The opposition of conflicting feelings, however, is somehow balanced in an unstable equilibrium, but it almost seems to be "contained" by a greater and more intimate awareness. The oval shape of the work emphasizes this sensation, and accompanies the development of the composition from the bottom up, in a crescendo of emotion in which everyone can immerse themselves, get lost, and finally recognize themselves. Frédéric Unia manages to grasp the essence of a thought of great complexity and to make it visible with raw and magnetic effectiveness, allowing each one not to limit himself to simple observation, but to live a real cathartic experience.
Art Curator Chiara Rizzatti
Frédéric Unia
Multiple personalities
Gary J. Holliday "My inspiration comes from exploring new and different concepts as well as constantly looking for new ones" Gary J. Holliday
Abstractionism made of forms and semblances of reality is back. Metaphysical art that moves away from the conception of space is back. Back are the backgrounds characterised by luminous colours that make us lose our conception of time. Back, with great anticipation and trepidation, is Gary J. Holliday who presents his works Rushing to the End and Unknown Causes at the international exhibition PRETTY PERV, hosted by the M.A.D.S. international art gallery. Gary, our symbolist artist, communicates two new and important messages. He does so through the narrative triggered by the communication between his metaphysical figures. The figures float in his personal and original universe, a universe derived from his intuitions and experience. He does not renounce the figurativeness of human anatomy and religious symbolism, while remaining in his dream space. Rushing to the End and Unknown Causes bring out the complexity of the human being.
Art Curator Mara Cipriano
Gary J. Holliday
Unknown causes is the “attempts to use symbols that represents some of the negatives of today. Using dark colors for one. I played a larger form at the center to represent ultimate authority, which appears stone like holding a tornado like symbol that resembles the ongoing difficulties that are occurring daily. The figures at the bottom section of the painting. Represent the constant struggle of the male and female". Here, Gary's art proves to be strongly symbolist and at the same time imbued with messages. Gary evokes the art of the surrealists of the past and present. A further characteristic that is noticeable in Rushing to the End is the search for movement to represent a strong message, he states "This painting shows how conflict can lead to devastating outcomes. For me using a coffin with a religious cross on it signifies, there’s hope. There is always darkness at the edge of hope for mankind which is displayed in the forest at the top left corner. I used plenty of movement with these forms. For me this signifies the out-of-control gun culture. Some of These forms represent bullets flying out of control upon innocent civilians. In my opinion, it displays a society in chaos".
Art Curator Mara Cipriano
Gary J. Holliday
Rushing to the End
Gary J. Holliday
Unknown causes
GERRIT HODEMACHER
It is important to understand which topics we use to think other topics; it is important to understand which stories we tell to tell other stories; it is important to understand which knots tie knots, which thoughts think thoughts, which descriptions describe descriptions, which ties weave ties. It is important to know which stories create worlds, which worlds create stories. Donna Haraway said in her famous manifesto book about surviving this era. Gerrit Hodemacher immerses himself in this concept with his paintings, through iconic images of union, bonding and flowing. The quilt restores the aesthetic presence of the eponymous blanket chick that more than just quilts are paintings made of fabric, to be hung as an ornamental tapestry or in the huts of the origins as insulation on the floor and walls.
GERRIT HODEMACHER
Fetishes, made of fetishes: pieces of clothing, of cradles, of lives gone. Stories therefore that come together to embrace, to insulate and to maintain and add warmth. This work tells of distant mothers and daughters who carried on the same quilt, waiting for the moment to reunite scraps of fabric and existences, it tells of their own pieces of life that come together to form the great story of the self. A material and affective recovery that imbues the object and its image with human warmth. Think of a union as an image that flows unceasingly through the hands of others, a river that continues its course, sometimes painful, sometimes joyful. All around, life simply happens and again, unites.
Art Curator Erika Gravante
GERRIT HODEMACHER
The Quilt
GERRIT HODEMACHER
WADI
Giulia Baita
Giulia Baita artworks <<invite the viewer to abandon themselves to poetry and beauty >>; they are the representation of dreams and of the artist’s subconscious. Into the same frame - the silhouette of a woman with her ponytail - the artist presents different scenes that are well defined by their titles. Both ‘Reversing the point of view’ and ‘Flying High’ create a soft atmosphere, thanks to the way in which the characters living the piece are positioned. The lightness of the female figure flying on the balloon, passing through a queue of birds that seem to observe her flight, give to the scene a pleasant emotion. Everything into the piece seems to fluctuate but always stays steady into the scene.
Giulia Baita
The colors too, in their softness, help in conferring to the piece a positive sensation, that contrasts with the cloudy background. Darker, more dynamic and with a realer scene is, on the contrary, ‘Reversing the point of view’. The main character of the piece is a businessman walking through what seems to be an art gallery. Appreciable is also the artist’s ability in giving the sensation of the movement, as if the viewers were the camera filming the scene. Giulia uses some elements that can be recognized in both the paintings such as the ravens and the three big and stylized flowers that appear on the left side of the paintings, as to remark that, under each painting there is a meaning.
Art Curator Martina Stagi
Giulia Baita
Flying High
Giulia Baita
Reversing the point of view
Giulia Mastracchio
Giulia Mastracchio is an international feminist artist who strongly believes in the role of representation, perfectly in tune with her contemporary times, the artist paints portraits of incredible finesse that render on twodimensional surface, the different facets of human being. Thus we see presented here the face of a child and that of an elderly person. Where the glassy eyes of the child suggest to us a potential weariness of being in the world, those of the elderly person seem to observe something incredible and unrepeatable. The solid black background tells of a potential embrace of darkness, a theatrical curtain that becomes arms, hands and body composed of shadow and absorbing darkness where light cannot and should not penetrate. The proposed images have the bursting force of deaths by deception.
Giulia Mastracchio
Tales from books, newspapers and TV, where an evil being or beings, undertake to deceive the victim, to make her believe that she can surrender to their good hands. The perverse allure of manipulation. When one person surrenders to the will of another even if it is at odds with their own. The highest level of manipulation coincides with the surrender stage, where the manipulated person is totally subjugated by the manipulator who will justify it and feel deserving of the horrible treatment he or she is receiving. The artwork with the old woman as the subject perfectly describes this twisted human condition. A need is met, however dark, at the same time the user's need to recognize and reassure himself in that look of acceptance and gratitude.
Art Curator Erika Gravante
Giulia Mastracchio
I'm not ok
Giulia Mastracchio
The bright side
Grada Snijder Grada Snijder is an artist living in Amsterdam, the artist's academic career begins with a Bachelor of Fine Art in Education, then she begins a career as a teacher of Visual Arts. The artist is for the first time a guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "PRETTY PERV" exhibits three works with an evident influence deriving from Pop Art. The art of Grada Snijder has as its fil rouge that of always maintaining harmony in the use of color and an high quality that is always at the center. The artist's aesthetic taste is immediately evident, in the "Mini" work, for example, the color contrasts emphasize the beauty of the colors and shapes, making the work itself aesthetically seductive. "Fulfilled is more" is the portrait of a very elegant lady, who seems to have come out of another era, the work tells a real story, the pearls, the jewels, the posture and the position of the hands narrate her life, as well as the look that is serene but at the same time self-confident. The woman seems to convey a sense of readiness as if what she has to accomplish in her life is not over, as if she is waiting to reach other goals and milestones. "More than a model" is a sweet work, with bright colors but delicate at the same time, the artist tells us a way of being more than what one appears, already the title is a messenger of what the artist wants to convey . The subject's gaze is concentrated beyond the canvas, the woman, in fact she looks away as if she were thinking or remembering. It is evident, how, in the artist's works, aesthetics and craftsmanship go hand in hand with what she herself wants to express.
Art Curator Martina Viesti
Grada Snijder
Mini
Grada Snijder
Fulfilled is more
Grada Snijder
More than a model
Grant McCutchen
Grant McCutchen participates for the first time in an exhibition organized by M.A.D.S. Art Gallery on the occasion of "Pretty Perv". Between pop art and the world of comics, the artist - who makes large oil paintings and some works on paper - creates a very personal and dynamic style. "Blue", as the title suggests, plunges us into undefined, moving, mobile forms, that look like fish on a cracked ceramic that flares into the blue of the painting. "Dancing Girls" almost resembles the graphics of a video game. Behind the two protagonists in the foreground, who dance, there seems to be a lot of chaos and military references: the painting is full of references and details that are not always easy to understand. Waves of all shapes, shades and sizes in "Girl in Surf": in this last painting exposed, we find the union of the two previous, with a female subject and marine reference. These last two paintings differ a bit from the previous one, which presents brighter and more vivid colors: "Dancing Girls" and "Girl in Surf" instead have duller and faded shades. The peculiarity of Grant McCutchen, apart from the stylistic trait, is precisely his ability to include in his works many allusions that, in the observer, manage to bring out many reflections and investigations of meaning.
“I aim to have a solo show with my new, unexhibited works on canvas.” (Grant McCutchen)
Art Curator Sara Grasso
Grant McCutchen
Blue
Grant McCutchen
Dancing Girls
Grant McCutchen
Girl in Surf
Guillo D'Aiello
Although Guillo d'Aiello has a background and a mature experience in the field of design, he has always been close to art in its various facets and has now decided to devote himself completely to the realization of contemporary art. His contemporary style is an abstractionism that approaches, because of its characteristics, to American Expressionism and to Informal European of the years after the Second World War. As for the themes, instead, he resumes, with its particular language, among other things, a theme as ancient as the world itself: the hugs. His canvases, including "Reflejos 2" and "Reflejos 3", are large and there is a remarkable enhancement of gestures, similar to the one we can admire in the works of the American Franz Kline and the French Pierre Soulages. Wide black stripes, like sabers, stand out against a white background, which is also the protagonist of the work in equal measure, tangling even at the extreme limits of the canvases, almost wanting to escape and create a new space. The color black forms disruptive and multidirectional stripes and the color white, on the other hand, is not an inert background, a "void", but in the canvases of the Argentine artist it becomes a living force. Opposing and complementary forces, black and white embrace and dance together before our eyes, giving life, in "Atracción Hipnótica", to gray, color that is located in the center of the color circle. It represents objectivity and balance because it is seen as the color that contains both white and black understood as good and evil. So, what may look like something simple, actually proves to be quite complex. Although the gestures of Guillo D'Aiello are undoubtedly decisive, it is not angry and violent, capable of transmitting feelings of conflict, but with his quick but wise gestures, the Argentine artist transmits positive energy. Guillo d'Aiello managed to hypnotize the spectators of his works and transmit to them such a unique strength that, after admiring his large canvases, they felt invincible for a moment, capable of achieving any goal. This is the strength of art and the proof of the artist’s unique talent.
Art Curator Francesca Catarinicchia
Guillo D'Aiello
Atracción Hipnótica
Guillo D'Aiello
Reflejos 2
Guillo D'Aiello
Reflejos 3
Hana Šmidrkalová It is hard to contend against one's heart's desire; for whatever it wishes to have it buys at the cost of soul. (Heraclitus) The essence of Hana Šmidrkalová's art can be summed up as a painting with strong spiritual, sacred and metaphorical connotations. The proximity to sacredness, in fact, is what prompted Hana to devote herself fully to her passion for painting, which is distinguished by an instinctive character, dictated by the innermost depths of the unconscious. Adi Para Shakti - presented on the occasion of Pretty Perv - is an admirable example of an essential approach, and represent a visceral vision, free from the limiting filter of rationality. The title refers to the "Divine Mother" of Hinduism, and the strong chromatic contrasts of red and black of the composition instinctively lead the mind to an idea of a primordial and generating force. The crouched figure seems to be surrounded by a beam of red light, almost like a blood fire that departs from its limbs and radiates around, creating a whole of great visual impact. The bright shades and vibrations of Adi Para Shakti are softened by the soft hues of INVITATION. NOW, which outline a more suffused and intimate scenario. The seated female figure is depicted in a languid pose, which directs attention to the shapes of the body, revealed with a singular confidence. The indefiniteness of the walls, the floor and the limbs themselves contrasts with the definition of the features of her face, turned upwards, almost waiting for something. The apex of tension and carnality unfolds in front of the viewer with Raw. So what? The work is a great demonstration of artistic maturity by Hana, who manages to give life to an extremely vivid and impressive painting. The representation of the Junoesque woman portrayed seems almost the pictorial transposition of a prehistoric Venus, and provokes an unsettling effect on the observer, yet fascinating in her rawness. Hana Šmidrkalová's approach seems like an invitation to go beyond the limits of conventionality, and to be ready to embrace a more meaningful and authentic reality. An invitation that deserves to be grasped.
Art Curator Chiara Rizzatti
Hana Šmidrkalová
Adi Para Shakti
Hana Šmidrkalová
INVITATION. NOW
Hana Šmidrkalová
Raw. So what?
Hanne Giacobbe Helleberg
Hanne Giacobbe Helleberg, presents “Monster” for the “Pretty Perv” Mixed Reality art exhibition at M.A.D.S. Art gallery. The paths we choose may converge into an understanding of what we cannot perceive. Let us unravel new mechanisms of defense in order to distribute decisions and place them in the correct order. Some aberrations have been embraced to satisfy the need of mystery to fulfill doubts, which some of them are not meant to be solved. “Monster” depicts a mysterious character waiting for doubts to be solved, it is a spectator. Green tones carry the responsibility to showcase subtle rhythms in the darkness of doubts, where glimpses of warmness are brought by orange strong tones. A black atmosphere sets the tone of the unknown, it represents the long waiting, a longing for turmoil to pass. The character stands still and listens how time passes, it has witnessed enough. Brushstrokes are thick and precise to distribute the elegance of stillness. Hanne Giacobbe Helleberg, creates mystery after perceiving the chosen path. We usually make effort to solve questions and we forget how joyful and exhilarating is to witness the unknown and stand still to live it. The trick is to not stand still for long. Witness the unknown and move forward.
Art Curator Karla Peralta Málaga
Hanne Giacobbe Helleberg
Monster
Hassiba Kessaci "A mask tells us more than a face." (Oscar Wilde)
Hassiba Kessaci is a painter, illustrator and monotype engraver based in Rennes, France. The essence of Hassiba Kessaci's art, influenced by the delicate and minimalist expressionism of artists such as Egon Schiele and Jean Cocteau, can be found in the desire to give the artistic creation a poetic tone, supported by a visual language in which color becomes the protagonist par excellence, a vibrant and harmonious color that becomes the mouthpiece of message conveyed. The artistic poetics of Hassiba Kessaci plays with the viewer and invites him to a profound reflection on the mysterious and ambiguous relationship between concrete reality and the inner world, one's own unconscious.
Hassiba Kessaci
Through simple and expressive images, the artist tries to give an image to the journey that every man is required to make, a journey that starts from the depths up to the Absent, that is the real for the artist herself. And, in this case, it is fashion that arises as an interlocutor, as an object of reflection for the purpose of achieving emancipation from a human condition often characterized by trauma. Her artworks scream desire, irrationality, individuality. They invite you to reveal the mystery of things, to make it your own, to be able to detach yourself from conformity and emerge thanks to your own essence.
Art Curator Federica Schneck
Hassiba Kessaci
à PART or a Part – 71 (duality)
Hassiba Kessaci
à PART or a Part – The little pull-over
Herbert
Pervasive gaming is a type of game that incorporates emerging interfaces (wireless networking, geolocation, sensors) to create a gaming experience that combines elements of real and virtual worlds. This concept derives from the english term pervasive game and is close to the term alternative reality game. In French, it is also referred to as invasive game, ubiquitous game or invasive game. Pervasive game is a game that offers one or more predominant features that expand the contractual magic circle of the game to social, spatial or temporal domains. This definition echoes Johan Huizinga's concept of the magic circle. Inside the circle we are in play, outside we do not play, whatever we do. The creators of pervasive games challenge this concept by expanding the circle in its three dimensions: spatial, temporal and social. And like the creator of pervasive games, the artist has the power to challenge the concept of the magic circle linked to the existing. Herbert succeeds in blocking and imprinting that which par excellence exists only in the circle (of his own mind) and can show its process and evolution to an element other than the said circle. His thoughts belonging to the here and now pervade the dimension dedicated to them and spread to their surroundings. The pervaded thought is one that we cannot do without, it is a thought that takes possession of our mind making our body a compliant host in its service. With Herbert's painting we are invited to observe this pervading and overwhelming in a figuratively erotic sense.
Art Curator Federica D'Avanzo
Herbert
Driven Thoughts
Ian Jason Reynolds Panta rei, the famous phrase meaning everything flows is attributed to Heraclitus. According to him, the Universe is a continuous alternation of opposites such as day and night, heat and cold. Everything is constantly changing. Heraclitus uses the metaphor of the river: you can’t go into the same river twice, and that’s because the water that first wet you - it’s already gone by the current. If we were to enter the river a second time, we would be bathed in different water. In this way the works of the American artist Ian Jason Reynolds are created. All his works are photographs of color, of paint passing once and never again. They are testimonies of a moment, a unique moment of its kind and therefore, unrepeatable. The inspiration comes from a childhood memory when Ian observed the bizarre behavior of oil in water, the continuous changing, aggregating and dissolving still inspires the artist’s poetry. These reminiscences are now transformed into colorful works of art full of vital energy. The artist becomes a filter between reality, inspiration and the world that observes his masterpieces. The result is new, internalized paint movements. The work "Silver lining in the mist", with its cool shades recalls the motions of ice, water on the rocks; it is a painting in continuous motion until the paint does not stop and dries in its final composition. "Colors of Feathers" instead seems to emerge from the bowels of the earth, reminiscent of the molt of a reptile and, once again, the concept of a new beginning, of mutability of events. What is in the past never comes back; we have changed, time has changed, all that awaits us is a new world, a new vision. "As it flows by" speaks instead of unpredictability of color contrasts and strong intuition. The result is a very balanced, essential work. An unusual experimentation, uncontrolled in immediacy but then revised with counterpoints of color to give balance and musicality.
Art Curator Eleonora Varotto
Ian Jason Reynolds
Silver lining in the mist
Ian Jason Reynolds
Colors of Feathers
Ian Jason Reynolds
As it flows by
Isaac Morell
Light has always been a symbol of consciousness. In fact, if there were no light, we could never have known anything - at least as far as the world of the senses is concerned. Light therefore naturally conveys information, light illuminates the dark, light illuminates the unknown, light allows the ability to look in order to see. But a world without shadow would be an unreadable world for us, simply because we would not see its contents. Our curiosity and instinct drive us towards the unenlightened. We are always looking for something within an area that is shadowy, an area where we cannot see clearly, so purity and the search are never associated.
Isaac Morell
Light makes sense, Jung said, only in relation to the shadow, only if it illuminates the darkness. perhaps being conscious, shedding light, illuminating, can be somewhat harmful if done in a certain way, in fact an ego not ready to shed light on certain shadowy areas of its own personality runs the risk of burning itself out because of too much light, because of too much having become conscious in an improper way. It therefore loses its freedom. Working with light therefore for artists is working on freedom. Isaac Morell, with his works of art that make use of light and shadow, guides the public in this quest in the shadows. The artist takes the lead and chooses what to show us, chooses which areas of shadow can begin to be seen and analysed. Through an aesthetically enjoyable image, we are confronted with a direct, simplified, contained awareness. In every story, it is well known that finite margins allow infinite freedom, and this is the mission of the contemporary work of art.
Art Curator Erika Gravante
Isaac Morell
UNBROKEN.LIGHT-1
Isaac Morell
UNBROKEN.LIGHT-2
Isabelle Fauquez “The job of the artist is always to deepen the mystery.” (Francis Bacon)
The mystery that passes through a glance; the story that hides behind a wrinkle of the face; the power of colors which release strength and energy. Isabelle Fauquez is an artist based in Paris, who through the protagonists of her works represents feelings and emotions that all men have in common: love, joy and carefree, but also anguish, despair and insecurity. RED LOVE was created in 2022 with the technique of acrylic and oil on paper. The protagonist, whose face we see in the foreground, has a serious and perplexed expression. Untidy hair, blue eyes looking ahead, no words seem to want to leave her mouth. The title of the work is very evocative: love is passion and infinite happiness, but also pain and disappointment. Each of us is called to give an interpretation to the work trying to understand which phase of love the woman is experiencing. It is a newly born and unrequited love, a love that has lasted for years but now worn out, a finished love that makes life gloomy and hopeless. The work is characterized by a strong chromatic contrast: the red background - the color symbol of love par excellence - brings out the fair complexion of her face. Isabelle's works are the result of study and continuous experimentation. The observation of the world around her and the search for the essence of everything are the starting point for the creation of works with a deep meaning and recognizable style.
Art Curator Camilla Gilardi
Isabelle Fauquez
RED LOVE
Jaana Kivi “Metamorphosis is the most profound of all acts” (Catherynne M. Valente)
Metamorphosis is a common, profound and essential process of transformation in living beings. The finiteness of humans leads them to look for their transcendence, therefore, they are constantly changing externally and internally, in order to achieve their own realization and positively impact others, to leave a mark. From this transformation in full consciousness, it is possible to contemplate and know oneself in a deeper way through the reflection of oneself in others and in art itself. In this sense, Jaana Kivi decides to give voice to her authentic self by breaking with the limits and impositions that she believes are only created by the mind, and to show the essentiality of such transformation and its naturalness, as in the case of butterflies. Her paintings evidence the beauty and need for women's recognition and empowerment through the feminine portrait and the body shape, a vibrant energy through the colors used and a human force that is transmitted by the strenght of her strokes. With this elements, Jaana's artworks catch the viewer's attention, create some intrigue and empower the spectators to study and appreciate their own contradictions, visions, intuitions, bodies and souls.
Art Curator Liliana Sánchez
Jaana Kivi
Metamorphosis
Jaana Kivi
Magma
Jaana Kivi
Body
Jack Godfrey “I believe that painting should come through the avenues of meditation rather than the canals of action.” (Mark Tobey)
Jack Godfrey is a contemporary American artist from Colorado, whose artworks are the result of a gestural spontaneity that is completely detached from a design necessity, remaining more connected to the present moment and the emotions of that instant. The main technique adopted by the artist is a mixture of acrylic paint and pastels, which are distributed on the canvas giving a sense of incessant movement and allowing the color to blend between density and lightness. The dynamism and materiality that characterize his works show an influence from the Art Informel, in particular Max Tobey, while maintaining a complete detachment from figuration and favoring the all over technique. In fact, Jack Godfrey fills the visual space through subtle brushstrokes, destabilizing the observer and leaving him completely at the mercy of the color without any point of reference. In the work "Inflammation Corpus" exhibited at M.A.D.S. Art Gallery on the occasion of the exhibition PRETTY PERV, we notice that the artist has left us a small trace, a clue: among the spirals of color we see a small heart placed in the centre of the painting. In the surrounding chaos, wrapped in an intense red, it expresses serenity and calm, accompanying the observer, until just before disoriented, towards new possible paths. The heart becomes a symbol of energy, vitality, love and strength, so powerful that it is able to guide us even in the darkest and most difficult moments. The decision to paint with thinner brushes and to use pastels to define certain details, although it stems from a sudden gesture, remains linked to a meditative need, conveying on the canvas emotions and feelings as vibrant as they are delicate.
Art Curator Francesca Brunello
Jack Godfrey
Inflammation Corpus
Jax Dillon
Letting your mind be taken over by the willingness of art is probably one of the biggest strengths of producing art. An act of self-connection that allows feelings and thoughts to emerge and be translated into imagery on the canvas. Thus, creating is a meditative process in which every colour and shape is dictated by the inner and instinctive voice. For the Australian artist Jax Dillon, her artworks are a spiritual guide that through creation helps her to deal with the traumas of her past and overcome them. Her personal style is characterised by a strong influence from mythical creatures and geometrical patterns that recalls the spiritual geometry of mandalas. The infinite repetition of the geometrical shapes initiates a psychedeliclike journey within us and reminds us of our relationship with the infinite and everything around us. By engaging in such a process, Jax guides us to her inner world and introduces us to the characters that are with her in the healing process. In the current piece ‘Equilibrium’ we can have a grasp of the embodiment of Jax’s feelings and thoughts in her art, and by experiencing it we are carried away by the emotions that guided Jax in the meditative process.
Art Curator Francesca Mamino
Jax Dillon
Equilibrium
Jay Handy Through his works, Jay Handy tells a lot about himself and his experience as a man and as an artist. His creations approach the surrealist world of dreams and the dream dimension. He projects his memories into new artistic atmospheres, allowing the viewer to actively enter into his artwork. He realises subjective visions where everyone is free to find their own key. He projects experiences and memories into indelible images, fixed forever. Everyone is free to see themselves again in his strongly haematic and reflective creations. Jay works a lot on our perception of past experiences. He works on memories and reflects on the fact that they are often not the same as the lived experience. It happens that memories distort reality, making it adhere to something we would like to make happen. Jay's works therefore start from a psychological - reflective process and through shapes and colours, become fixed forever on tangible material. Jay specialises in engraving and chine collé, a complex and fascinating technique that allows him to create unique and original artworks. One example is 'Look Beyond' in which the hardness of drypoint engraving meets the softness of pastel and Indian ink. The pictorial mediums interact with each other creating a little bit of contrasts where light and shadow chase each other and create volumes. The artist reflects on the dual nature of experience, reality and dream. She invites us to go further, to process the episode, explore it and embrace its memory. The image of the woman depicted has no face and thanks to this detail, everyone can identify with her. She becomes a universal symbol. The softness of Indian ink and its fluid dimension allows for the creation of plastic, non-rigid volumes. In 'Brothers in Arms', the artist takes a cinematic shot, focusing on the details. Jay has the ability to create combinations of materials that allow a subjective view of the work. He also approaches the photographic dimension with this artwork. He traps a moment and creates an image somewhere between the abstract and the figurative. Interesting is the work on the different textures that blend together to create a unique and special image. In 'Bright Beach Day' he reproduces a feeling. With just a few elements, he appeals to the five senses, taking the viewer inside that dimension. The image of the man in black and white contrasts with the pictorial dimension of the background. Colours and shapes create games of transparencies and superimpositions. A studied and strongly empathic interlocking of volumes. Jay's paintings are elaborate and sometimes appear as collages of shapes, images and emotions. An intricate combination of elements that make their way into the viewer's subconscious and lead him to new visions, overcoming the limits of the psyche and retracing past experiences.
Art Curator Ilaria Falchetti
Jay Handy
Bright Beach Day
Jay Handy
Brothers in Arms 1
Jay Handy
Look Beyond
Jeanne Henner From the Greek compound of meta and form that means "transform", the metamorphosis indicates, first of all, the biophysical process that constantly involves all the diffused matter, but giving the matter, from time to time, a particular form. In common perception, even before reasoning on matter, metamorphosis brings with it a reflection on the boundaries (between animate and inanimate, human and non-human) and therefore on change, on becoming in its constructive elements (forms, bodies and identity); that is, on its symbolic significance. No one will be surprised if the metamorphosis is above all an artistic topos in the broad sense, or even a poetic universal. The metamorphosis is the protagonist of the work "Elephant Tree" drawing made by the artist Jeanne Henner. The drawing is a homage to the artist’s father here metaphorically represented as an elephant that turns into a tree. The symbols are multiple: the tree branches off with its roots starting from the earth, stably. Knowledge starts from below and grows by absorbing external stimuli. The elephant is a large mammal dedicated to offspring and endowed with extraordinary memory, and therefore knowledge. These aspects characterize Jeanne’s vision of her father; a strong and protective person, a reference point with a pure soul. The artist’s style has matured after a long artistic experimentation of various techniques including painting, photography, ink and graphite. The design, however, is the language that Jeanne prefers and that also masters the work "Along the Lines of a Friend", drawing that the artist has created by observing the shapes suggested by a relaxed friend who relaxes listening to music. "Corn Plant by the Window" instead is a tribute to the florid nature and full of life. Made using a rubber as a drawing tool, the work proposes lines and shapes not recognizable at first glance. A more distant vision helps to delineate the subject of the work, a relaxing vision from the window from which wheat plants appear in all their splendor. Nature is one of the greatest inspirations of the artist who manages to transform sensations and shapes into works of great evocative power.
Art Curator Eleonora Varotto
Jeanne Henner
Elephant Tree
Jeanne Henner
Along the Lines of a Friend
Jeanne Henner
Corn Plant by the Window
Jess Lynn
Jess Lynn is an American artist with a dynamic and multifaceted talent. The artist has a great ability to express herself through her artistic production, which is why the artist's works are perfectly in line with the exhibition organized by M.A.D.S. Art Gallery: “PRETTY PERV”. The concept of the exhibition, in fact, aims to allow the artist to be inspired by her own interiority and her own profound way of seeing the world. The artist exhibits two works in bright and gaudy colors, "I wish you were choking me right now" is a sensual and full of pathos work, the chromatic contrast allows the artist to make the subject in the foreground with respect to the background.
Jess Lynn
The union of real elements such as the material of the dress worn by the woman, represented as if it were a shadow, creates a new contrast that is coherently accompanied by the contrasts of colors. "Suck It" always has a sensual and erotic vein, the central subject of the work is the mouth, a bright and deep red that draws the viewer's attention. The artist is not afraid of daring and showing her deepest self, this can also be seen from the choice that the artist makes of the colors used and the shapes and lines created.
Art Curator Martina Viesti
Jess Lynn
I wish you were choking me right now
Jess Lynn
Suck It
JLQ Jena, aka JLQ, is a self-taught artist and photographer. Art is an integral part of her life and through it, she explores everyday life with a fresh look. Her artworks is a breath of fresh air. The colours she uses are bright and impactful. She lets the pigment take over every available centimetre. The fluidity of the colours used allows for very interesting and innovative plays of overlapping, transparencies and blends. She delimits a well-framed space on the canvas where she can give vent to her creativity. In this way, the bright colours contrast with the white of the canvas. The feeling she conveys by using this photographic cut, is that of a window to the world. Jena encapsulates joyful and positive feelings in her paintings through the combination of different acrylics that create mixtures of vitality and energy. She creates real abstract landscapes of the mind where everyone is free to find their own dimension. In 'Boho Waves' the green-yellow flou colour slides uncontrolled on the canvas like a veil ready to cover everything. In contrast, a rainbow of sparkling colours provides the perfect backdrop for this sudden wave of colour that sweeps over everything. The pigments mix together but each has its own identity. The end result is a mix of joy and energy, a sweet interlude within a bitter world. In 'Boho Waves II', the contrast is less intense because the colour that takes over is a soft, delicate sky-blue. As in the previous artwork, here too the spot of colour dripping from above tends to take up all the available space. Jena creates colourful and instinctive decorative motifs that characterise his original style. In 'Reef', she uses the same technique as in the previous pictures, but interprets it differently. The colour in the foreground, red, does not overwhelm the other acrylics in a disjointed and spontaneous manner. It is distributed in a geometric and orderly manner, changing the rhythm of the background composition, which is decidedly freer and more abstract. Jena's photographic eye is evident, capable of capturing the beauty of details and creating colour combinations that work very well.
Art Curator Ilaria Falchetti
JLQ
Boho Waves
JLQ
Boho Waves II
JLQ
Reef
Joel Douek
Joel Douek is an extremely eclectic American artist, in fact, his expressiveness finds free rein in different arts, from music, to painting and sculpture. Douek is once again the guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "PRETTY PERV" he exhibits five very dynamic pieces of art. A constant element of this artist's works of art is the use of gold, chosen to highlight its preciousness. One of the most used techniques by Douek is the oxidation of materials in order to reveal their color, in fact, the artist is not limited to painting, but on the contrary he is fascinated by the story that the materials and tools he uses can tell. The aesthetic taste is of a refined incidence in the works exhibited in this exhibition. It can be seen from "IT'S OK TO CRY" an extremely dynamic work, with sinuous lines and full of movement. "Emanation" is a work in which the prevailing color is blue, the color of calm and tranquility, associated with gold combines two natural contrasts that stimulate a deep fascination in the artist. Joel Douek's goal is to convey the sense of beauty hidden in any type of imperfection. The natural color contrasts that the artist is able to create allow him to express the vulnerability of what is natural but also its own beauty.
Art Curator Martina Viesti
Joel Douek
IT'S OK TO CRY
Joel Douek
Emanation
Joel Douek
Embers
Joel Douek
Nereis
Joel Douek
PORTAL
Johanna Lademann
If we had to explain the art of Johanna Lademann in two words, they would undoubtedly be: pride and colour. The young Swiss artist has made animals, domestic and wild, the subjects from her canvases and made the bright, vibrant and saturated colors her hymn. Through the bold colors, she gives voice to animals, trying to represent their interiority, as an aura that flood the viewer and touch him deeply. In "Realms of Pride" a majestic lynx proudly looks straight at the viewer, who thus becomes an integral part of the work; he remains motionless, blocked, completely captivated by the animal’s gaze and fearful to take a step for fear of scaring it. The brushstrokes to represent the lynx are meticulous, precise and detailed, while those of the background appear fluid and flaky, with soft but vivid effects. Johanna Lademann’s art starts from an imitative factor without a doubt, but her purpose is not "imitate the reality", as the artists of the past used to do, but starting from this, she then lets her creativity flow freely and the result is a backgrounds in which reigns a kind of purely abstract colororistic decorativism. The Swiss artist skilfully uses orange, pink and blue, colors that emanate ambition and security, managing to bring them together in an energetic, but not frantic way. They, on the one hand, express the characteristics of the lynx, and at the same time they encourage us to live with greater intensity the feelings and emotions. With her art, Johanna Lademann wants to focus attention on issues that concern the protection of fauna, showing in this way, a sharp sensitivity to both art and animal activism. She thus proves to have understood and to be able to use art in all its potential. In her hands, art becomes a powerful means to communicate and try to make people aware.
Art Curator Francesca Catarinicchia
Johanna Lademann
Realms of Pride
John Dobson "Surrealism does not aim to subvert realism, as well as the fantastic, nor does it seek to transcend it. Look for different means by which to explore reality itself." (Michael Richardson)
Australian artist John Dobson analyzes and reflects on concrete reality through the medium of photography, which is an excellent ally to represent his profound artistic message, which is inspired above all by surrealism. With a strong reference also to the work of fashion photographers such as Guy Bourdin and Helmut Newton, the works of John Dobson represent, in an ironic and humorous key, the theme of the erotic. The impulsiveness of the human instinct is contrasted by the composure and formality of his artistic compositions, as if to refer to the eternal inner conflict between one's being, one's impulses, and what transpires instead. Elements of artists such as Magritte and Whistler are taken up and remodeled, to be finally adapted to a compositional typology that primarily exploits the aesthetic element, to create an image with a strong impact, but which, at the same time, hides a deeper meaning. A meaning whose message resides in the artist's deep soul, which invites the viewer to overcome their limits, to embark on a journey into their own inner world and, as happens when you dream, to let yourself go.
Art Curator Federica Schneck
John Dobson
Man in Bowler Hat Reading a Burning Newspaper
John Dobson
Mistress Penelope in Black Latex
John Dobson
Sleepwalking in Kings Cross
Jonathan Berkh
Jonathan Berkh is an artist living in Vienna who has been working as a contemporary artist since 2000. An extremely prolific artist has exhibited his works of art all over Europe. Jonathan Berkh is, again, the guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of the exhibition "PRETTY PERV" exhibits "untitled" a work that perfectly embodies his way of seeing the world and art. In fact, the artist focuses particularly on structures, be they intellectual, external, internal, thought patterns, etc. His goal is to dismantle these structures in order to obtain tiny fragments which then make the structures completely abstract. In this way, according to the artist, it is possible to exchange the fragments and thus make them interchangeable. This convention allows him to create with a freedom devoid of any rules. According to the artist "Perspective is perception of depth - Abstraction is creating realities deprived of all realism". "Untitled" is a work rich in geometry and movement, the dynamism makes the work come alive and this, despite the simple and impulsive lines, makes the observer feel completely absorbed and captured by the work. Lines and structures cross, collide and create other structures, other shapes, and the lines are interrupted, creating other lines. The acrylic white used on the black creates a chromatic contrast that allows these structures to stand out against the background and to be almost detached from it.
Art Curator Martina Viesti
Jonathan Berkh
untitled
José Talamas Abularach
José Talamas Abularach is a Bolivian artist who lives in Santa Cruz da la Sierra where he is an architect. Abularach's artistic career allowed him to experiment and learn about different styles and techniques until he came to digital graphic art. The artist's originality and aesthetic taste are prominent in his works of art; on the occasion of "PRETTY PERV", the new exhibition organized by M.A.D.S. Art Gallery exhibited "N4" and "no title" two works that have an extremely deep atmosphere and recall the expressive style of Picasso. The color contrasts and the emphasized elements are fundamental for the artist in order to express his perception and his message to the maximum.
José Talamas Abularach
“N4” is an incredibly fascinating, sensual and full of pathos piece. The colors are soft and this allows the girl's lips, of an intense red, to stand out incredibly throughout the work. The protagonists of the works of art by José Talamas Abularach sometimes recall Cubist creations, but Abularach creates, as he himself defines it, "a transgressed reality" that he reaches through photographs, sketches or digital illustrations modified and digitally rendered. "No title", unlike "N4" seems to represent a work that recalls a dystopian and extremely distant reality, the human figure represented seems held together by cables and ropes, as if it were about to fall to the ground in a thousand pieces, contrary to her posture which seems to be extremely self-confident.
Art Curator Martina Viesti
José Talamas Abularach
N4
José Talamas Abularach
no title
Josep Maria Munté Guinart Josep Maria Munté Guinart (Reus, 1958) has exhibited around the territory, both nationally and internationally (Tuscany, Brussels, Paris, Toronto). His painting shows a self-taught and figurative style characterized by the unique and dispersed stroke, combined with a painting diluted in gray layers of color and matter. His themes can be summarized in urban landscapes, seascapes, bell towers, cafe interiors or popular themes, such as castles or correfocs. As the artist has defined, he likes to paint more than to draw. He likes to express with a simple detail what he wants to represent; he leaves aside his imagination and in an impressionistic way, he expresses it in his works. At “Pretty Perv” exhibition hosted by M.A.D.S. Art Gallery, Josep presents “La Sagrada Familia”, an acrylic on canvas. As the title suggests, he depicts the emblematic Sagrada Família with characteristic traces of the towers and the façade of the cathedral with its new star, without going into detail and leaving the vision and composition of the painting free according to the interpretation that each person gives it. In fact, instinctive but skillfully distributed brushstrokes on the canvas suggest the shape of the cathedral, which is undefined, but leaves the viewer with the possibility of being able to glimpse and at the same time imagine the details he or she most prefers. The painter's aim is always the same: to capture a key idea and everything else flows in the eyes of the beholder.
Art Curator Matilde Della Pina
Josep Maria Munté Guinart
La Sagrada Familia
Ju-Dite Men-Art
In the psyche, and beyond, water and fluid life recall elements related to sex, orgasm, fertilization and pleasure. If life is born in water and has been feeding and reproducing with water for millions of years, it is not surprising that it is symbolically and concretely assimilated to sex and birth. Balint, a Hungarian psychoanalyst, also elaborated a theory on Regression, according to which man throughout his life seeks to return, through various channels, such as religious ecstasy, artistic creation and, not surprisingly, orgasm, to the condition of total fullness and harmony of the fetal state forever regretted, the lost paradise of psychosomatic indifference. This is to say that, in the psyche, and not only, water and fluid life recall elements linked to sex, orgasm, fertilization and pleasure. A kind of aquatic ecstasy, where the 'waters' of our intimacy come together to stir, perhaps to enjoy that ancient pleasure experienced in the mother's womb. Thus we find ourselves drawn in an almost carnal way to the paintings of Ju-Dite Men-Art. The artist uses the pouring technique, where it is the act itself of pouring, mixing, overlapping, that generates the work of art. An immensity of shapes and colours that are formed by the very existence of the elements that can generate life, water and woman. An atavistic union that inevitably makes its own seductive song heard, a siren's song that once again from the water, calls out to its chosen subjects. Or rather, with its song alone it can make any subject feel elected.
Art Curator Federica D'Avanzo
Ju-Dite Men-Art
Hope
Juan Pablo Vivanco Viniegra "Dreams are excursions into the limbo of things, a semi-liberation from the human prison." (Henri Frederic Amiel)
Juan Pablo Vivanco Viniegra is a Mexican artist with a rebellious and hyperactive spirit, which manifests itself decisively in his artworks. After having tested the world of experimental cinema, creating works of video art, the artist finally arrives at the creation of an artistic poetic person with references to the surrealism of Salvador Dalì and Salgado. Motivated by the memory of his brother, who died prematurely, the art of Juan Pablo Vivanco Viniegra sinks the search within the self, which is excavated, explored and stripped, to bring out all those aspects that often remain hidden in the shadow. Inspired by the world of dreams, the characters that crowd his works seem to coexist in a superior reality, pending, as pending, unresolved is often the very existence of man. An existence pervaded by doubts, questions, an existence that is represented by the artist through the combination of several symbols, which do not reveal its essence but demonstrate its mystery. And what the artist aspires to is reflection, the opening of one's conscience and the recovery of the dream dimension, for the purpose of a more universal reflection on concrete reality.
Art Curator Federica Schneck
Juan Pablo Vivanco Viniegra
The convent
Juan Pablo Vivanco Viniegra
Joan of Leeds
Juan Pablo Vivanco Viniegra
Nicolaus Copernicus
Kalopsyana “Nothing lasts, Nothing is finished, Nothing is perfect”. Kalopsyana
Paisible Chaos, as Kalopsyana states, is "a mystical allegory of human diversity". It is a bas relief mixed technique base on concrete clay, painted on frame. A wonderful masterpiece at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. Bodies and faces intertwine, meet, mix in the work of Muriel, aka Kalopsyana. The study and curiosity for human anatomy emerge in the bas-relief like the curiosity for diversity, for multiculturalism. Muriel explores techniques and plays with matter. Materiality is an important element in her art, which emphasises forms that arise from materials of various kinds. Just as for the great master Burri, art becomes a tool to make material noble. Muriel experiments, mixes products: paints, cements, concrete, sands, plaster. With what she finds, she creates mix-media installations, so that her works are visible on different facets (we can walk around them and discover hidden secrets, this makes people curious).
Art Curator Mara Cipriano
Kalopsyana
Paisible Chaos
Karina Zajac “No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.” (Edvard Munch) Karina Zajac is a contemporary artist of Polish origin. Her artistic research stems from a long path of experimentation with portraits, making this genre the focus of her artistic career. Preferring the technique of acrylic paint on canvas, her artworks are characterized by dark surroundings filled with shadows and brightly colored light. In the three works ("In The Name"; "Can't Recall You Anymore"; "Reflection on Pain") on display in the exhibition PRETTY PERV at M.A.D.S. Art Gallery, we notice how the three subjects are caught in moments of introspection and reflection, shrouded in the darkness of their thoughts. A darkness that, however, does not affect their bodies, so magically tinged with a thousand colored shades that make every detail shine. Indeed, dynamic, almost fluorescent brushstrokes stand out against the black backgrounds, giving an intense three-dimensionality and depth to the entire work. The alteration of the color, the representational style, but above all the need to narrate the feelings and emotions of her subjects, show influences from the Expressionist current of the first two decades of the 20th century. Solitude becomes that moment when the mind is most vulnerable and difficult to control, most prone to sinking into doubt and discomfort, but it is also that moment when it can be strongest. The artist's intention is precisely that of narrating the complexity of the human mind, combining darkness with light and entering deeply into the psychology of her subjects, in order to transfer onto canvas the beauty and purity of all the nuances hidden within each of us.
Art Curator Francesca Brunello
Karina Zajac
Can't recall you anymore
Karina Zajac
In The Name
Karina Zajac
Reflection on Pain
Kasandra Hendy
Nostalgia is a double-edged sword: when it enables us to find something in the past that is symbolically reproducible in the present, it makes our lives more stimulating and livable; when, on the contrary, the symbolic dimension is lost, the tendency to concretely reproduce the past can be called perverse nostalgia. Finally, perverse nostalgia has self-destructive tendencies, the spasmodic search for the past sometimes ends in the end of life as a replicated experience of the womb.A tension that is common to human beings, explorable and at the same time distractible. In the artistic dimension, nostalgia plays an important visual and form role and often shows incisively how fragile the product is an art; an art that crumbles to pieces, guilty of being cheated and seduced by reproductions of past times, always revised and cleaned of all problems, so inauthentic. Different, however, is the case with Kasandra Hendy's artwork, where nostalgia does not remain a failed exercise in style, nor does it indulge in the perverse, but is cue to genuine feeling and graceful beauty. Where it is clear the use of an analog technique as old as silk screen printing, the regular composition that fills the sheet diagonally, the choice of muted colors drawn from a path already traveled, here it is really worth yielding to this force of attraction to discover that it conceals much more. Provided, however, that one is willing to question one's nostalgic perverse devotion to the past in order to embrace a more real and genuine feeling of sweet and docile regret.
Art Curator Federica D'Avanzo
Kasandra Hendy
DOWNCAST TROPICANA
Kathrin Górczak Kathrin Górczak is a young artist from the Netherlands who approached the world of art and sculpture a few years ago. Her ability to render plastic volumes with a technique somewhere between the realistic and the abstract is evident. Her ability to work with different materials allows her to express herself with an extremely personal and sophisticated style. She focuses on faces, concentrating all feelings and emotions there, without depicting bodies in their entirety. In the sculpture 'BOXER', she represented the muzzle of a dog whose breed is perfectly recognisable. The plastic work in clay and the golden colour allow the creation of soft chiaroscuro. Kathrin uses a realistic style. Each of her artworks is the result of meticulous research into shapes and volumes and the result is astonishing. In this artwork, the dog is somewhere between the realistic and the fantastic, creating a contact with the audience who see a familiar image but are at the same time enraptured by the artistic dimension. Light bathes the surfaces and determines the typical folds of the Boxer's skin. Its snout gives melancholic sensations, a sculpture that is inserted into an undefined space and time. The dog conveys bewilderment, loneliness and through these feelings manages to empathise with the viewer. In 'EGYPT PANTER', the artist emphasises the decorative character that distinguishes his style from simple sculpture. The contact between shiny black and gold embellishes the whole, bringing the animal into a semi-mythical, almost mythological sphere. Kathrin always starts from a study of the animal and its morphology. However, she does not limit herself to a realistic representation. She goes further, adding golden decorative details that give the animal royalty and soften its most disturbing features, such as its gaping jaws. The result is elegant and refined. In 'WOLF', the details are amazing. The rendering of the fur is extremely realistic and the black-gold contrast is winning. The eyes are the focus of the artwork, as in previous sculptures. The animal is meticulously realised. Despite the fierce gaze, there is an elegance and refinement evident. The volumes are plastic and the texture is well realised. With these three paintings, Kathrin communicates to the viewer her great skills as a multifaceted artist. She does not just sculpt. She makes her artworks unique and irreproducible pieces. The viewer is overwhelmed with empathy for these animals, despite the ferocious appearance they may initially give.
Art Curator Ilaria Falchetti
Kathrin Górczak
BOXER
Kathrin Górczak
WOLF
Kathrin Górczak
EGYPT PANTER
Ken Hunter "I feel as though art is inspired by feelings" Ken Hunter
Ken is proving himself to be ever more innovative and in step with the times. He does not stop at creating his works, but works on them, looking for novelty and food for thought. At the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. Ken presents two new works Sekushi Dansu and Joker's dui Fugo. Inevitably, an artistic reference is evoked: Ken's works are the technological and innovative version of Monet's impressionist series, the Cathedrals of Rouen. A study on colours that sees the representation of the same subject under different lights throughout the day. Well Ken reinterprets it in a digital key. Innovation is the artist's trademark for the exhibition PRETTY PERV.
Ken Hunter
Sekushi Dansu is a digital work rendered to represent four variant quadrants of the original work and Joker’s dui Fugo also is a work digitally rendered into three sectors of space to present a paradigm shift of juxtaposed semblance of orientation to the original. Innovation is the artist's trademark for the PRETTY PERV exhibition. An additional new element, that of digital work, attesting to a great and long-awaited return, that of our beloved artist Ken Hunter, who does not give up his compendiary style. With this, the artist evokes the postimpressionist and expressionist current and also links up with the more recent graffiti art trend. Ken always presents us with another slice of life, experimenting and reflecting. This is why his art is considered sincere and honest and his works are characterised by courage, his confident and direct, decisive style. His way of representing life and human affairs can be associated with primitivism, his trademark.
Art Curator Mara Cipriano
Ken Hunter
Joker’s dui Fugo
Ken Hunter
Sekushi Dansu
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KENSE
A swirl of shapes and colors pervades our vision. Our perceptions are confused by the multitude of elements that "Another Story" vividly displays to our gaze. As in a multidimensional journey, we are catapulted into multiple dimensions. One follows the other and the pace of the journey is unheard of. In the blink of an eye we are catapulted into new universes, into new worlds characterized by unprecedented skies and atmospheres. At the top we glimpse a totally open eye. Behind it a window resembling a portal. From the eye flows a river of tears, colorful tears that flow directly into space-time. Through this river, propelled by the current of imagination we can wander from one universe to another in peace. And there, above a tear, the new journey begins. We leave behind a sky shining with the light of the sun and the moon and are about to cross the threshold of the new world. Yellow and green stripes with peculiar drippings welcome us. The river flows and we navigate with it. Small dots of greenish and orange color overlap one another and then give way to a universe characterized by marine shapes and colors. Swirls of water tower above threadlike blue and pinkish elements, their sinuous motion arousing our attention for a moment. Although our bodies still feel moved by the sea waves, the scenery changes in a split second. Now red and bluish clouds introduce us to a fiery, red and extremely hot world. One gets the impression of having been catapulted into an ancient era, an era where mythological beings ruled the world. And there pops up, right next to us, a sharp-toothed dragon intent on spitting burning tongues of fire. Behind him, paradise. A vast green space makes us forget the turmoil and fear caused by the dragon. The memory goes to a mysterious and atavistic Garden of Eden filled with flowers, greenery and butterflies. We have reached our final destination, all that is left is to lie down on the grass to recover all our energy. KENSE with "Another Story" condenses a long mental and temporal journey into one work, a symptom of his mental processes, imagination and artistic production. This work is the fiftieth work in his repertoire, and in every small variation of color, in every nuance, in every subject depicted one can savor some characteristic of his past artistic processes. Now that we are on the lawn, lying down, we have plenty of time to remember and assimilate everything we have seen in "Another Story" thus assimilating the artist's story.
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Art Curator Lisa Galletti
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KENSE
Another Story
Kerstin Kager
Kerstin Kager is an Austrian artist whose passion for art dates back to her childhood. The artist's works of art deeply recall impressionism. The artist Kerstin Kager is once again a guest of the "PRETTY PERV" exhibition organized by M.A.D.S. Art Gallery, during which she exhibits five works of art with a romantic and delicate atmosphere. Two of the works on display "Dance in Pink" and "Tango Night" are reminiscent of a real storyboard, in fact the work is as if it were made in stop-motion. From a certain point of view these two works recall the works of Pierre-Auguste Renoir, but above all the theme of dance, of tango, in particular, can be found in the works of art of Pedro Alvarez Castellò, master in the representation of the dance of the tango. On the same wavelength we find "Side by side" an apparently simple work, but which embodies a whole series of feelings and emotions that are conveyed by two dancers able to convey the passion and feelings that music wants to convey, so the artist expresses these feelings and emotions through ink and sinuous lines. The other two works on display, on the other hand, immediately recall the works of Claude Monet, in particular the work "The Poppies". The poppy embodies various symbologies, in particular it represents sleep and oblivion due to the legend of which it is the protagonist according to which Proserpina, daughter of Jupiter and Demeter is kidnapped by Pluto, king of the underworld to marry her. According to legend, the birth of the poppy can be traced back to Proserpina's return to Earth for six months a year and would symbolize the passion of Pluto's who awaits her.
Art Curator Martina Viesti
Kerstin Kager
Dance in Pink
Kerstin Kager
Red poppy
Kerstin Kager
Red
Kerstin Kager
Side by side
Kerstin Kager
Tango Night
Ketil Eriksen Ketil Eriksen is an artist who focuses his artistic production on abstraction, in particular his research is based on the relationship between the full and the empty, the latter consisting of the white of the canvas, while the full of color, which the artist pours on the canvas. He himself says: "The driving force is to express myself and be creative. The inspiration comes from colors, shapes, patterns and nature. My artistic expression is spontaneous and expressive." The technique in fact recalls the Action Painting of the famous American painter Jackson Pollock. What, however, in Ketil Eriksen is evident and original is the concentration of color and of the flows, at the center of the canvas, creating a sort of circular mass, which contains moments, instants, impulses and gestures. On the occasion of the exhibition held by M.A.D.S. Art Gallery, entitled "Pretty Perv", the Danish artist presents two works on canvas entitled "COMPOSITION". From the title it is possible to perceive the importance that Ketil Eriksen reserves to the composition, the combination of colors and the position that the color occupies on the surface. In both versions, the dominant color is black, always combined with another color: in the first case to yellow and in the second to orange. The second color, placed in contrast with black, helps to create depth.
Ketil Eriksen As mentioned above, Ketil Eriksen creates his works using layered color. It is interesting to note that in the first case, yellow is placed over black, while in the second, orange is in the background. These substantial differences produce two very different effects. In the first case the yellow emerges, approaching the spectators, resulting more disruptive. In the second case, orange helps to create depth, and leads viewers to go beyond the chaos, and focus on the color spots in the background, producing an effect of calm and relaxation. The contrast between the white of the canvas and the black and the circular figure produced by the gestures, refer to Buddhist Zen art. In fact, art becomes an instrument of meditation, a moment in which the force of gesture and impulsiveness are transferred and captured on the canvas, returning to the public those personal and intimate emotions of the artist.
Art Curator Giorgia Massari
Ketil Eriksen
COMPOSITION
Ketil Eriksen
COMPOSITION
Kim Esty
Three paintings with a positive vibe that accompany the viewers into their magician landscapes. The artist Kim Esty has chosen to interpret the ‘Pretty Perv’ concept in a different way, making of the Italian landscape and of summer, her idea of ‘perv’. The three paintings can be considered as the lady’s voyage through the Costiera Amalfitana, where she has captured her beautiful moments. Three paintings that can be used as a sort of ‘travel diary’ in order to excite the viewers. Bridgitte, the main character of the scenes is depicted in detail, the attention to the particular signs is something studied by the artist herself. Looking at the scenes it seems to be there, inside it, and to feel the wind brushing the lady’s hair as in ‘Windy Sorrento’; the sun caressing her face, as in ‘Positano Bride’ or the sea’s smell as in ‘Bridgitte on the beach’. The meticulous use of the colors and lights, create a soft sensation and a calm atmosphere that touches the viewers’ attention. The theme of the exhibition is here, thanks to the artist’s ability in using and making her own interpretation, something approachable.
Art Curator Martina Stagi
Kim Esty
Positano Bride
Kim Esty
Windy Sorrento
Kim Esty
Bridgitte on the beach
Kim Paolo Muyano "Color owns me. I don't need to try to grab it. He owns me forever, I feel it. This is the meaning of the happy hour: color and I are one. I am a painter." (Paul Klee)
Primarily linked to the immediacy and gestures of abstract art, the Filipino artist Kim Paolo Muyano has managed to generate a personal theory of colors, which impose themselves as the undisputed protagonists of his works. Strongly introspective and personal, his artistic poetics was born and developed from the numerous experiences generated due to numerous episodes linked to schizophrenia, and the artwork "The Distance Between Us" is the perfect reproduction of his interiority. Each color is represented by a representation and, although the work at first glance may be simple, in reality it hides a very strong intentionality, linked to the artist's desire to show his personal vision of himself and of the outside world. How his being relates to concrete reality and how this relationship is subsequently elaborated. The observer is encouraged to discover the multiple facets that colored lines can assume and to investigate the various functions and meanings that colors hide.
Art Curator Federica Schneck
Kim Paolo Muyano
The Distance Between Us
Klaus Bröking The amount of chiaroscuro an idea harbors is the only index of its profundity. (Emile M. Cioran) Sometimes inspiration comes to the mind unexpectedly. For an artist, who bases each of his works on the timely impulse of an intuition, inspiration is an essential element. But what about the ways in which that inspiration attempts to emerge? Klaus Broking, a prolific painter, usually conveys his imaginative flair above all in acrylic painting, but with chiararoscuro he has shown that he is also sensitive to an unpredictable intuition, which led him to experiment with a completely different technique. Starting from a pre-existing photo produced by an acquaintance with midjourney AI, Klaus reworked the creation in an original way, expressing his own personal perspective. If the original creation was a suggestive and visceral set of blood branches (similar to those of the synapses), in the modified version the drama of the image is accentuated with a violent chiaroscuro contrast. The almost Caravaggesque play of light and shadow gives the whole an intriguingly dark aura, which invites the eye to focus on the voluptuous central part. The seductive tangle of bodies is lashed by a powerful beam of light, which "surprises" the elusive figures in a murky embrace. The artist has managed to emphasize the attention on what was originally a section of the artwork, and made it the protagonist of a new interpretation. The composition emanates a hidden tragedy, which lies between the dark ravines of the bodies and spreads outwards like an omen, as gloomy as it is cathartic, as sinister as it is irresistible.
Art Curator Chiara Rizzatti
Klaus Bröking
chiararoscuro
Komatsu Rikako “We become not a melting pot, but a beautiful mosaic. Different people, different beliefs, different yearnings, different hopes, different dreams.” (Jimmy Carter) Diversity as a wealth; diversity as knowledge; diversity as a source of inspiration for their own growth. Komatsu Rikako is a contemporary Japanese artist who is continually searching for the meaning of life, the mission she must fulfil during her existence, the facets of everything she can perceive with her senses. Through her art she wants to send a message: being able to understand that not being the same does not mean being worse; the differences are wonderful because they allow you to discover every aspect of the world. “Aurora” (2022, ink on paper) and “Light of Hope” (2022, ink on paper) are the representation of two landscapes, which in turn want to be metaphors. Aurora is the moment that precedes the rising of the sun: it heralds the disappearance of darkness, a phase of rebirth and change. Hope is a light that illuminates our path in a difficult moment when the solution to every problem seems impossible to find. Nature is the mirror of every man's life: it is a cycle in constant revolution, it upsets the balance and then returns to harmony with the universe. In "Adorable" (2022, ink on paper) the protagonist is the face of a little girl who comes to life thanks to the combination of a few instinctive brushstrokes; tenderness and innocence characterize her still very young personality. Below right, a cat looks at us. Art is a way to express one's thoughts and represent one's emotions. The collection of the Japanese artist's works is like a diary: it is a collection of unique memories, reflections, and emotions.
Art Curator Camilla Gilardi
Komatsu Rikako
Adorable
Komatsu Rikako
Aurora
Komatsu Rikako
Light of Hope
Kristina Vanous “It is our ignorance of things that causes all our admiration and chiefly excites our passions” (Edmund Burke)
Sirens are mythological beings that have stood out for their beauty and, at the same time, for their monstrosity. As Circe told Homer in The Odyssey, he had to be strong in front of these monsters and get away from them because they pretended to be beautiful and good women, but they were not: with their pleasant voices they enchanted the sailors in order to distract them and end their lives. Thus, sirens are a perfect example of how something that is terrifying, mysterious or unknown can become attractive, how a beautiful appearance can catch someone's attention even if it is deceptive. Kristina Vanous reflects this contrast and relationship between the beautiful and the sublime in her series "The Sirens", where it is possible to contemplate a transformation process of these beings through their facial expressiveness, postures, textures and the colors used. Her paintings capture much attention due to the details and realism employed, they also show how the dividing line between these two properties could be so thin that it might be possible to become perverse.
Art Curator Liliana Sánchez
Kristina Vanous
Hearts Desire
Kristina Vanous
Dangers Ahead
Kristina Vanous
Ursula
Kuli Eita If we tried to turn on an analog TV set (the kind that was all the rage many years ago), we could probably make out the residual noise of the BigBang. An untuned TV picks up a whole series of electromagnetic signals that it cannot interpret and that give us the "snow" effect and the characteristic rustle. These include 1-2% of the cosmic microwave background, dating back 380,000 years after the Big Bang. During the Big Bang, the visible universe was concentrated at a point much smaller than an atom. In those very early stages, the universe was composed of a very hot concentration of energy, subject to fluctuations of a "quantum" nature. The primordial quantum fluctuations were so intense that they disrupted space and time, so there must have been zones and times when distances shortened, others when they lengthened. This phase, still beyond the reach of our measuring instruments, lasted for nothing: roughly 10 to 36 seconds, or 0.00 ... 01 seconds, written with 36 zeros. In an immediately following phase, and for an equally short time, the universe exploded hyperbolically, expanding 1040 (1 followed by 40 zeros) times: portions of space much smaller than an atomic nucleus were, thus, projected on a cosmic scale. Kuli Eita in "BIGBANG" represents precisely this phase of the birth of the universe, the moment when all matter (including dark matter). is thrown at unheard-of speeds into all corners of the universe. The artist, through the force of color and the expressiveness of gesture attempts to reproduce that particular moment where everything was created. The expansive force is evidenced by the chromatic swirl that characterizes the composition. Like a ball of matter and energy, the chromatic mass moves, twists and expands at unheard-of speeds. The artist's hands and fingers move in unison with his brain to create a highly direct image, a mirror of his soul and thought. And this is how red, yellow, white, greenish and fuchsia combine in unison. Layers of color upon layers of color, veils of pigments layer on top of each other to create a mass of three-dimensional energy. The ball of matter seems to ignite and at the same time expand, it seems to spin on itself and at the same time spill outside the limits of the composition. Atoms form and matter begins to vibrate, dance acquiring an infinity of chromatic variations. It is the beginning of everything, the beginning of the universe and of all life. It is the incipit, the beginning of history and time. "BIGBANG" is the event that unites any element in the universe, any form of life. The atoms that make up our bodies and all matter that we see came into being at that very moment, in that tumultuous moment that we call BigBang.
Art Curator Lisa Galletti
Kuli Eita
BigBang
Laura Benitez
Laura Benitez is an artist who finds her inspiration while travelling, since a young age. During her trips, she likes to analyze the light and shadow, contrasts, perspectives and other concepts that gradually became a part of her routine during these trip hours. She experimented drawing with different mediums, during her childhood, charcoal and oil paints were her travelling companions, she then tried pastels, untill she found out about the ink and fell in love with it, creating magical, highly details drawings that brings the viewer into a trip through her fantasy. The pen, a simple and ready-to-go tool with which a special relationship was born; Laura was able to master its drawing technique creating artworks focused on the abstract style, which was where she felt most comfortable.
Laura Benitez
"Life is hustle and bustle, movement and stress. We don't stop to observe the small details of life. We immerse ourselves in our day to day lives without looking beyond our surroundings." Laura uses these words to describe the philosophy behind her work, then continue saying: "life is also about harmony, beauty and love. Family, friends and good times that give us the peace we need. " Her work invites the viewer to immerse themselves into these thoughts, to relax and think of all the positive details that one might be overlooking in life.
Art Curator Salma Eltoukhy
Laura Benitez
Scent
Laura Benitez
Life
Laura Gómez
Laura Gómez was born and raised in San José, Costa Rica. She is a graduate degree student in Advertising Design, and currently works as an Art Director. Laura Gómez's artistic production focuses on the creation of collages, which she herself defines as “Collages for me are the most freeing type of work I can do. It is where I play, I let my intuition flow and forget all rules. Every piece is unique and reflects a specific moment, a specific stroke of inspiration. " The ability to redefine existing images allows her to give free rein to her imagination and creativity. Laura Gómez is guest, for the first time, of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "PRETTY PERV" she exhibits three works of art that combine completely different elements in order to create a unique contrast and an ethereal atmosphere. The use of colors and elements seems casual, but, on the contrary, everything is perfectly coherent and balanced. Each of the three works conveys a different emotion and mood, the use of colors, in fact, allows this differentiation on an emotional level. From a real catharsis, we pass to a great energy discharge. The research and creation of completely new things from pre-existing elements allows the artist to fathom the range of human emotions and convey them as she chooses, thanks to a great artistic awareness and a profound aesthetic taste.
Art Curator Martina Viesti
Laura Gómez
Sunset
Laura Gómez
Sunset2
Laura Gómez
Sunset3
Laura Hogan Laura Hogan is a professional American artist, currently living and creating in England. She has shown in galleries around the world including Ireland, New York, Oregon USA, Moscow RU, and London UK and her paintings have been published in International magazines. With her background of interdisciplinary studies in fine art and neuropsychology, Laura’s artistic development is braided between her life-long curiosity for phenomenology and the subjective nature of the shared human experience. She describes her work as artistic depictions of action potentials (thoughts) in the brain, traveling to neurons through synaptic clefts via a process called neurotransmission. Through these creations, Laura explores subjects dealing with space, time, and thought. Once a piece is presented, the viewer is responsible for generating their own interpretation, encouraged to delve deeper into the relativity of the mind. At “Pretty Perv” exhibition hosted by M.A.D.S. Art Gallery, Laura presents three works. “Bardo” takes its name from an ancient term used in Tibetan Buddhism and refers to a state of transition or liminal existence, as one passes away and begins a middle life; a life between death and rebirth. At its root, Laura’s work focuses on the investigation of these ‘between’ states; the existence of life between lives, the materials of space between spaces. With this work, she wants to remind us that we are all in a constant state of bardo, for we are all just space, living between spaces, living, dying, and rebirthing at once, always. ”Germinate” is the first painting Laura had a vision of before creating it, developing it thanks to a ‘quantum focusing’ session, designed to sharpen the senses to the subatomic functioning of the body. During the session, it was “as if my face was about to rise to the surface but had not quite made it yet”, she says. “It was as though I was a seed that had been germinating under the earth and was ready to break through the surface. My inner growth was ready to come forward and be externally seen.” “Memory I”, the last artwork presented, considers how memory shapes, fragments, and decays over time. There is a theoretical particle in physics called the Anyon, a two-dimensional digital material that can be built upon in a threedimensional theoretical plane. As anyons adhere to one another, they begin to create an image or form. Laura therefore relates this process to the way we create memories: “Memory is a theoretical material that we build within our minds to create something different to what it once was. Often, memories are fleeting; as quickly as they are created, they can also decay, and pass away."
Art Curator Matilde Della Pina
Laura Hogan
Germinate
Laura Hogan
Bardo
Laura Hogan
Memory I
Lauren Forcella "My paintings are love letters to our very alive and deeply intelligent planet" Lauren Forcella
The painting experience of the talented artist Lauren Forcella has developed over twenty-seven years of study and practice. The artist looks to and evokes the Impressionist masters, and her art follows in the wake of en plein-air with which she creates what we can call contemporary Impressionism that embraces Expressionism. Her works are generated by contact with nature, which is seen as "intense and radiant but also restful and loving". Aspen Sky, Colorado Gold, Shaded Byway are the works presented by Lauren at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. The three works are of a unique intensity, generated by the use of colour and handling of space. Her paintings are imbued with vivid colours and animated by movement and impasto brushstrokes. The thick brushstrokes not only add dimension, but also give an emotional sense to the work. Her painting, as the artist states, is wet-on-wet, also called 'direct painting' or 'first strike' (from the French 'a premier coup'). In this style, each section of the painting is completed on the first pass, there is no drying and reworking. Her style is fresh and direct because it translates the emotional connection she experiences in nature. As the artist created Aspen Sky while she was able "to roam Colorado this year as the colors were changing and was utterly mesmerized looking skyward through the aspen, their leaves sparkling like gold coins. I used rich colors and spirited brushwork to paint my favorite view of this magical tree. A great painting for lifting the spirits and igniting the imagination". As for Colorado Gold she says "Up to their necks in molten gold and capped by an electric blue sky, a grove of leggy aspens throws deep shadows at their feet. I used thick emotive brushwork and a palette of pure sunshine to share the spirit of Colorado". And finally Shaded Byway represents "Pine trees on the right are linked by afternoon shadows to oaks on the left. This late summer day in San Francisco is depicted with thick sweeping brush strokes capturing the beckoning power of a sun-dappled trail".
Art Curator Mara Cipriano
Lauren Forcella
Aspen Sky
Lauren Forcella
Colorado Gold
Lauren Forcella
Shaded Byway
Le visionnaire sur la lune
When everything becomes dark, the deepest fantasies, perversions and emotions awaken Le visionnaire sur la lune’s creative mind to be transformed and become reality in her artworks. Just like an instinctive need, every impulse turns into a mythological creature or a symbolic personification of her figures. Charming, but at the same time frightening, human-like creatures are the representation of what we feel and think with our inner self. Sometimes what we feel inside is good for us, but sometimes it’s an intermix between positive and negative emotions, creating intricated feelings that are harder to introspect: appealing and intimidating.
Le visionnaire sur la lune
The complexity of these characters makes us reflect on the real nature of humans and how every small interaction or action is actually compounded by multiple factors, which might be in contrast with each other, just like a paradox. And like a paradox, there is no straightforward explanation to what we experience, as the solution might be covered within the intricated experience itself. The Italian artist Le visionnaire sur la lune – Rebecca Fiaschi – awakens these mystical creatures for the current exhibition, to show different identities of the unconscious Freudian id and how they come together to create infinite combinations of humankind’s identities.
Art Curator Francesca Mamino
Le visionnaire sur la lune
Blue Morph
Le visionnaire sur la lune
Genesis of a naiad
Le visionnaire sur la lune
Reveal
Le visionnaire sur la lune
The invisible
Leah Anna Beauty awakens the soul to act. (Dante Alighieri)
Leah Anna's journey into the art began as a therapeutic path to express herself and her emotional universe, and she found her ideal dimension in paintings with fairytale and evocative features. Leah has shown a remarkable talent in creating works of remarkable compositional taste and great refinement, evoking the superb elegance of Klimt's paintings. The artist demonstrates a particular predilection for portraits of beautiful women, which she surrounds with a symbolic and dreamy scenario. A magnificent example is Rise, the painting presented during the "Pretty Perv" exhibition. The multiform and variegated background recalls the multicolored stained glass windows of a cathedral, and alternates with geometric motifs, which are ripped apart by a vibrant stream of yellow light, which unravels from above, until it touches the woman's forehead. The keystone of the artwork is a great balance of geometries and chromatic contrasts without one element prevailing over the other. The stiffness of the lines in the background fades into the girl's soft tawny hair, which also evokes the splendid pre-Raphaelite ladies, and the flatcolored harlequin of squares, breaks and circles shatters on the delicate shades of her face. The expression of solemn abandonment, the half-closed eyes and the softness of the elaborate dress give the idea of a sublime lightness, and transport the mind on an imaginative and enchanted level, ready to surprise in every detail.
Art Curator Chiara Rizzatti
Leah Anna
Rise
Leigh Witherell
The current collection presented by the American artist Leigh Witherell is a statement of how women are perceived in society and how decisions about their bodies are being taken away from them, after considering the state of facts in the United States. Naked, beautiful bodies are the protagonist of the collection, they don’t allow to reveal their own face. You are not seeing me, you are only seeing my body. Decisions about who I am are made because of failure to go beyond this perspective, forcing a lack of control for my own body.
Leigh Witherell
The collection stands act of protest, going against what is dictated by the authorities, but instead following the inner voice. The voice that seeks an objection to the state of facts, I will withstand your decisions and go against them. An interruption of the status quo to claim the choices for what is mine and belongs to me. It is my body, you cannot decide for me. With the current collection entitled ‘See me’, Leigh wants us to go beyond the bodies represented and reflect on the story of each of these women. How is their body perceived by others? Why do the others feel entitled to make decisions about these women, can’t you truly see them?
Art Curator Francesca Mamino
Leigh Witherell
Breathe Me
Leigh Witherell
Ocean Freedom
Leigh Witherell
Shy Girl
Leigh Witherell
The Look
Lena Magnusson Confronting Lena Magnusson's work Dead Desire is like peeping into the window of a building and entering the intimacy of two people at the moment of the end of a love affair. As we peer in, we only catch a fragment of their existence, given the absence of specific objects or physical characteristics.In particular, the fleeting gaze of the two figures, almost absent, becomes the absolute protagonist, along with the woman's hands. The male figure is disappearing from the pictorial space, perhaps leaving the life of the woman, who instead remains, powerless, taking a moment for herself while smoking a cigarette. Everything that is related to feelings is often the bearer of great pain. It takes courage to sink into desire, which is then free-falling. Being able to let go brings great courage. Within the work, the only two colours are contrasting, blue and red symbolising sadness and love coexisting respectively. The suffering that the work conveys is lacerating. It is a kind of epiphany that leaves a trail of magical revelation. After the epiphany, we are no longer who we were before its arrival. We are catapulted into it and come out with a different awareness: this sadness is real, we suffer as much as we love. We are or have been a part of something, a lot or a little, we have packed our bags, driven by desire, we suffer, and we wake up with the feeling of emptiness after the separation, the realisation that what was there is not there, sadness takes over. If it is frightening at first, it is a natural part of the human heart that is sometimes broken and over which we can give the attention and love it needs. The emptiness can be filled with no other love than that for your life.
Art Curator Giulia Marchegiani
Lena Magnusson
Dead Desire
LEVL9 (Sasha Pyle) Perhaps it is not very well known but digital art was already present in the 50s, although it has spread since the 80s. Digital art was born from the experiment of two mathematicians and programmers, Ben Laposky in the United States and Manfred Frank in Germany, art lovers, who redesigned the concepts learned from the constructivism and rationalism of the Bauhaus. Artists from all over the world have experimented with optical art and its research on two-dimensional illusions and even mail art in the 60’s/70’s, which united users from all over the world in a network of virtual links by sending and-mail. It is therefore not a novelty to see digital artworks on our PC screens today. However, it becomes more interesting when the final works are born from the mixture of elements and pre-existing physical works. This process of creation was adopted by the artist who works under the pseudonym LEVL9. Her work spans different fields of art and her digital works are actually the overlap of a series of drawings, prints and paintings created over the years. What characterizes the art of LEVL9 is its tendency to decadence, to create a dark and very evocative art. Her digital compositions are rather complex and with recurring themes such as dark and indeterminate space, the unknown, the dreamlike. These aspects are clearly visible in the series of works "Baroque Decay". In the masterpiece "Baroque Medallion", for example, we can guess the presence of elements belonging to classical art that have undergone a process of distrorsion and fragmentation so that they are hardly recognizable. The artist’s experimental process combines countless applications, filters and programs. Photographs and drawings are always the initial source material. "Crumpled Armor" instead tells us about a still life of metal objects with a medieval flavor once again, completely fragmented. In "Talisman", however, some elements are recognizable: a winged heart floats in a turbulent sky on an abstract landscape. It recalls an ex voto, the request for protection typical of medieval religious cults. LEVL9 is an eclectic and visionary artist, able to combine artistic currents of the past to the most modern technologies for art.
Art Curator Eleonora Varotto
LEVL9 (Sasha Pyle)
Baroque Medallion - "Baroque Decay" serie
LEVL9 (Sasha Pyle)
Crumpled Armor - "Baroque Decay" serie
LEVL9 (Sasha Pyle)
Talisman - "Baroque Decay" serie
LI LAN “Every child is an artist; the problem is staying an artist when you grow up”. (Pablo Picasso) Iranian artist LI LAN has always been interested in the art world, from painting to drawing. Her creativity then developed into a passion, the creation of works. Her work, characterised by a light stroke with few lines, expresses what she sees in her dreams. Simplicity, of lines and conception of the image and what it wants to express. His portraits, characterised by a new vision of reality and the awareness that there are forces existing in nature linked to human feeling and thought, stimulate the artist to attempt a new artistic approach. His drawings, with their seemingly childish forms, represent a concept of inner necessity that is reflected in the lines and colours. As if the guiding thread were the interiority that gives the work of art the task of penetrating the depths of the self. The drawings open up to interiority, LI LAN represents something shining from within, representing something to be perceived with the mind. The forms do not deviate too much from reality, but manage to evoke it. Images, or rather forms, that are conceived as if they were realised and developed in the mind of a child. The viewer is thus confronted with images that evoke childhood memories, but in which one can also identify, find strength in the lines and spatial strength in the colour. The images are represented by well-defined, linear colours. Everything is represented on the same plane, transforming the work into a surface with different decorative motifs.
Art Curator Giulia Fontanesi
LI LAN
Qajar women 1
LI LAN
Qajar women 2
LI LAN
Qajar women 3
Lili Gomes “Art is a way of expressing feelings, emotions and a reflection of daily life” Lili Gomes
Powerful, strong and decisive is the art of Lili Gomes at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. Lili presents her work, Explosion and introduces us into her abstract and dynamic universe. Her work is fully described by its title and evokes that current we call Action painting. Lili drips colour spontaneously, throws it, stains the canvas, thus emphasising the physical act of painting itself. We are catapulted into her works that take over our minds, Explosion, as the title suggests, is a work of great impact and the colour palette used emphasises this peculiarity of Lili's even more. Lili is Brazilian, born in Rio de Janeiro and, from a very young age, painting, drawing and listening to music were her favorite things! Her history with art begins early in childhood, where a sheet of paper and a pencil were always on the reach of her little hands. The rainbow inspired her love for colors, which she uses in abundance to express the energy of each moment! Her greatest inspiration is Van Gogh.
Art Curator Mara Cipriano
Lili Gomes
Explosion
Linmay KOMINE "Artworks are archived elements of experiences" Linmay Komine.
On the occasion of the eighth International Exhibition of 2022, organized by M.A.D.S. Art Gallery and titled "Pretty Perv", we are pleased to introduce one of our great artists. The title and in the concept of the event, "perversion" is understood as a modification of instinctive tendencies, abandonment of the faith, of the orthodox, and of the normal. On these assumptions, the Japanese artist Linmay KOMINE presents apparently rationalist, geometric and rigorous works. The use of color is partially bold, with bright color thrusts, on cold shades. The acrylic passes, with vertical movement, create an interesting game, according to which in some trajectories, the drawings are seen more clearly than in others. Looking closely, it's possible to notice some details of images and words that follow one another, as in a texture full of mysteries. It is a reconstruction of an experience lived during a stay in Serbia: a cathedral undergoing restoration appears to the artist as a source of inspiration. It involves him in a different way, it attracts him for this mixture of straight and contemporary forms of the scaffolding, and with the historical ones of the architecture that is hidden underneath. With this series of works, Linmay makes us reflect on how much the single events of our lives, can be affected, during any moment to which we do not pay particular attention. Those unexpected circumstances are a sequence of wonder that gives a sense of awe.
Art Curator Carola Antonioli
Linmay KOMINE
Into Blue
Linmay KOMINE
Progress
Linmay KOMINE
The Veil
Louie Wure Have you ever wondered how the world and the reality we live would be like if each of us freed himself, even if only for an active part, of his own rationality to give full and free rein to his imagination? This is exactly what the artist Louie Wure does in his creations. Through his art he manages to create new, truly surreal worlds, which go beyond reality and imagine a new, different one: a possible window on what everything could be in the future, which could, why not, turn into concrete reality. Yes, because imagination and seeing beyond the schemes are the turning point to open the door to the future and innovation. Observing the creations of Louie Wure it seems to us to be transported to another world, oneiric, without pre-established patterns, without restraint on what reality could be if we only imagine it: we enter a world that manages to go beyond the visible. In the works of Louie Wure we are faced with clear and real images but juxtaposed with each other without any apparent logical connection. In fact, careful observation allows us to read the story that these images tell, they are whispering it in our ears; so now we are overwhelmed by emotions and we too begin our journey in this new world. The works exhibited here are a splendid example of what this talented artist manages to create through his art. For example, in “Kaboom” and “Mali Mali Forever” we see opposite realities and situations dialogue and interact with each other. The first work gives the viewer conflicting feelings and feelings: the anxiety and fear of an explosion are then transformed into the peace and serenity of a red and carefree sunset at the sea. Just as the second work instead brings together two apparently opposite and distant worlds, which, however, billions of years in reality, as history teaches us, were one: we breathe a wind of lightheartedness and freedom. Finally, "Swim In Your Eyes" is a real poem transformed into images. Who among us at least once in their life has not been lost in someone's eyes for what they communicated to us, for what we felt for that person? Just like the gaze is lost in front of the immensity of the sea.
Art Curator Silvia Grassi
Louie Wure
Kaboom
Louie Wure
Mali Mali forever
Louie Wure
Swim In Your Eyes
Louis Anthore
Louis Anthore is a French self-taught artist, his artistic production is strongly inspired by nature, by the colors and by the contrasts that the latters are able to create. Louis Anthore's works of art bring to mind those of Impressionist artists with a profound surrealist streak, mainly due to the choice of colors that the artist uses in the creation. Louis Anthore is once again the guest of an exhibition organized by the M.A.D.S. Art Gallery and on the occasion of "PRETTY PERV" exhibits two works: "beach of saint Malo" and "rocks on the sea". Both works are presented with extremely bright colors and with particularly vivid contrasts. In "rocks on the sea" the sea almost seems to be made of fire, while the rocks seem to be made of ice, hence the surreal element of the work that lies precisely in the choice of colors.
Louis Anthore
The color is deep, compact and it has been spread with great confidence. In the work "beach of saint Malo" it seems to be catapulted onto a beach during sunset, it is not possible to clarify whether there is sand or sea behind the trees, but as in the work described above the artist seems to have represented flames, of a very intense red and orange, as opposed to what seems to be the sky which, on the other hand, was represented with a very soft yellow. Louis Anthore has the ability to represent a landscape making it something completely different and rich from an interpretative point of view.
Art Curator Martina Viesti
Louis Anthore
beach of saint Malo
Louis Anthore
rocks on the sea
Luca Coniglio Where can you draw the line between passion and perversion? Does the line define two different entities, or do they fade into each other within the same body? The artworks by the Italian artist Luca Coniglio make us reflect on these questions, as the two concepts coexist in every image here proposed. Unusual and provoking images are the subjects of his works, reflecting an underlying societal analysis with a touch of sarcasm. His work is characterised by impactful contrasts, given by the minimalistic colour palette and the darker tones, evoke strong emotions over the eye of the beholder. These bold colours create and enhance the figure of the mask in his works, which bring into question our real nature and how the role of the mask contributes to the perception of ourselves. Are we still the same when we wear the mask, or does it distort the normal view of who we are? Could the mask unify passion and perversion? The multidimensionality in Luca’s painting shows his completeness as an artist, manifested in his ability with different mediums. By overlapping different techniques, including AI, painting and 3D modelling, the Italian artist creates different scenarios on the relationship between the mask, passion and perversion that leave open many questions and possibilities.
Art Curator Francesca Mamino
Luca Coniglio
Dichotomy or Duality?
Luca Coniglio
Inverting the Masks
Luca Coniglio
Love is a Zircon
Luca Ripamonti "The artist is a mortal, he has a beginning and an end. Art only a beginning" (Paola Romano)
The artist Luca Ripamonti had his first contact with art at an early age and the influence of numerous local painters will prove decisive for his artistic research. Preferring the oil on canvas technique, the artist experiments with a multitude of different subjects, ranging from still lifes, landscapes to portraits. The peculiarity that distinguishes it lies in the ability to resume the style of the great masters of the past and adapt it in a modern and personal way: this is visible in the artwork "La paura del buio", in which you can see a clear desire to resume the past, through the development of a posture of the main character very similar to the classical statuary, and reworking it to create a bridge, a continuity with the present. The compositional tradition is combined with uncertainty and immediacy, in a strong reference to contemporary society. Luca Ripamonti's art is past, present and also future, it is tradition and recovery, innovation and fidelity.
Art Curator Federica Schneck
Luca Ripamonti
La paura del buio
Lucia Debévère (LuciArt) Beauty is that which is simultaneously attractive and sublime. (Karl Wilhelm Friedrich Schlegel) Lucia Debévère's artistic career has outlined itself as a natural consequence of an innate attitude, strong already from childhood. Her multifaceted talent has led her to particularly deepen painting and drawing in relation to the connection between being a human and the environment that surrounds him. Lucia's works present to the viewer the fascinating dichotomy between life and death in a completely original key, which probes in a suggestive and impactful way a question as old as it is current. Fascinating death immediately expresses the artist's deep interest in the sense of ineluctability of death, and in particular towards the moment when death is about to reveal itself. The artwork opens before the eyes of the viewer like a marine view, in which a boat is about to plunge into the inexorable waves of the sea. The presage of the end is perceptible in every swirling brushstroke of acrylic, in every chromatic contrast, and is enhanced to the maximum degree by the fiery sunset that surrounds the silhouette of the sinking boat. Lucia Debévère metaphorically "photographs" the emblematic passage from life to death, and makes the observer participate in the forbidden pleasure that this concept implies. An ideal that recalls the frightening attraction of the sublime Romantic, and allows everyone to indulge in the contemplation of something fascinating and at the same time all-encompassing.
Art Curator Chiara Rizzatti
Lucia Debévère (LuciArt)
Fascinating death
Ludmila Vorotnikova All human actions have one or more of these seven causes: chance, nature, compulsions, habit, reason, passion, desire. (Aristotle)
Fairy of the Night - one of the works presented for Pretty Perv - represents a plunge into Ludmila Vorotnikova's ideal and symbolic cosmos, and leads the imagination to a delicate and (truly) fairytale level. The wonderful female profile crowned by sumptuous flowers and leaves gives the whole a vivid three-dimensionality, which captivates the eye with iridescent shades of color. The crescent moon that emerges between the floral motifs breaks the soft lines of petals and leaves, and ideally joins with the arabesques in the background, which surround the face as if to form the frame of an ancient cameo. The girl becomes the emblem of a metaphysical beauty, beyond the confines of earthly experience, aspiring to a perfection of enchanting sublimity.
Ludmila Vorotnikova
With Girl and Peonies, the artist takes us to the most intimate dimension of a moment of meditation, embodied by the scarlet peonies that adorn a female face, slightly reclined almost as if to catch the scent of the splendid flowers. The work stands out from Fairy of the Night for a warm allure, like a clear manifestation of a passion hidden in the depths of being, and ready to emerge. It is no coincidence that the artist has chosen to associate this work with peonies, which are considered a symbol of love and passion, as well as of nobility of soul. Girl with Peonies thus takes on an even more complex perspective, and captivates the eye with the sweetness of the face, the luxuriance of the petals and the refined elegance of the hairstyle. Ludmila Vorotnikova immortalizes a glorious portrait of an eternal spring, bringer of wonder.
Art Curator Chiara Rizzatti
Ludmila Vorotnikova
Fairy of the Night
Ludmila Vorotnikova
Girl and Peonies
Luke P. Cooper “I like to paint nature. I enjoy gardening and being in nature. Painting nature is something that I find to be a peaceful and an immersive experience”. Luke P. Cooper
Luke P. Cooper's art is highly personal and at the same time universal. His art is the result of his relationship with the paint material, his study of space, colour and depth. Luke's art reflects his passions: he is a self-taught artist. He lives in the USA in Ohio. He studies architectural engineering and enjoys gardening. His love of nature can be seen and felt in his emotional landscapes. At the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. he presents Garden Space. The spaces he paints are inspired by reality but metaphysical, they are spaces of the soul, labyrinths of the soul in which the observer can recognise himself and lose himself, as Luke himself states "This painting draws you in. You may find yourself staring at it as you imagine yourself there'. Between impressionism and metaphysics, Luke skilfully uses layers of colour, reproducing the visual sensations and perceptions that the landscape communicates in particular light conditions. Vivid colours that fix sensations, instantaneousness and movement are given by the singular technique of our artist who created this piece using only taps fingers to create the texture and to blend the colours on the canvas.
Art Curator Mara Cipriano
Luke P. Cooper
Garden Space
Mackenzie Gregson “Art is not what you see, but what you make others see.” (Edgar Degas)
Mackenzie Gregson is a contemporary Canadian artist whose artistic research revolves around the human figure, with the intention of representing its feelings and emotions. The interiority that characterizes our being in the world becomes for her a fundamental source of inspiration and an important guide in the creation of her portraits. Working with oil paints and other mixed techniques, she prefers a figurative style decidedly influenced by the great masters of the Impressionist and Expressionist periods. Describing her subjects with delicacy and elegance, she lets their fragility and insecurities shine through, without ever forgetting their dignity. In front of the work " Clémentine", exhibited at M.A.D.S. Art Gallery on the occasion of the exhibition PRETTY PERV, the viewer finds himself immersed in a scene of everyday life, as he crosses his gaze with that of a young woman, holding a handful of fruit, while sitting at a kitchen table. The serious gaze and body gestures, so apparently calm, communicate contrasting feelings. The entire work takes on a much more intense and profound meaning, creating an interesting dilemma that leads the viewer to question himself. The choice of colors and patterns that characterize the backgrounds, make these paintings as real as they are surreal, pursuing a path where the exterior-interior dichotomy insinuates itself into every detail. By overcoming the barrier imposed by exteriority, Mackenzie Gregson allows the concept of appearance to dissolve completely, with the intention of showing the beauty of the whole and impressing on her canvases not only the body, but also the soul of those she portrays.
Art Curator Francesca Brunello
Mackenzie Gregson
Clémentine
Maki.ki
The artist Maki.ki is a really interesting artist. She uses digital tools to create particularly fascinating compositions in which the viewer can feel the harmony of the shapes and the colour used. On the occasion of the international art exhibition Pretty Perv she presents three works in which we can see the transcriptions of the emotions and the feelings of the artist. It's easy to understand how she decided to use the art to talk with the observer and explain to him how she feels. The compositions made are varios and full of beams of light and vivid colours as if she says: <<my soul is full of things to say>>. To understand her language and her way to compose the art could be useful to mention her consideration:<<Color has weight. Color cheers us up, but makes us tired. I want to communicate with it and convey beauty.>> In this way the artist Maki.ki is able to invite the observer to join himself in this vision and enjoy the beauty of the art.
Art Curator Elisabetta Eliotropio
Maki.ki
Avalanche
Maki.ki
Heavy color
Maki.ki
Like the bottom of the sea
Manfred Gnad
Watching the artworks made by the artist Mnfred Gnad we can soon understand how the paintings created are really detailed and complex, as if the artist has a lot of things to say. In fact we can see different figures and representations, this means that under each composition there's a different message to send. The style is more representative and figurative, this gives to the vision a mouvement in which the character represented seems to be in action. Starting with the first artwork presented, Hateful people, the artist seems to represent all the stereotypes of persons that he hates most. So we can see different kinds of social rules and kinds of people involved in the action that represent themselves. This vision become for the viewer a pretext to reflect on our live and our experience, maybe we can find someone represented that could be similar to us or maybe we agree with the artist. Also in the other two paitning the vision follow the same process of the one already descripted. The artist wants to create an image detailed that become for the viewer a pretext to stop and think. Whatching to the paintings made by Alfred Gnad is like to listen a story that in the end present a moral that can change our way to intend the reality around us.
Art Curator Elisabetta Eliotropio
Manfred Gnad
Hateful people
Manfred Gnad
Painting Monkey
Manfred Gnad
Who is the First
mankofunk
Mankofunk and his practice suggest perverse thinking as the basis and foundation of our reality. The idealization of perverse defenses and the continuous attempt to seduce the healthy parts of the personality and turn others into objects of an internal representation perfectly describes the thinking that lies at the origin of perverse behavior. A perverse person feels stalked by obsessive and destructive thoughts thinking that human attitudes are not sincere, he then develops destructiveness toward his fellow human beings through thoughts and actions of malignant character. The pervert develops a conflicted personality, his fantasies are always conscious, and he always seeks to harm, humiliate and annoy other people. It then becomes essential to have a scenario in which he can develop his desire for destruction and activity with obscene connotations, which for our artist is nothing less than the reality in which we live. The spasmodic quest to reconnect with nature, the yearning to be present as human beings in every non-participatory event of our species, the practice of continuous intervention in the works of the earth. All this does nothing but generate scratches, fractures, bleeding cracks that will serve as dense curtains from which to try to peer into the place of the sacred unattainable paradise on earth. A place strongly contrasted by the presence of intrusive thoughts that take shape, making it unlivable but even unreachable to the human eye. Mankofunk's work palpates this horrifying viewpoint on pixels.
Art Curator Federica D'Avanzo
mankofunk
serious kitsch
Manuel Galeotti "If we do not understand the images of the unconscious, or we reject the moral responsibility we have towards them, we will live a painful life." (Carl Gustav Jung)
Manuel Galeotti is a freelance artist, cartoonist and illustrator with a marked sensitivity in artistically reproducing moods and the most mysterious and dark sides of the human soul. The characters of his artistic works, of the puppets, become spokespersons for his subconscious and reveal its darker sides: they are ambiguous, at times disturbing representations, which hide different feelings. Manuel Galeotti's poetics are full of mysterious symbols, of elements such as blood as a representation of forbidden desires, suffering and pain. Symbols as filters to study reality, as an aesthetic materialization of thought. "Daydreamer" invites contemplation, reflection and understanding of what the depicted individual tries to express. The artwork invites you to venture inside your subconscious to discover its more distant and dark sides, and then confront yourself with concrete reality. It invites you to enter the world of the artist, to feel empathy and to re-elaborate his message in a more general, universal key.
Art Curator Federica Schneck
Manuel Galeotti
Daydreamer
Marco Colella "Eroticism is one of the bases of self-knowledge, as indispensable as poetry." (Anaïs Nin)
Marco Colella is an Italian artist who, especially during the years spent at the Academy of Fine Arts in Florence, managed to develop a precise painters style with a clear reference to "Shunga", the Japanese erotic art. All his artistic poetics is based on a study of reality, for the purpose of a personal re-elaboration in a more modern and, at a chromatic level, captivating. This research leads Marco Colella to experiment through the use of lines and curves with a marked stroke that intertwine with the colors, very saturated and vibrant, creating a dialogue with a strong compositional impact. The vast color palette conveys the artist's interiority, an intimate and personal world that is not afraid of being shown to the world. A balanced but unpredictable interiority, just as unpredictable are the colors that, mixed with the natural progression of the lines, create a harmonious aesthetic with clear references, at a compositional level, to Japanese art.
Art Curator Federica Schneck
Marco Colella
Love Splashing and Cosmic Dragon
Marcus Escribano "Inspired by my ignorance. Driven by my curiosity. The tools that discipline my creations. I am an artist. I use whatever medium I choose to express my nature. I am not one, but all of these languages to translate my feelings and questions" Marcus Escribano
“I created this piece subconsciously, when I say subconsciously, I mean from the brush strokes to the usage of colors. The intentional form stemmed from love, my muse, as most artists would say. One of my smallest pieces, but the one the evokes the biggest energy.” These are the words by the talented artist Marcus Escribano while describing his artwork called Ianca and exhibited at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. Ianca is a masterpiece of colour, expressiveness and material that evokes the expressionist current. There are three fundamental cornerstones to be analysed: the first is the power of the drafting of colour. The brushstroke is dense, strong and decisive. The woman's features are synthesised and the pictorial material emerges as a tangible sign left by the artist. The second peculiarity is the strong psychological characterisation of the character, partly derived from the above, the power of the gaze and the expression of the subject leave the observer astonished and intrigued. Finally, the palette used emphasises the artist's strong personality that emerges on canvas. The colours are brilliant. Marcus Escribano is a multi-media artist using photography, digital painting, and traditional painting as tools to further his language. His main source of inspiration comes from contemporary issues to European art during the renaissance age and masters such as Diego Velazquez and Picasso.
Art Curator Mara Cipriano
Marcus Escribano
Ianca
Mareshah Yisrael
The art of Mareshah Yisrael is full of different shapes and colors, as if the art was for her the pretext to stop the flow of life and talk in a different language. The artwork she presents on occasion of the international art exhibition Pretty Perv presents a really interesting composition in which we can see geometrical forms embedded in each other. The texture that comes out is able to completely catch the attention of the viewers. Watching her work it's easy to lose the gaze in this game of shapes and feel the power and the energy that comes from this Carnival ride.
Art Curator Elisabetta Eliotropio
Mareshah Yisrael
Carnival ride
Maria Balderas "A certain blue enters your soul." (Henri Matisse)
The challenges faced at a young age allowed the Mexican artist Maria Balderas to develop a personal artistic poetics capable of expressing the difficult experiences lived and the connected emotions. The culture, the experiences and, above all, the problems and concerns related to her being an immigrant woman are the recurring themes within her works, which do not require an aesthetic label as the artist loves to wander and experiment with different compositional styles. Her art ranges from the abstract to the figurative up to digital art and this versatility is also reflected in the numerous intentions of the artist, who not only tries to express her inner self, but at the same time tries to entice the observer. to create a connection with his works and to embark himself on a path of discovery. Discovery of the inner world, of all those personal experiences that can be projected outside, in view of a broader reflection on the various problems of today's society. In "Un Poco Azul" the current situation of women emerges clearly, a situation of difficulty, of struggle, but also of strength and hope. And the blue color is the spokesperson for this situation, it is struggle, hope. Blue is woman.
Art Curator Federica Schneck
Maria Balderas
Un Poco Azul
Maria Obraztsova Z. What we no longer understand, what scares us the most, is however also what we are most attracted to: this is precisely in the nature of us human beings. What is forbidden, perverse, inevitably attracts our deepest desires, which we try to repress and suffocate, but which make their way, creep in and sooner or later try to be satisfied. We are inevitably forced to follow our instincts and our desires, however far they may at times be from the rationality imposed on us by our society. However, artists have always been pioneers of freedom of expression, of always showing themselves, every side of themselves, even the most hidden ones through their art, often also going against common reason and morality. Often the term perversion is, for example, associated with the abandonment of faith, of the orthodox, of the normal. The artist Maria Obraztsova, through the works presented here and created specifically for the concept of this exhibition, tells us precisely stories of faith and love, but also of rebellion, of instinct. Strong, independent and instinctive women are the protagonists of these stories, linked together by a red thread. In the work "Lilith and Samael" the artist tells us the story of a female figure who knows what she wants, independent, ready to do whatever she thinks is right for her, ready to rebel against what was written for her. We can read this pride and determination in her gaze and in the majesty with which she dominates the painting. In the painting "Damoness gift" we see the spasmodic search for power and the will to get what you want, through every possible means, thinking of yourself. And finally in “Eve 2G. Pomegranate” we see the desire for self-determination, to want much more than what we have had up to now, to overcome our limits, pushing us into the unknown: so scary, but at the same time so fascinating.
Art Curator Silvia Grassi
Maria Obraztsova Z.
Lilith and Samael
Maria Obraztsova Z.
Damoness gift
Maria Obraztsova Z.
Eve 2G. Pomegranate
Marie MIZUNO “Wise is the man who contents himself with the spectacle of the world.” (Fernando Pessoa)
The creative process begins with observing the world: Marie MIZUNO is a contemporary Japanese artist who creates works with an original style of which landscapes are the protagonists. Starting from several photos, she creates collages which, thanks to the combination of strong colors, release energy and strength. SWELLED CITY#69 was made in 2022 with the digital collage technique followed by sublimation transfer printing. The predominant color is blue which is contrasted by purple, green and yellow details. In the foreground, a long white line stands out which, overlapping at times on itself, conveys a feeling of disorientation. Looking at what surrounds us with curious and critical eyes can be a turning point. Nature gives us advice; a sunset makes us think of a new beginning; skyscrapers make us reflect on how ingenious man can be; the roads with intersections and detours are metaphors of everyone's life. In some cases - such as in Marie's - the universe and everything that makes it up can be identified with a source of inspiration. Thanks to her creativity, the artist gives a photograph a journey that at its end will see it transformed into a unique work of art. Immerse yourself in Marie's landscapes and set your imagination in motion: what will be the destination?
Art Curator Camilla Gilardi
Marie MIZUNO
SWELLED CITY#69
MARIIA EREMINA
For centuries, patriarchal culture has divided society into weak and strong subjects. Similarly, characteristics that belong to every human being regardless of age and gender, such as sensitivity and awareness of one's frailty, have been attributed only to the weak, women and children, as their natural defects, while men, adult males, have been taught to reject them as something unnatural, degrading and shameful. Art, however, has the unstoppable task of subverting what is described as degrading and literally giving it light. "I feel a strong desire to unveil my fragility, to show it to all those who meet me, who see me, as if it were my main identification as a man in this world (…) Now I want to talk about my fragility, not disguise it, convinced that it is a force that helps one live." So wrote Vittorino Andreoli, the famous Italian psychiatrist, and Mariia Eremina's work seems to rest on this reflection with delicate decision. Large pieces of wood expertly cast with resin colors of the most loved and feared liquids, the most vital. Islands composed of water, oceans floating in air and space, whose strength lies precisely in their fragile presence and improbable existence. One wonders why they choose such an unstable image to exorcise their difficulties through an aesthetic event. The answer lies only in their own improper existence, in the twisted desire of witnessing the fragility of others, in the desire to create inhospitable places in order to come out fulfilled and enjoy their beauty.
Art Curator Federica D'Avanzo
MARIIA EREMINA
INSPIRATION
MARIIA EREMINA
PEACE
MARIIA EREMINA
LOVE
Marju Must "First of all, the emotion! Only after understanding!" (Paul Gauguin)
The art of Marju Must, an Estonian artist, reflects her interest in nature and emotions and transforms this passion into a creative urge that gives her artworks a strong surrealist flavor. Observing "True to your roots" emerges the desire to render the female figure in a precise and faithful way, but in this case only the face is given a more meticulous attention as regards the rendering of details, as the body is embraced, it gives roots and seems to almost vanish. This leads the observer to reflect on what the message the artist wants to convey is, a message deeply linked to personal emotions and emotional states. A message linked to the interiority of the individual and his connection with memories, with the past memory that affects the present. Reality is exasperated, resized, following one's own inner voice and generating a new dimension that conveys the most mysterious and profound inner feelings, a dimension accessible only to those who truly manage to embark on a journey within themselves.
Art Curator Federica Schneck
Marju Must
True to your roots
Markus Roth Markus Roth is a German photographer who creates true works of art. Strongly influenced by everything around him, he captures nature with an expert eye. Markus is able to bring out small naturalistic details that escape a superficial first glance. He allows himself to be blown away by nature's shapes, its overwhelming colours. He uses nature as a medium to represent emotions and feelings. His compositions are delicate but at the same time energetic, elegant and refined. Flowers and plants emerge from the background and become the protagonists of her shots, forming true abstract landscapes, landscapes of the mind. He often works by isolating subjects that are emphasised, leaving the background more blurred. He uses his Olympus OM-D E-M1 Mark III camera and the Olympus M.Zuiko Digital ED 75mm F1.8 (ISO 200 75mm F1.8 1/320s). In 'Cherry blossom', elegance dominates the photographic shot. The beauty encapsulated in this image is astounding. Spring blooming, the scent of the fruit, the petals being pampered by the gentle breeze. Cherry blossoms are the perfect subject to represent this change of season. Pink dominates unchallenged, accompanied by white that lends brightness, the brown of the branch outlining the subject and the green leaves. A profound and reflective meaning is encapsulated in 'Transience'. Markus immortalises an ear of wheat that the wind has bent. The perfection of the sections of the ear, the volumes and the naturalistic shapes that surround us, tell of a beauty that remains unchanged despite the passing of time. An ethereal beauty, destined perhaps to change but never to fade. The tones are green, declined in different shades. Green hope, green like nature that changes but never fades. In 'Cornfield' Markus speaks of uniqueness, of the need to stand out from others. Here too, he isolates the subject, making it a universal symbol of a nature that undergoes transformation every day. The beauty that is born even where life dies out. The bright, shining colours, the contrast with the flower stems and green leaves. The petals letting go lightly. Through nature, Markus captures different moods, sometimes gentle and rational, sometimes restless and contrasting.
Art Curator Ilaria Falchetti
Markus Roth
Cherry blossom
Markus Roth
Cornfield
Markus Roth
Transience
Masaki Hirokawa
Masaki Hirokawa is a renowned Japanese artist whose wide range of activities includes digital artworks, graphic design, smartphone app development, interactive movie production and website development. At “Pretty Perv” exhibition hosted by M.A.D.S. Art Gallery, Masaki presents two beautiful and deep artworks. The first one, "Imaginary Dream," depicts a young girl who, thanks to Masaki's artistic collages, seems to emerge from a mirror placed on a table, embellished with large white flowers standing next to it. The young girl seems caught in the moment of a dream, of a beautiful one as seems to transpire from her outstretched face and relaxed pose. But like every work by Masaki, this work conceals a deep meaning: it in fact expresses the idea that this world, which appears as "reality" to our eyes, is in fact only virtual, a false image, and that in the boundary that exists between these two worlds is indeed mystery and beauty. The ancient philosopher Plato described humans as prisoners chained in a cave, watching shadows from the world of ideas, projected by shafts of sunlight onto the walls of the cave, and mistakenly assuming them for reality. But the truth is not what is most important. It is the hope that people cling to, their joy in living, as well as their sadness and foolishness, for God embraces all people, equally and fairly, with his love. The second work in the exhibition, "Inside Of Me," depicts another young girl caught three-quarter frontally, surrounded by five doves fluttering around her head. The image, thanks to the light from
Masaki Hirokawa
above illuminating the young girl's face but also to the symbolic peaceful meaning of the animal, takes on the connotations of a mystical image full of even religious significance. As the artist in fact relates, the subject put forth by this piece is the conflict which resides within the boundary between self-expression and forms of expression performed by others. At the time when this piece was created, neither the coronavirus nor the current war existed in the world. And when pondering that fact, perhaps this final version has more appeal as a work of art. I suspect that for most artists, to become a human sacrifice to the gods would be an honor. The reason why is because we can find value only in monotonous tasks, knowing that the resulting fruits of those labors are merely incidental to that process, meaning that the means to gaining pleasure and their purpose exist as inverse opposites to one another. However, within us resides as well that dogmatic desire to become closer to God, despite our bodies of flesh and blood, just as the soul of a suckling child seeks its mother's breast. As far as God is concerned, both desires shall please him equally. In our current situation, while the energies of the fundamental world continue to change, it feels as if we are being watched over, to see which path humanity will take. However, whether a baby cries or laughs, it remains an adorable creature.
Art Curator Matilde Della Pina
Masaki Hirokawa
Imaginary Dream
Masaki Hirokawa
Inside Of Me
Matthias Eitner “Illusion is the first of all pleasures.” (Voltaire)
Matthias Eitner is a contemporary German artist whose artistic research, profoundly influenced by the Expressionism of the first two decades of the 20th century, aims to portray contemporary society through the transgression of body and mind. His works, in fact, often depict scenes of daily life of perdition, where the subjects wrapped in coarse and rapid brushstrokes convey a sense of unease. Moreover, the choice of using colors that are completely disconnected from reality, contributes to making everything even more psychedelic and deviant. In the works ("Among others"; "Berghain") exhibited at M.A.D.S. Art Gallery on the occasion of the exhibition PRETTY PERV, he intrudes, recording as closely as in a photograph, some moments of confrontation with oneself in the face of society.
Matthias Eitner
The artist's intention is to analyze the concept of identity and the way in which we are and want to be recognized by the people around us, moving the limit ever further forward. In this way, he pushes the observer to question himself and to doubt his own self-perception. The anguish emanating from his canvases makes the atmosphere damp and slippery, altering and blurring any points of reference. Complete freedom of expression thus meets uncertainty and the fear of having forgotten one's values for a moment, leading the mind into a dark abyss. Matthias Eitner's works represent the difficulty in struggling with oneself for survival and the consequent need to break the rules. They tell of a freedom that human beings have always longed for, but which will always remain a momentary illusion.
Art Curator Francesca Brunello
Matthias Eitner
Among Others
Matthias Eitner
Berghain
Mayumi Kyogoku
The spark of life. They call it a spark; in reality, it is still unknown how it comes into being, how it evolves and what processes underlie the creation of existence. From a simple cluster of proteins, water and amino acids, one of the most complex and most mysterious processes in the entire universe takes shape: how did life arise and how does it come into existence? To this day, an unanswered question, a question that has engaged scholars, philosophers, religionists and scientists to this day. We are not given to know about the birth of life; we can only admire its wonder in all its splendor. And that is how Mayumi Kyogoku formulates her works. Her representations are filled with vital energy and, in a way, she translates into images what she sees as the representation of life. Through the use of imagery rooted in the real and the nature we can observe in the everyday, Mayumi infuses the breath of life into color, the spark of life into the small touches of contrasting pigment. And that is how a tree-lined avenue is transformed into a whirlwind of color. Small touches of bottle-green pigment combine with a light green. Shards of sky reflected on the grass resonate in the bluish touches of color that here and there contour the composition. Greens, yellows, blues mingle in unison and make acquaintance with one another producing a chromatic swirl moved by the breeze of the gentle, fresh spring wind. Yet there is something, something that contrasts with the green of the vegetation and the blue of the sky.
Mayumi Kyogoku
Something that immediately jumps out at the viewer's eyes. Like lightning-fast elements, like witnesses to the soul of the subjects portrayed, flesh-pink elements peep out among the green and yellow. Small, quick, at first glance imperceptible they are there, in the midst of every leaf, every branch and every blade of grass. The pink pigment softly contrasts with the natural color of the vegetation, and through the color contrast, Mayumi makes the foliage dance, the blades of grass move, and the sunlight shimmer as it penetrates between the gaps in the tree canopies. Those rosy elements are the spark of life portrayed in that work. The life of every plant and animal element hiding in the dense forest. The mystery of life is hidden right there in those vivid pinkish elements scattered throughout the work. Mayumi Kyogoku has found her own way of representing one of the most important questions in human history. She does not explain life through mathematical formulas, periodic tables of the elements. She does not explain life through prayers and mysteries, through long speeches that are an end in themselves. Mayumi represents the life force with color through a stroke so effective that every word and mathematical formula is rendered superfluous. The viewer, at the sight of the chromatic hues deployed senses through those small, nervous touches the depth and magnificence of life that is hidden in every single leaf, in every single drop of water.
Art Curator Lisa Galletti
Mayumi Kyogoku
Overflows
Mayumi Kyogoku
Rambling
Mayumi Kyogoku
The blue directly below
Mayumi Kyogoku
Withering
Megan Bickel Have you ever stopped to think about the power of art? Perhaps we do not really make ourselves count of its power: art is pure communication, it is one of the communication tools par excellence and which has the greatest impact on society and common thought. It has always been like this, since the dawn of time, when images were the first means chosen to express oneself, and today it is even more so. Today our whole life is studded with images that influence our decisions, our critical thinking, our actions. Art, as an expressive and communicative means, in all its forms, has become a means of disseminating ideas, emotions, food for thought and above all raising awareness on important social issues, which influence our present and which, if not we take care of them, they will indelibly influence our future as well. The works of art have the burden and the honor of communicating a message and encouraging the start of a constructive discussion around it. This is precisely the purpose of the works of art by artist Megan Bickel. In the digital age, of information just a click away, of the bombardment of visual data, the task of art must also be to create its own critical thinking, its own and intimate tools for analyzing reality and reflecting on of it. Abstract art is often the medium that best manages to open the doors to this reflection, because it allows us to focus only on our emotions and feelings of that moment, without too many external influences. The work presented here by the artist "To Love You, Is To Care" pushes the viewer to go beyond the surface, not to dwell on external details, but to dig deep into people in order to truly appreciate them, love them and in this way have the tools to protect them and really take care of them. Understanding is the basis of everything, of love as of everything that is really important.
Art Curator Silvia Grassi
Megan Bickel
To Love You, Is To Care
Megan Mickael “The world of reality has its limits; the world of imagination is boundless”. (Jean-Jacques Rousseau) Curiosity, passion, immediacy. Artist Megan Mickael explores unknown beauties and represents them through works of art. Through a break with the present and with institutions, the artist succeeds in describing and representing souls adrift. The artist uses artistic media with all her energy and intensity to highlight the contrast between reality and art. Megan Mickael manages to capture moments, fragments of life from reality, immortalises them and gives us, works of art with a strong emotional value. Looking at her works we are catapulted into her reality, characterised by her artistic point of view, it is like entering the vision of an artist, seeing with different eyes, having a special focus on the features of reality that capture her attention. The artist's works are like a window looking into the past, through the external environment, art that represents life and the present, immortalised for the future. They all have a strong expressive charge: a trend where images and faces are the protagonists, an expression of the artist's subjectivism. Megan Mickael works using synthesis, her artistic activity explores unknown and unobserved beauty to immerse herself in a moment, in a decisive snapshot. Curiosity is the common thread that binds the artist, the works and the public that observes the images. An entirely personal technique that represents the artist's curiosity in capturing a moment, mutates into a personal and unique work of art and animates the curiosity of the observer. The new world is thus seen through the medium of photography, combined with collage and mixed media techniques that contribute to making the work unique, with its own personal spirit.
Art Curator Giulia Fontanesi
Megan Mickael
Jennie
Megan Mickael
The Addict
Megan Mickael
Molly
Mélanie Ribeiro
It was not unusual to find ladies intent on holding or playing musical instruments in the context of nonspiritual painting and more explicitly in the context of portraiture of the 15th and 16th centuries; and yet these portraits are very far conceptually from the work of Mélanie Ribeiro that we can admire. Knowing how to play a musical instrument was one of the qualities that society demanded of a lady of the Court and the artists of the time were therefore "incited" to portray them in these scenes, but always with the iron solemnity of the classicists, so much appreciated by aristocratic society. The resulting works were therefore sophisticated certainly, but with rigid women in non-natural and spontaneous poses. The woman represented in the work of Mélanie Ribeiro, on the other hand, exudes grace and delicate elegance. The French artist manages to make feminine beauty even with a hint of mischievous erotic sense, without being however vulgar. Self-taught painter, madly in love with art since childhood, she has experimented with different artistic means and, being inspired by nature, in the work under examination, “La note”, she has added real flowers and dried leaves. They seem to be born from the fingers of the young musician in contact with the piano keyboard, like a visible trail of musical notes. Then, as if all that wasn’t good enough, the French artist further embellishes the canvas with golden touches, giving brightness to the work. What beauty and peculiarity. Mélanie Ribeiro proves not to be afraid to dare and also demonstrates a not indifferent artistic maturity. The brushstrokes are fast and smooth at the edges and balanced and calm at the centre, so that the viewer’s eye focuses precisely on the focal point of the work: the serene and confident face of those who follow the creative flow. With delicious and delicate pastel colors Mélanie Ribeiro enters the contemporary art scene to the delight of our eyes.
Art Curator Francesca Catarinicchia
Mélanie Ribeiro
La note
Melisa Bulut A hero is someone who understands the responsibility that comes with his freedom. (Bob Dylan) The freedom to express oneself is what moves Melisa Bulut's creativity from the depths, and her fascination with abstraction is an integral part of it. The distance from the criteria of a purely figurative art, in fact, allows the possibility not to limit oneself to what is visible, measurable and quantifiable, but to allow the imagination to run in unexplored territories, and to give shape and color to every thought or sensation. This premise is admirably represented by the artwork HOPI ', admired on the occasion of Pretty Perv. Melisa's freedom of expression also translates into a mix of techniques (acrylic, oil pastel and markers), which produces an enjoyable variety of textures and shades. The composition is dominated by a whirling spiral made of snake bodies, which intertwine with each other in a mesmerizing Gordian knot of coils. The aggressive attitude of the animals, "photographed" about to attack, contrasts with the face sketched on the right side of the work, of which one can make out a languid eye, veiled with tears. In this original representation, based on strong chromatic contrasts, it seems to intuit a reference to everyday situations or thoughts that hurt the emotion, leaving it bleeding and wounded. The artist manages to capture the observer's mind with a fascinating and seductive ensemble, which speaks directly to the heart of the beholder through the eloquence of the language of art.
Art Curator Chiara Rizzatti
Melisa Bulut
HOPI’
Merle Soolo
Generally the image of aurora borealis relates to an idea of prosperous fertility and good fortune, however in Central European stories the aurora borealis is instead associated with bloodshed. This is because on the sporadic occasions when the northern lights are visible in these places they usually take on shades of red. These rare and terrifying sightings were popularly interpreted as the bad omen of an upcoming war with accompanying bloodshed. We therefore imagine a sky composed of abstract lights meeting, dancing and fighting with each other producing untold wounds. Events that one reasonably yearns to see. There is that underlying pleasure in witnessing violence that has something extremely twisted and often unspeakable and incomprehensible about it. However, we are referring to human feelings and impulses and as such belonging to all of us, thus in part, understandable and perhaps desired. This desire to unleash the unstoppable and unconquerable forces of heaven seems to be what Merle Soolo's artwork is about. "The Magic of Northern'' among others has an almost didactic aspect of this perverse invocation. The human being invoking the most powerful and unknown forces of the universe, the explosive and uncontrollable urge for the majestic. Complicated from the point of view of reason but absolutely harmonious from the point of view of art, the artist's visual quest succeeds in showing how this perhaps unconscious drive exists for the realization of a better future, for the necessary creation of moments of wonder.
Art Curator Federica D'Avanzo
Merle Soolo
The Magic of Northen
Merle Soolo
You and me
Merle Soolo
Lake and Water lilies
Michal Avrech
Michal Avrech is an Israeli artist whose artistic expressiveness finds free rein in the creation of works of art that undoubtedly refer to the works of the masters of impressionism. Michal Avrech is once again the guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "PRETTY PERV" she exhibits three works of art that convey a romantic and peaceful atmosphere. "Flowing River" is the representation of a landscape, it would seem of the countryside, in which movement and dynamism are at the head of the whole piece. The colors are very vivid and spread with certainty, through decisive and short brushstrokes. "Purple Landscapes" instead sees the representation of a lavender field, in the upper part of the work there is a hill on which stands a small village, created by the artist, only through the use of two colors, white and red for the roofs. Also in this case the artist's technique sees the drafting of color with short and decisive brushstrokes, aimed at transmitting a sense of security that allows the observer to feel satisfied and at peace. Finally, "Sparks of Color" expresses the purity, simplicity and beauty of wildflowers, the multiplicity of colors converge in a single immense whirlwind of shades that lead the observer to get lost and find new emotions, new moods and brand new feelings.
Art Curator Martina Viesti
Michal Avrech
Flowing River
Michal Avrech
Purple Landscapes
Michal Avrech
Sparks of Color
Michal Vilhelmer “Feel. Walk among the images, in total silence, because my paintings are created from an eternal void ” (Michal Vilhelmer) Through his art, the artist Michal Vilhelmer wants to anesthetize reason by causing a temporary distortion of reality in the beholder. The three artworks, "Axis", "Punctum Perceptio" and "Silentium", part of the "Hominis Secretum" collection - literally "The Men’s Secret" - are exhibited on the occasion of the international exhibition Pretty Perv, held by M.a.d.s. art Gallery. We can catch anthropocentric elements not only by the centrality of the human figures on the canvases, but also and above all by the disproportionate size of the latter depicted in three different circumstances, by underlining different messages that the artist wants to suggest to us. In all the representations there are electrical discharges probably generated by a cell, perhaps a neuron, which gives life to an image. Probably, electricity indicates the dynamism of the nervous system that produces ideas, thoughts that the artist then transposes onto canvas. The process consists of grasping single events, detaching from the stream of consciousness and imprinting them on the canvas. We can also glimpse a constant duality within the artist's work: silence and noise, lights and shadows, crowded and narrow places as opposed to empty and calm spaces. This dissonance is perceptible in the colors chosen in the entire collection, namely the blue and the reds that seem to oppose each other, whose gray-toned tree-lined background almost seems to prepare the observer for this chromatic and conceptual break. Within this dichotomy, the representations are made up of bright colors and bold but not thick features, which highlight a style that ranges from surrealism to hyperrealism. The outlines of the figures are firm, except for the naturalistic representations such as trees and clouds whose lines are more nuanced and harmonized with the rest of the painting.
Art Curator Angela Papa
Michel Vilhelmer
Axis
Michal Vilhelmer
Punctum Perceptio
Michal Vilhelmer
Silentium
Michel Smekens Femininity, beauty, seduction: facets of the personality with which women determine themselves, their power, their strength. A strong, powerful, self-confident woman will also appear charming and seductive in the eyes of men and other women, not so much for her external beauty but for the confidence and strength she shows. This is what the artist Michel Smekens shows us in the works presented here. In "Rouge seduction" a very attractive woman, in her seductive red dress, the color of passion par excellence, looks the viewer straight in her eyes, with a proud and captivating gaze, flaunting, even in her position, confidence and awareness of her charm. . The same confidence that the protagonists of the opera "Le bateau ivre" also demonstrate as they continue on their way, without their smile being scratched by comments that may be unwelcome. On their faces, in their clothes and in their walk we can read the lightheartedness and the desire to be simply themselves, in their beauty, joy and elegance. Finally, in the work "La mysterieuse beaute charnelle" the artist lets us enter the feminine intimacy of a woman who observes herself in her mirror, admires her naked body, dressed only in these very sensual black boots. In her eyes we see just a woman who likes herself, who likes her body, who she is not afraid to show it: she does not feel vulnerable but beautiful and self-confident. Through the choice of bright colors and the pictorial technique, Michel infuses the figures represented with an expressive power and an overwhelming energy: these women communicate with those who observe them, talk to them and transmit all their strength and sensuality to them.
Art Curator Silvia Grassi
Michel Smekens
Rouge seduction
Michel Smekens
Le bateau ivre
Michel Smekens
La mysterieuse beaute charnelle
Michelle Sever “The object isn’t to make art, it’s to be in that wonderful state which makes art inevitable”. (Robert Henri) Artist Michelle Sever discovered her passion for art through her love of bold, vibrant colours and the effects created by combining different consistencies of colours and pigments. The artist paints a series of spots and coloured strokes, which she places on the canvas in a random, seemingly random manner. But these are precisely combined as a series of sounds. And this is how he uses colours as notes, to produce precise moods in the viewer. The paintings represent a symphony of colours, where nuances predominate and occupy almost the entire interior space. Bright colours contrast with the more neutral colours and meet with the colours of the whole. The artist's research focuses on simplifying contour lines and emphasising shapes. Michelle Sever's works are endowed with a strong expressive charge, where colour is the real protagonist, an expression of the artist's personality. The artist thus succeeds in unleashing her creativity through painting, indulging in the play of the forces of colour and drawing. He develops one side of his research, that of the combination of shapes and colours, in particular the elaboration of time. Colours are juxtaposed with strong contrasts, while lines wind sinuously and arabesquely, perspective takes on importance, modulated by lines and colours, forming images that differ from reality, towards increasingly abstract decorative forms.
Art Curator Giulia Fontanesi
Michelle Sever
Caldera 3
Michelle Sever
Fervor
Michelle Sever
Metamorphosis 3
Miho Yamahashi What happens when two idioms meet? What arises from the union between one language and another? Like language, art also arises to communicate, and in fact through art information is exchanged and historicized ; it can be of various types and is implemented at various levels depending on the type of technique used, the historical period, and the degree of interaction between the artist, the user of the 'work, and the commissioner of the work. Art arises as a powerful need to make contact with our fellow man, and this regardless of the nature and meaning of the message conveyed. The certainty of being able to establish a single point of contact means ineffable, immense hope of liberation from the cosmic loneliness we have inherited from our ancestors; it means recognizing in ourselves the escape route to the terrible fate of loneliness: the simplest ancestral artistic sign is precisely a linea coniunctionis, a bridge whose foundations lie in the primitive core of self-knowledge of the beginnings of humanity; it is this original emotional core that comprises a dual motion of expansion-condensation that is handed down in art and that gives art that sacred character that is exclusive to it. We can therefore say, with fairly certain certainty, that art is a language. Indeed, art is language. One of the earliest forms of communication, one of the established needs of human beings, the only truly universal language understandable by any population and any individual on this earth. What happens when the insertion of another language occurs in a work? What happens when art and writing meet? Cornerstones of humanity, these two actions are purely human. No other animal feels the need to write or paint to pass on information or externalize its feelings. Miho Yamanashi combines in her works all that is most human in our existences. In the portrait series she combines words with art, everything that makes us human beings aware of both the weight of our souls and the inevitable passage of time. The artist therefore, with her portraits makes an extremely human gesture in that only human beings are aware of the timeline, of the complexity of the soul. Precisely for these two reasons they created art and writing: one to express the soul and the invisible; the other to pass on meanings and stories by transcending time and space. Those faded, extremely faint and delicate portraits that Miho paints are to be considered a tender expression of the artist's soul. Portraits in natural, beige and yellowish tones that are juxtaposed with white pencil or graphite lettering. The juxtaposition occurs in such a natural and intimate way that the two languages marry in such unison that they lose the specific connotations of the two types of communication and merge into one new language. A language that speaks to the soul through form and color, speaks to consciousness and time through the letters of the alphabet.
Art Curator Lisa Galletti
Miho Yamahashi
Portrait 39
Miho Yamahashi
Portrait 39
Miho Yamahashi
Portrait 39
Miki Yamaguchi A chromatic composition stands out before our eyes. The bright, vibrant color tickles our eyes, and the organic, natural forms prompt us to reflect. What are we observing? What are these overlapping colors and what do they mean? A large pink spot expands its boundaries along the entire compositional space. Its shape is reminiscent of something instinctive as if it itself had been created through gestures guided directly by the creator's soul. The boundaries are blurred, sinuous portions of pigment transform and present jagged color in places. The brush tints the paper with the aqueous color so fluorescent that it seems to glow with its own light. The intensity of this pink pigment is very high and contrasts effectively with the other protagonists of the composition: the blue spot and the golden spot in the center of the work. And so it is that, all of a sudden, the pinkish patch gives way to a faint, light bluish stain. Again, the color is almost transparent almost evanescent. Like an anemone moved by the sea current, the blue pigment seems to sway at the slightest displacement of air. The form is extremely organic, and the bluish pigment gently blends with the pinkish pigment producing unprecedented purplish tones. Everything is ethereal, everything is labile and evanescent, and yet, the two blobs are dissolvably united in time and space. Above them, golden brushstrokes. The materiality of the pigment contrasts strongly with the transparent atmosphere created by the two previous stains. This contrast contributes an important sense of depth to the work. The two-dimensional image is transformed into something multi-dimensional by expanding in time and space. The gold pigment, endowed with its own light makes certain spots in the work glow and it is precisely this that contributes to the creation of new dimensions by deepening the flat nature of Miki's work. Not surprisingly, the mixture of the pink element, the turquoise element and the golden stain form Miki's soul. A soul moved by cosmic love that vibrates and ignites in the fluorescent pink, breathes and imagines in the turquoise color, and constantly produces vital energy in the golden stain. A self-portrait then, an abstract expression of a person's complexity. I am LIGHT is the pure image representation of the vital essence of the artist, it is summa of all her characteristics, it is faithful portrait of Miki. Abstract art is thus used in the service of full self-expression, representing concepts that, being extremely complex and abstract, find in the spot of color and form the perfect visual representation.
Art Curator Lisa Galletti
Miki Yamaguchi
I am a LIGHT
Miwa Kawabata
Miwa Kawabata uses subjects of mythological origin to convey his message of beauty. Mythological painting is a style of painting in which the artist depicts a character or scene from mythology. It represents the ideals of beauty of the bodies of the time. The bodies of the Greek gods were like those of perfect supermen with a bursting beauty. The Greek gods resemble supermen: they have a body like humans, with eyes, ears, nerves, heart, internal organs, but at the same time they are very different from ordinary mortals and are endowed with incredible powers. What makes the difference is what runs through their veins: instead of blood they have icore, a white mineral fluid that makes them incorruptible and immortal. Greek gods are born but do not die. The comparison with art is direct and almost natural, a birth from nothing that has no end. A generative force that blazes in the environment, that exposes itself as unbeatable in its fragility. Gods can transform themselves and change the appearance of their bodies: here, the artist captures these moments of transformation by giving them a perfectly explosive rendering thanks to the technique of digital painting. Stories of seduction and strength are brought to light again thanks to the artist, evolutions that serve earthly and shareable desires, perverse thoughts such as a transformation of Zeus into golden rain to reach Danae in intimacy, images that have little of the divine intended as perfect, but much of the human. Thus the digital paintings of Miwa Kawabata, humanly divinatory.
Art Curator Erika Gravante
Miwa Kawabata
Pegasus and Bellerophon
Miwa Kawabata
Benjamin Victor Angel
Miwa Kawabata
Venus & Adonis
Miwa Kawabata
Medusa
Miwa Kawabata
Zeus
Monika Belinová
According to some contemporary philosophers, the truly authentic aesthetic experience is only possible in the animal. That is, in the one who does not distance himself from the world, who does not expect to see something, but is surprised by the manifestation of the world. The manifestation therefore of the condition of possibility of all other aesthetic experiences. The animal looks at us, says Jacques Derrida in The Animal That I Am, and thought perhaps begins with this intersection of gazes, with the animal indeed. And just as it is in this given condition of lack of prejudice and total availability to the outside world, so should the human being conduct his or her life experience.
Monika Belinová
Belinová paints bodies that enjoy their presence and their very existence, enjoy their animality. A process of personal sanctification that inevitably passes through being human, very human. Some would call this condition of total connection with one's own bestiality, perversion. The artist, on the other hand, paints the joy that comes from it and that can be derived from it. Where bestial can mean brutal, violent, it is possible instead to find the animal satisfaction of our drives and our nature. A woman's body crouched down and available for moments of brutal physical interaction, another woman's body in obvious almost orgasmic tension. In this painting we find the nature of the human being.
Art Curator Erika Gravante
Monika Belinová
Saint
Monika Belinová
Give me a hand
Moniqqques
Monika - Moniqqques is born in Czech Republick. She has been painting since she could gold a painting brush and she never stopped. Her focus currently lies on figurative art: she likes to capture feelings, relationships, sex, deep emotions of couple during their connection. Moniqqques comes back presenting in “Pretty Perv” show two beautiful and deep paintings, all related to intimacy of relationships. The first one, "Geisha," depicts a woman from the back whose face we do not glimpse except in profile. The chiaroscuro on her body, made possible through the use of watercolors, increases her sensuality and highlights the two pairs of hands that encircle her shoulders and lower back. Metaphorically, in addition to enhancing the figure's beauty, this work represents the symbol of the contradiction between social expectations and its own desires. The upper hands on the woman in fact show what she wants, whereas the lower hands show what she has to accept: Geisha alerts us about the difference
Moniqqques
between what we want and what we think that we have to do and, in line with the theme of “Pretty Perv”, it reminds us the deep contradiction between what attracts us, that often we don’t understand, and what frightens and fascinates us. The second artwork presented, "L'amant," portrays a smiling young maiden with pretty pigtails and a cute hat; behind her, a man visibly older than she is, looks at her from behind, and because of his stockier build, seems almost intent on towering over her. Just like the couple from the movie “L’Amant", of a different age and a different cultural ethnicity, this forbidden relationship might be seen as perverse by the society and something totally wrong. This theme corresponds with the topic of “Pretty Perv” exposition, where the resentment of society attacks habitual mechanisms and order, which is being overturned by the relationship of these two people.
Art Curator Matilde Della Pina
Moniqqques
Geisha
Moniqqques
L'Amant
Moritz Ryser "The habitat of perversions is the unconscious. In the background, the biblical myth of original sin." (Guido Ceronetti)
The Swiss artist Moritz Ryser has always contrasted the love for his country of origin with a creative urgency aimed at a more technological, innovative and ever-changing world. Inextricably linked to cinema, thanks to the advent of digital art, the artist had the opportunity to experiment numerous artistic researches that see the contemporary world, today's society the main point of reflection. "Distractions" stands out as the perfect representation of today's perversion, which exploits new technologies and reflects on numerous issues such as the commodification of the body. In the artwork, with an ambiguous and, at times, distressing aspect, it is possible to see images linked to the world of cinema and symbols which, combined with others, create a feeling of estrangement in the soul of the spectator. The difficult deciphering of the entire work is, perhaps, the hidden meaning, the message that Moritz Ryser intends to convey: by providing the observer with different representations of the personal idea of perversion, the artist intends to encourage those who have before him to undertake a personal reflection on ' importance of new technologies and the effects they have had on modern society and, in particular, on the relationship of individuals with particular issues.
Art Curator Federica Schneck
Moritz Ryser
Distractions
Motoko Kawahata There is no end. There is no beginning. There is only the passion of life. (Federico Fellini)
Anyone who approaches the works of Motoko Kawahata must be ready to be overwhelmed by the bursting force of emotions, thoughts and sensations in all their power. The Japanese artist, in fact, conceives the moment of creation on the one hand as an act of liberation and analysis of the impulses that stir in her heart and in her mind; on the other hand, as an opportunity to observe other points of view and to welcome them, showing their intrinsic beauty. Awareness of Glare involves the observer in the contemplation of a blinding reality, of luminous joy, which spreads on the canvas with dense and material brushstrokes. The artwork seems to be the expression of an almost hieratic dimension, which envelops everything with its shining candor. Abstract art is admirably suited to the realization of "pure emotions" on canvas, and colors are the protagonists, as we can also admire in Love the accidents, Enjoy the chaos. The painting is configured as a real explosion of chromatic contrasts, from red to green, from white to yellow, which chase each other in the compositional space in a joyful triumph of textures and shades. The materiality of the colors makes the work three-dimensional, as also happens in The feel of the Black Panther. Distant from the gentle atmosphere of Awareness of glare and the brilliant tones of Love the accidents, Enjoy the chaos, this third painting transports us to a more enigmatic level, in which we seem to glimpse disturbing flames of a fire dancing in the dark. With The feel of the Black Panther, Motoko Kawahata demonstrates great stylistic and above all conceptual versatility, which projects us into the most hidden depths of emotions, in a real journey of human sensitivity.
Art Curator Chiara Rizzatti
Motoko Kawahata
Awareness of Glare
Motoko Kawahata
Love the accidents, Enjoy the chaos.
Motoko Kawahata
The feel of a Black Panther
Motoo Saito Motoo Saito is a Japanese artist who creates extraordinary works from realistic photographs. He is inspired by his experiences around the world and his surroundings. He transforms simple shots into real works of art where colours and subjects contribute to create magical, sometimes surreal atmospheres. In 'A lovery spring' the colour red dominates the scene. Birds with detailed feathers contrast the background with their snow-white colour, while the landscape is painted in blue and purple. The masses are fluid and the chiaroscuro very smooth. Motoo's works undergo a combination of several different styles. They start with Japanese elegance and rigour but are enriched with bold, bright colours. Like the artwork 'A peaceful space'. Motoo's artistic process is complex and starts from the observation of reality. To this is added the creativity of the artist who, through unreal and contrasting colours, modifies the natural landscape, transferring it into a magical, almost dreamlike dimension. The elements of nature often return in his creations. Trees with voluminous foliage, meticulously crafted birds, tangled branches, rocky mountains and isolated volcanoes. In the three works: 'A peacefull dreams', 'A shining morning' and 'Land of dreams', the artist changes subject, focusing on the city and its forms. The contours of the buildings blend to create new shapes, the colours become more intense and vibrant. Warm and cold tones intertwine. Textures are distinctive and intricate. Motoo creates enchanted landscapes where reality mixes with fantasy, making the viewer escape from the sad and suffocating everyday life. The artist offers a new vision of things, of the world around us. A sweet escape.
Art Curator Ilaria Falchetti
Motoo Saito
A lovery spring
Motoo Saito
A peaceful space
Motoo Saito
A peacefull dreams
Motoo Saito
A shining morning
Motoo Saito
Land of dreams
Nahla Issa “The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion” (Albert Camus)
At different moments in History, the actions, thoughts and existence of human beings have been affected, limited and even controlled. Since they need to live in community, they have created societies and, therefore, social norms to fulfill certain roles and live in harmony. However, this, like the sublime, has an ambivalence because it allows you to connect with others but also can take you away from your true self in order to belong to society. What would happen if people go against those social norms, against what is expected from them? Would they be entirely free? The art is a great example of this liberation and free expression. Nahla Issa calls her artistic creation and process an act of rebellion as she freely follows her instincts, emotions, sensitivity and wills to express her thoughts and feelings. Her colorful paintings take the spectator to an aesthetic contemplation but also each geometric figure or brush stroke, in other words, each part of the artwork, is unique, has a different size and is located in a specific place to create such harmony of the paintings in their entirety. Thus, Nahla’s artworks are a call for spectators and a sample of achieving a harmony from the differences, uniqueness and the free expression of the true self.
Art Curator Liliana Sánchez
Nahla Issa
Chaos
Nahla Issa
Free Brush
Nahla Issa
Fragments
Nastasia Francesca Pressato Nastasia Francesca Pressato participates for the first time in an exhibition organized by M.A.D.S. Art Gallery on the occasion of "Pretty Perv". The technique used by the artist is very particular: it is the extroversion, which is in the middle between painting and sculpture, and aims to create a dilation towards the outside of the canvas, "entering it" into the real world and bringing it closer to those who look at the work. A round frame that captures a moment par excellence poetic, melancholic and panoramic: the "Moon on the sea". At first glance it almost looks like a vinyl, with the moon in the middle of the painting looking as bright as it is: immersed in this musical atmosphere, it seems that the extroflexion is able to give those waves of the sea - similar to the tiny discs, the makers of its vibration - a sweet melody. The golden circle that encloses this extraordinary landscape manages to completely eliminate the rest of the world, isolating our gaze and forcing it to observe this dark and, at the same time, reassuring angle. "A man" sees as protagonist a head, which seems to emerge almost from his own body. The latter, in fact, could be represented in a completely different way from the usual one, that is, in "liquid form", behind him, as if the body was in the background with respect to the mind. By tensioning the canvas fixed on the artifact and gilding the head, the artist manages to create a "philosophical picture" that elevates the thought to the maximum power. The "Clown", always a cheerful figure that can also inspire fear, seems to be almost an opposite response to the previous work. The image of the buffoon, analyzed in depth also by Jung, evoked the awareness of the contrast and the unity of our opposite aspects. The clown, born to create disorder where order reigns, is proposed to our eyes with the form of an apostrophe that seems to come out of reality to impress on the canvas. With creased folds framing the clown’s face as if they belonged to a scarf, the subject takes a well-defined shape and forces us to look at that silver face and those drop-shaped eyes. Nastasia Francesca Pressato is an artist with great skills, able to combine aesthetics and meaning, giving life to modern masterpieces rich in ideas and details that, in every respect, leave very little to chance.
“When attitudes take shape and forms become art...” (Nastasia Francesca Pressato)
Art Curator Sara Grasso
Nastasia Francesca Pressato
Luna sul mare
Nastasia Francesca Pressato
Un uomo
Nastasia Francesca Pressato
Clown
Natalie Komorowska Beautify your inner dialogue. Beautify your inner world with love and light. (Amit Ray
Art has always been an extraordinary way to get in touch with artists and their way of seeing the world, and it is an opportunity to experience the most ardent feelings through their works. The paintings presented by Natalie Komorowska on the occasion of Pretty Perv allow the observer an even more hidden point of view, which gives access to the artist's deepest emotional sphere. In fact, Inhale, Exhale and High constitute a real window on a world of peace and serenity that Natalie has imagined as a place to escape with the mind to escape particularly burdensome moments of everyday reality. The artist creates an environment with the characteristics of a city projected on a higher and idealized level, starting from the rigorously geometric setting and accentuated by skilful chromatic contrasts. Inhale gives the viewer the feeling of walking down a deserted road, which leads to a cerulean sky, unreal in its perfect clarity. The sky is also the link between Exhale and High, where imaginative architectures with persuasive colors stand out, casting sharp shadows on the ground. Natalie's whimsical verve has created a sort of mental "geography" of a personal utopia, a place to take refuge in silent solitude. The sobriety of the lines and the purity of the colors seem to induce not to dwell on distracting elements, but to concentrate on reflecting on what is essential. With her imaginary inner place, Natalie Komorowska grants everyone the privilege of indulging in the serene contemplation of a universe that can only be approached by the power of the imagination, and of plunging into it to admire a sky of harmonious serenity and new selfawareness.
Art Curator Chiara Rizzatti
Natalie Komorowska
Inhale
Natalie Komorowska
Exhale
Natalie Komorowska
High
Nathan Downie "What lies behind us and what lies in front of us are very little compared to what is inside us." (Ralph Waldo Emerson)
Nathan Downie's love for art developed from an early age, outlining what will become his artistic style over time, influenced by the great historians of animation, surrealism and gestural art. To create his artworks, focused on memory and past experiences, the artist uses symbols and icons linked to popular culture to represent a new reality, on the border between the concrete and the intangible. The abstract forms that are created by means of the color or the stroke determine the formation of particular visual elements that determine, in the soul of the observer, a feeling of familiarity, of hope, of approaching the new represented reality. The works of Nathan Downie, defined primarily as almost autobiographical works, are reflected in the observer, creating a bridge of dialogue, a connection that pushes him to investigate, as the artist himself did, his own interiority and to rework his own interpretation of operates in total freedom.
Art Curator Federica Schneck
Nathan Downie
TWO WORLDS, ONE OCEAN (DTIYSC)
Nel ten Wolde Your vision will become clear only when you can look into your own heart. Who looks outside, dreams; who looks inside, awakes. (Carl Gustav Jung) On the occasion of the Pretty Perv exhibition, the artist Nel ten Wolde made it possible to admire works of great originality and impact, with a sinuous and mesmerizing rhythm, changing like a body of water. The compositions, performed with the collage technique, are wonderfully constructed to surprise the observer at every glance, in a proactive approach that induces not to limit oneself to passive contemplation. The warm chromatic notes of Eye focus on a dark cavity in the center of the artwork, which seems to incorporate what surrounds it in a swirling and incessant trend. A reminder of this is also visible in Wave. It brings the mind to a marine scenario, which glimps the fascinating depths of the seabed. The eye is readily attracted by the spirals of iridescent and brilliant colors, and following the movement of thin white lines, which fluctuate lightly to form an intricate forest of algae. The abstract form thus becomes intuition to see excerpts of objective reality, as also happens in Strings. Among the chromatic contrasts similar to the veins of marble, darting flashes break out, similar thin lightning bolts charged with electricity. It is a magnetic artwork, in which the artist best expresses her versatile and experimental nature, also accompanying the observer to admire at the same time a plurality of shapes, lines, colors and textures, united in the central part, which soft white and pink "threads" ideally sew together into a sumptuous ensemble.
Art Curator Chiara Rizzatti
Nel ten Wolde
Eye
Nel ten Wolde
Strings
Nel ten Wolde
Wave
Nicholas Duers
Nicholas Duers is a commercial still-life photographer/director in New York City. His work has been awarded and can be seen in connection with commercial commissions by brand such as Tom Ford, Ralph Lauren, Netflix and others. Nicholas Duers' academic career begins with the study of fine art photography, then the artist dedicates himself to a degree in Advertising Photography. Nicholas Duers is, for the first time, guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "PRETTY PERV" he exhibits three works of art whose fil rouge is the dynamism of liquid materials. From drops to bubbles, the artistic production of Nicholas Duers featured in this exhibition allows the artist to experiment with the materials that are the objects and protagonists of his works and creations. Emblematic, in these three works, is the chromatic contrast that Nicholas Duers creates thanks to the use of lights and shadows, which concretizes the ability and mastery of the photographer to transmit and convey what he most desires, through a profound artistic awareness and technique. The works appear to be of ethereal elegance, the artist suspended a moment in time making it permanent and the instant, in this way, remains closely linked to the emotion and perception of the observer.
Art Curator Martina Viesti
Nicholas Duers
LIQUID.01
Nicholas Duers
LIQUID.02
Nicholas Duers
LIQUID.03
Nicholas P. Kozis Nicholas Kozis is an artist who has worked for years in the field of digital animation and fine arts. His skill in drawing and graphic design of images is evident. Few elements, the play of light and shadow, and female subjects are some of the characteristics of his work. He is a multifaceted artist who likes to experiment, even in the choice of the protagonists of his works, as is evident in 'Flower 2' where his creativity is mixed with an exquisite digital drawing technique. The artwork is rich in details that embellish it. The colours flow fluidly from warm to cold tones. Everything appears evanescent and magical. Nicholas, however, prefers female subjects, whose forms he manages to emphasise. He enhances the figure of the woman, emphasising her soft forms and features that make her delicate and elegant.
Nicholas P. Kozis As in 'Muse Sunset' where a woman from behind, with very long hair, is plunging into the water. The light hits her, making her shine, highlighting her. The female form is emphasised to the utmost and every detail is meticulously realised, such as the nail varnish in 'Untitled Artwork 2'. Nicholas places his subjects in spaces with few simple elements because he wants the viewer's attention to be focused on the protagonist of the image. Light plays a key role in his works. He plays with shadows, transparencies and overlapping colours, as in 'Amanda 3', where even the model's pose is unusual and creative. Nicholas creates stunning and varied images, creating a true homage to femininity and female sensuality, without ever descending into the vulgar. His paintings are elegant and refined, full of beauty and magic.
Art Curator Ilaria Falchetti
Nicholas P. Kozis
Muse Sunset 5
Nicholas P. Kozis
Untitled artwork 2
Nicholas P. Kozis
Amanda 3
Nicholas P. Kozis
Elya by the Sea 2
Nicholas P. Kozis
Pose 1
Nicholas P. Kozis
Flower 2
Nino Jokhadze “My work explores the relationship between shape & color from my own perception of the world”. Nino Jokhadze
"We all have our own little world where we can close our eyes and be happy, where we get away from our daily routine and free ourselves" these are the words of our very talented artist Nino, while presenting her work, My world at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. The artist's inner universe pours onto the canvas with a brilliant colour palette and an abstractionism of rounded, soft and elegant shapes. As she states "I found a lot of inspiration in my favorite artist Zao Wou-ki, his paintings made me start painting, I realized that I need painting just like oxygen... My artistic process expanded when i turned to art, during difficult times. Finding a path to connect with joy and beauty, even during hardship, can transform our lives, just like paint transforms a canvas". Nino Jokhadze allows himself to be transported by her interiority, which she delicately pours onto canvas. Nino analyses reality, her interiority, and reproduces it in images, exploiting her talent. Her works can be compared to musical melodies, where the notes link one to the other in a harmonious and graceful dance. Each of her paintings begins with a chromatic obsession, Nino is constantly driven to grow and evolve in her artistic learning through pictorial play and experimentation.
Art Curator Mara Cipriano
Nino Jokhadze
My world
Oksana Domnitska
Oksana Domnytska-Brik is an artist that presents a very particular style. Alle of her compositions seem to be similar in terms of resolution. She used geometrical shapes to create the vision. For the viewer it is easy to feel fascinated by the vision in front of him. In fact the artist doesn't want to give a title to the artworks as if for her what is important is the meaning that the viewer wants to give. In this way she is able to create a strong contact with the observer from the other side of the canvas. Because she likes to complete her imagination with other ones out of her intention. The vivid colour used and the particular shapes invite us to discover a new world made by a new surprising story to tell. For the artist the creation of art is a pretext to play and feel free and happy. As she says: << I am an incorrigible optimist who believes in love, miracles and boundless happiness! I paint when I'm happy...and happy when I paint!>>. This means that the moment of artistic creation is a way to share this happiness with others. What we have to do it's just accept this invitation and feel this happiness and freedom with her.
Art Curator Elisabetta Eliotropio
Oksana Domnitska
Untitled
Oksana Domnitska
Untitled
Oksana Domnitska
Untitled
Oksana Trofymchuk There are heart-rending nostalgias and dreamy nostalgias; there are nostalgias that in spite of everything make us live, and there are nostalgias that are cruel and unquenchable in their intensity and meaning; there are fleeting and ephemeral nostalgias, and there are nostalgias that wound the soul: without opening up spaces for hope and hopes in them. The evanescent figures of nostalgia have as their common kernel the excruciating longing for people, things, places, states of mind, lost, or dizzyingly distant, and the memory of withered, or extinguished emotions that one would like to bring back to life, and the memory of acerbic and luminous emotions that continue to live in us with their timbre of unspeakable sweetness and boundless sadness." (E. Borgna) A strange feeling is nostalgia, which brings with it the beauty of remembering the positive moments experienced, but immediately afterwards reminds us that these moments now belong to the past. There is no denying that grasping the positive side of this bittersweet and ambivalent feeling is very difficult, especially when memories inhabit our present for too long, indeed they become our present. Oksana Trofymchuk with her painting succeeds perfectly in juggling this difficult ambivalence. A woman's face, dreamy but present. A gaze that becomes a Leonardian sky, clear, waiting for the next drive, intent on enjoying the awareness acquired, a new consciousness walking side by side with the drives of the earthly body.
Art Curator Erika Gravante
Oksana Trofymchuk
Dreamy
Olivia Pop “I drive my art as an act of care and freedom, in a messy, vivid, surprising inner and outer world” Olivia Pop
Elegant, strong, dynamic is the art of Olivia Pop at the international art exhibition PRETTY PERV hosted by the M.A.D.S. art gallery. Her three works are a riot of colour, movement and shapes that go beyond the earthly dimension and transcend spatial and temporal patterns. One component that is certainly not lacking is materiality: colour and matter dance together and create splendid abstract scenarios. Finally, what makes Olivia's art unique is the movement, the action that gives dynamism and leaves the mark of a strong artistic personality, which does not renounce elegance in the choice of palette and subjects and in the way of representing them. The first artwork presents an external and distant viewpoint of a "Cosmic city, with a holographic sky, which is there and elsewhere. In perpetual motion, lets itself be observed, imagined, created", in fact the artist says "at the quantum level we would create what we observe" The artist's words make us realise even more how she places herself on an alternative level to figurative schemes linked to space-time. Olivia transcends the human dimension; on the contrary, she looks at phenomena with an external eye, detached from reality. Let's read, as a further explanatory example, his words on the second work: "That magical moment when you look through a Kaleidoscope. Your senses awaken and get amazed... your fingers turn on the music of colored fragments towards expansion...". Morning dream, on the other hand, is the visual description of waking up "Touch of Morpheus, the poppy draws you into a narcotic, surreal dimension. You follow the deep and wild inward vortex. The awakening is here...". The style, close to the colour field, evokes a great master of contemporary art, Mark Rothko. It presents masses of vibrant colours: red, black, green, purple. Colour forms that are an intimate expression of the human condition.
Art Curator Mara Cipriano
Olivia Pop
Cosmic city
Olivia Pop
Kaleidoscope
Olivia Pop
Morning dream
Paolo Vignati
Paolo Vignati was born in Sant’Angelo Lodigiano in the south of Milan (Italy) in May 1976 and lived for years in San Colombano al Lambro. Later he moved to nearby Livraga, a village in the Lower Lodigiana surrounded by the countryside where he currently lives and works. In these places, from a very young age, he embarked on a conscious artistic path, developing it both at a scholastic level with the attendance of the art school and at a later time with the first experiences in training internships regarding digital graphics. After a working interlude applying himself to different experiences, Paolo returned to work in the art sector and its market, exhibiting in small exhibitions in the Milanese area. At “Pretty Perv" exhibition hosted by M.A.D.S. Art Gallery, Paolo presents two paintings. The first one, “Female attraction”, represents a woman lying on the bed in a pose full of sensuality. The image is made up of thick brush strokes; in the central part there is an almost totally naked female body immersed in slightly crumpled sheets and surmounted by a rigid bed structure that can be glimpsed in the background. The woman made with fleshy shades contrasts with the white
Paolo Vignati
of the sheets giving a feeling of heaviness and tiredness of the figure itself apparently represented after a sexual act. “Magic spell”, the second artwork presented, portrays the same subject as the first painting, with a woman about to get out of bed, but with completely different means and style. If in fact the previous work was more intimate, realistic, and warm, "Magic spell" has colder tones, the woman's outlines are decisive but simple and sketchy, and the setting in which she finds herself is anything but realistic: she in fact stands in the middle of a deserted city of which we glimpse a few outlines of a house, recalling for this the lonely and dreamy works of Giorgio De Chirico. This dreamlike and metaphysical sense is also made possible thanks to the light brushstrokes associated with touches of a palette knife; there is the sensation of an "out of time" dimension that can be glimpsed determined above all by the pastel shades and by the calmness of the pose of the sketched and unreal figure without the features of the face. In this aseptic situation of a fantastic world, however, a perception of sensuality can be found in the female figure through the presence of the underwear she is wearing.
Art Curator Matilde Della Pina
Paolo Vignati
Female attraction
Paolo Vignati
Magic spell
Patricia Cassanello
In the history of man, animals have always played a fundamental and significant role. Each animal, due to its natural attitudes and behaviors, has always been associated with particular moments of human life and attitudes that we all assume. The artist Patricia Cassanello also expresses her art through the representation of animals, in which she identifies. For her, especially the eyes of animals express feelings just like those of humans. Through her works, Patricia is thus able to convey feelings and emotions. The work presented here, "Octopus", is a splendid example of this. The octopus is recognized by all as a symbol of concealment, mimicry, but for this very reason it also symbolizes renewal and adaptability. Just as the Octopus changes color and camouflages itself, so the man often hides his true emotions. Furthermore, one of the characteristics of the octopus is the ability to mislead the enemy by managing to camouflage the surrounding scenery with a cloud of ink. Similarly, in life, the human being often manages to conceal his own reality. In case of danger, the octopus is also able to get rid of one of its extremities, so as to be able to move with greater agility: symbolically, it is as if it were showing us that we must strip ourselves of everything that is no longer useful and that prevents us from moving forward towards the best version of ourselves. The octopus is then able to recreate amputated tentacles, just as man is always able to change and renew himself in depth, if he really desires it.
Art Curator Silvia Grassi
Patricia Cassanello
Octopus
Paul Hartel
Paul Hartel is an American artist known internationally for his works with a concrete aesthetic taste and an evident postmodern setting. The colors of Paul Hartel's works of art are extremely vivid and bright, this feature is extremely emblematic of the artist's expressiveness. Paul Hartel's artistic philosophy is profoundly marked by the vision of the inner Child, this way of seeing the world is widely conveyed by the artist in his works. The signs and representations are primordial, full of seemingly random lines, but on the contrary it is the depth and impulsiveness of the artist that takes space on the canvas. Paul Hartel participates again in one of the exhibitions organized by M.A.D.S. Art Gallery and, on the occasion of "PRETTY PERV", he exhibits three works of art that see all the mastery of the artist in the foreground. The artist's impulsiveness reigns supreme in the creation of the works, Paul Hartel rejects any prejudice and stereotype, conveying this freedom from limits through his expressiveness which is placed at an almost spiritual and cathartic level towards the observer. In some cases the representations of Paul Hartel do not show distinctive traits of the individual, for example in the work "In the Red Room", on the right side of the work the silhouette of a human face is evident, silhouetted against a bright red, the represented individual does not present eyes and this is a clear denial / presence of identity. In other cases, however, there is a deconstruction of the person, as for example in “Unyield” in which only some somatic features are represented and without taking into account the perspective, just as happened with Picasso.
Art Curator Martina Viesti
Paul Hartel
In the Red Room
Paul Hartel
Right Rebels' Perversion
Paul Hartel
Unyield
Payaso
An NFT artist based in Korea known with her nickname Payaso. She mainly deals with digital collage genre with movement and sound. It brings out self-reflection by putting symbolic elements in the image she uses. Her artworks reflect her past wounds, she turns to art as a refuge. After working as a hotelier and bartender for more than a decade she felt aversion to humans. Facing the capitalism which she describes as a monster. She was disgusted and avoided the existence of humans, receiving two years of mental treatment, especially after the death of her close best friend. After treatment, she began to enter the NFT scene returning to the artistic path that she had not completed as a child. Her work brings out stories that remain only within her. The purpose and goal of her work is to make invisible thoughts visible, to reflect on them and rethink them again. The main source of her work is her past wounds and thoughts that arise from that time. Her artworks are dreamy, surreal digital collages that brings her with the view to a world full of hope and new possibilities.
Art Curator Salma Eltoukhy
Payaso
Cli-max
Payaso
Different position
Payaso
sugar coated
Pertti Ahonen Pertti Ahonen, Finnish artist, creates works in which bright colours are the undisputed protagonists on the canvas, as in the case of "Northern Colours". The artist uses acrylic paints he spreads on the canvas using different types of brushstrokes, in certain points evenly distributed, in others violently splashed on the canvas. The prevailing tone is yellow, the colour of the sun, which in this case is mixed with very bright green tones, the colour of the lucky aurora borealis. These colours are mixed in turn with spots of pink, red, electric blue and white that give dynamism to the work, making the dancing composition. The artist also uses a thin and black line, which blends behind these and seems to form forms, dominated by the colours of the movement of the northern lights, perhaps symbol of the constellations in the northern skies. The materiality of acrylic colours is important in this work, the colour acquires a particular thickness, irregular, in some points thin and high less and gives the work a hypnotic character. The viewer looks at this work, feels attracted by the dance of the colours of the north and understands that he is faced with an action painting. If the viewer looks closely at the artwork he can perceive Pertti as he stretches out the colour, see how he moves and feel his creative energy while lovingly representing his land.
“Feeligs are colours and colours are feelings. Colours can be the way to deeper selfknowledge. To me they have shown the way to integrity, health and art. They open up new vistas, strengths and resource” (Pertti Ahonen)
Art Curator Sara Giannini
Pertti Ahonen
Northern Colours
Peter Arnell An image arouses different emotions, sometimes even conflicting ones, based on whoever observes it, but also, if observed by the same person, based on the moment of one's life in which one is. Images can tell us about the past or make us reflect on the pressure, but also project us towards the future. Each image inevitably tells a story, it is up to us then we decide if and how to listen to it. Telling a story: this is what the images created by the artist Peter Arnell do. He uses the most powerful communication tool in history to tell himself, to tell about reality but also to give a new interpretation of reality. In his works of art he perfectly manages to blend images of common life, familiar to anyone, with very personal images, which express an intimate part of himself, which have a profound meaning for him: thus a new image is created, with a new meaning, which expresses a new sensation, which tells a new story. All of Peter's works tell a story, with an intrinsic, profound meaning, which inevitably leads us to reflect on ourselves and on reality: a different meaning for each person who observes the work, to be sought within our being. A splendid example are the works presented here, which tell very different stories, focusing on different aspects, moments and sensations of life. The work "Butterfly at night" depicts an animal that we often see, but which most of all symbolizes a profound transformation, the desire to push ourselves to be better and better, to fight for what we want to be. Just as the work "Anemon" represents the so-called "flower of the wind" due to the fragility and delicacy of the petals. This flower has a very profound meaning that lies in the shortness of the duration of its flowering, which therefore leads to reflect on the fleetingness of a beautiful thing, an intense moment or a positive emotion, therefore it prompts us to think that we must intensely live every single moment that is given to us. Finally, the work "The last walz" transports itself to another world and makes us experience a moment of happiness, carefree and beauty, in the deepest sense of the term. Each of Peter's works can be a starting point for reflection, to contemplate reality with different eyes, to imagine something new.
Art Curator Silvia Grassi
Peter Arnell
Butterfly at night
Peter Arnell
Anemon
Peter Arnell
The last walz
Peter Farrington “The river is everywhere.” (Herman Hesse)
Peter Farrington is a Canadian contemporary artist and environmental specialist living in the United Arab Emirates. Favouring a style completely detached from figuration, his artworks are aggregations of colors and shades that expand across the canvas. The supports, often large in size, allow the viewer to fully immerse himself in a completely stimulating and joyful visual experience. Indeed, Peter Farrington's artistic research stems from a deep connection with nature and its intense spirituality, giving rise to metaphysical imagery dense with meaning. In the three works ("Arrival"; "The Party"; "The Return") exhibited at M.A.D.S. Art Gallery during the exhibition PRETTY PERV, we notice how the style is very diverse and changes from canvas to canvas. The color takes on different densities, at times more material and thick, at others more fluid. The arrangement of the spots also changes, becoming broader in some cases, while in others more detailed. However, the observer remains fascinated by the play of tones and is captivated by every movement and change he encounters. Rich in unpredictable details, the artist's works seem to live before our eyes. Flowing and delicate, they move silently. Peter Farrington relentlessly seeks to connect with his spiritual energy, allowing it to manifest itself through his art, as in a magical dance in perpetual evolution. He wants to remind us how important it is to maintain a connection with our ancestral nature, showing us how beautiful it is to dance with it as we listen to its whispers.
Art Curator Francesca Brunello
Peter Farrington
Arrival
Peter Farrington
The Party
Peter Farrington
The Return
Pia Dressler-Theis “My art often shows me the nearness of death, but I cannot live without it” Pia DresslerTheis
Poetry by Pia Dressler-Theis returns to the international art gallery M.A.D.S. Pain and Poe and the crying pig are the two works selected for the international art exhibition PRETTY PERV. Two works that have the original and singular imprint of our beloved artist. Pia is absolutely unique in the current art scene. Her artistic influences, her masters, are evident and belong to the currents of post-impressionism and expressionism. We recognise Pia's brushstroke well, this time it is her brushstroke that characterises the two works. Large, bold and dense backgrounds for Poe and the crying pig, the colour is as much a protagonist as the way it is applied. Pia's practice evokes Gauguin's cloisonnisme, a painting technique that consists of spreading colours over the painting in vast homogeneous backgrounds enclosing them within the limits of sharp contours, a vision centred on flat areas of intense colour.
Art Curator Mara Cipriano
Pia Dressler-Theis
The message of the work is encapsulated in the lines of the poem The Raven by Edgar Allan Poe: be that word our sign of parting, bird or friend!/ I shrieked, upstarting. Pain, on the other hand, shows another facet of colour drafting. In this case, the chosen palette and the agitated brushstrokes masterfully reflect the character's feelings, characterise him and emotionally charge him. Pia, once again, proves that she is making an important mark in the art world, her step is decisive and worthy of the great masters of colour. Colour poetry juxtaposed with literary poetry, this time to describe Pain, Pia turns to her beloved verses by Mascha Kaleko: Tear up your plans/be wise/and stick to miracles/they have long been recorded/in the grat plan/chase away the fears/and the fear of the fears.
Art Curator Mara Cipriano
Pia Dressler-Theis
Pain
Pia Dressler-Theis
Poe and the crying pig
Priyal Thakkar
Soft and with a dynamic atmosphere appears Priyal’ original artworks. Her work led to travels which led to discovering Paintographs, which is an exploration between paintings & photographs, invoking a feeling of augmented reality. The artist’s ability in using the colors to refer to different themes, is significant to catch the scene’s hidden meanings. The viewers are called to imagine and to find their own interpretation of what it is represented by looking at the geometrical and soft object depicted. ‘Come Rain Come Haze’ and ‘Protective Warmth’ are very similar in the result of the geometrical pattern; on the contrary, concerning the colors used, they perfectly refer to the title given. Looking attentively at them, It can be noticed that they seem to come from the snakes’ skin. This particular effect gives to the artworks a 3D appearance that better underlines the different and the contrast between the semidarkness zones and the brighter ones. Different is, ‘Bright Dreams’, presenting different overlapped forms, on a 2D support. More luminous appears the whole scene, thanks to the bright yellow coming from the right side. The concept of the exhibition is told from the artist, through the sinuosity conferred to the scenes by the lines that compose the scene, looking like silhouette. Priyal has decided to give to this sentimental and emotional concept, an abstract appearance.
Art Curator Martina Stagi
Priyal Thakkar
Protective Warmth
Priyal Thakkar
Come Rain Come Haze
Priyal Thakkar
Bright Dreams
QQQ There is something bewitching in the grainy image, in the background noise that erases details and makes details labile. There is something bewitching about the pixel, the grainy data and the uncertain information. Like a piece of Lo-Fi music, QQQ's works smell new and unusual. In our contemporary times, we are all too used to seeing images and videos in 4K or higher definitions. By now, even average cameras produce very high resolution images. Television screens, smartphone screens, computer screens, tablet screens. Billboard screens and signage monitors. These devices are all in high definition. Photographs, as well as movies, as well as information are so sharp as to seem unreal. Even the human eye is not as accurate in the taking and subsequent processing of images. Even the human brain has biases that can vary vision and make it unfaithful to reality. So if our vision is anything but perfect then why do we insist on wanting to observe the world around us in very high resolution? Why do we insist on wanting to observe even the most insignificant and useless detail perfectly? The trend toward an ultra-defined world has been on the rise for many years now. Yet for some time now, there has been a need to return to a more "analog" view that corresponds to reality. This is being observed with images, with works of art and even in music with, precisely, the large-scale spread of Lo-Fi music. The return to a certain naturalness of viewing and listening are a symptom of a move away from the canon of perfection sought in recent years thanks to the continuous advances in technology. Like a dirty song, with background noise and imperfections audible throughout the duration of the piece of music, QQQ's works eschew the ideal of perfect, ultra-defined beauty to delve into the dirty, dark space of grainy pixels, black and white, and glitches that blur a person's entire face. These are works that speak to our feelings more than to our eyes and, for that very reason, they are warm, tepid and intimate works, far removed from the cold reality of the sharp, perfect image. The imperfection, the grainy, the smoky element, the interference are all elements that the artist uses in his works to give a completely personal, intimate flavor. A flavor that smacks of the person who created these works in that, within them, the subjectivity of the human being leaks out. Collage in this regard, is the perfect medium to achieve these intentions. Although it consists of elements taken from reality, such as faces, eyes, backdrops; it is far from telling a real and perfect reality. The flaws of scale, visual perception, and temporal inconsistencies that the collage medium creates form the basis for the artist's further departure from reality through the use of disturbance, glitch, and noise.
Art Curator Lisa Galletti
QQQ
Artificial Human
QQQ
Paralysis
QQQ
Question
Raitis Jānis Raitums
The efficiency of machines combined with the intensity of human emotions can create powerful images that awaken limitless imagination and allow us to wonder without the boundaries of rationality. The combination results in the presence of multidimensional scenarios and idealised realities that come to life in the artwork. This is exactly how the artist Raitis Jānis Raitums makes use of the combination of artificial intelligence and his emotion to be able to deliberately let his fantasy navigate freely. His digital work is the result of the exploration of his imagination, in which the female figure is the protagonist of this world.
Raitis Jānis Raitums
Supernatural characters, these women are represented in scenarios that seem to be almost from another planet, enhancing the sacred nature of these characters. Sensual, beautiful and charming, the female figure resembles mystical and divine creatures that are represented to respect and contemplate female allure. Raitis is able to generate a magical aura for these figures that reflect the artist’s feelings while creating for the sake of creating, thus combining his emotions with the characters. For the current exhibition, Raitis displays the mystical figures in different forms, showing the multifaced aspects of his imagination and how AI can contribute to breaking the boundaries of rationality.
Art Curator Francesca Mamino
Raitis Jānis Raitums
Cosmic Consciousness
Raitis Jānis Raitums
Mirage 22
Raitis Jānis Raitums
OneSuchness
Raitis Jānis Raitums
The colour of my love is light blue
Randa Magdi
The art of artist Randa Magdi is lively and full of energy, influenced by the art of the Fauvists, characterised by an intense expressive approach to painting through the use of saturated colours and thick brush strokes. The artist uses bright colours and rich brushstrokes to portray asymmetrical faces that depart from conventional canons, creating something unique and personal. Attracted by facial expressions, she creates portraits that enhance the subject's physical features and psychological strength. The expression of a face is the first thing that catches the viewer's eye when faced with a work of art, and no one can remain indifferent to the magnetic gaze of the three women portrayed by the artist for this exhibition, heart of their soul. The artist doesn't merely portray a face but tries to convey, through psychological introspection, their inner characters, their fears, dreams and disturbances. The bright colours and the irregularity of the brushstrokes give them strength and character. The artist isn't interested in perfection, her subjects are portrayed simply, leaving her creativity free. Every artist unconsciously leaves a mark in his works, something that helps us understand his identity, his way of seeing the world and others. In these portraits we can discern Randa Magdi's sunny and festive character.
Art Curator Lucrezia Perropane
Randa Magdi
Amber
Randa Magdi
Gene
Randa Magdi
Nevada
Rayada "Art, my greatest love. With him I talk, I play, I get distracted, I connect, I learn, I navigate, I find myself. With art I expand my soul and my essence" Rayada
Undress the soul is the magical digital collage painting presented by the talented artist Candela Estevez Buteler, alias Rayada at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. The colours, the elegance of the work suggest the elegance of the artist and her message. A face in black and white sheds its wonderful energy and is at the same time irradiated by it. The contrast between colours is to be emphasised, the artist, in fact, states "Undress the soul. Get rid of what does not belong to us. Remove layer by layer until we find ourselves. Undress the ego; embrace being. To undress the soul is to allow ourselves vulnerability. Release the judge and the trial, to stay dancing as if no gaze was pending. Because the other one is a mirror and the reflection of him is teaching. Introduce ourselves to the present, whole. With complete authenticity. Undressing is waking up one day knowing that there is something inside asking to come out. It is to make your immensity aware, beyond characters, wrappers, cages. Accept and love us, in light and shadow. No fear, just your soul flowing. Simply wearing freedom". Illustrator and graphic designer, her work is based on collage and digital fusion, mixed with digital painting. In her works, her desire to live and capture and savour the moments of everyday life emerges. Candela's artistic form is collage, used to express a harmony of experiences, feelings and desires.
Art Curator Mara Cipriano
Rayada
Undress the soul
Reetu Chopra
Reetu Chopra is an artist in every sense of the word. She is very passionate about Portrait drawing, because every face tells a different story. Every humknce, love, ion, anxiety, rejection, fear..). In that sense the human stories, experiences are the same. This is the reason why Reetu loves portraiture and finds it deeply spiritual. For her, it is an experience of capturing her own self and her own feeling in a person with a different face. Her Medium of choice for portraits is mostly charcoal and soft pastels. Reetu also paints landscapes, seascapes as well as still life (Semi realism as well as abstract). The experience of painting for her is deeply spiritual- it is a state of being in union with not just all beings but also all of cosmos. Reetu has expertise in charcoal and dry pastel portraits. She also has expertise in Acrylic and Ink palette Knife Painting. She has a unique mix-media style of using actual tea to stain dry pastel and charcoal paintings, which gives a unique aged ie. vintage look to the artwork.
Art Curator Salma Eltoukhy
Reetu Chopra
Serenity-Portrait of a Kind and Calm Woman
Ric Conn
Ric Conn is an award-winning American artist known internationally for his deeply impacting works of art and incredible communicative power. Ric Conn's works of art are extremely relevant from a social point of view, the artist always aims to highlight complicated and difficult situations, especially for women. Ric Conn is a confirmed artist at the exhibitions organized by M.A.D.S. Art Gallery and on the occasion of "PRETTY PERV" he exhibits four pices that have a melancholy but at the same time fascinating atmosphere. One of the prominent features of the artist's works is the absence of the facial features of the subjects that Ric Conn represents. The choice not to represent faces is not meant to be a denial of identity, but on the contrary in this way the artist is able to unite all the people who may find themselves in that particular situation.
Ric Conn
Through the language of expressionism he explores themes such as equality and empowerment, his communicative style allows him to get straight to the soul of the observer in order to make him more aware and reflective. As the artist himself states, “I deal with relevant social issues, equality, empowerment and psychological conditions. I want the viewer to feel something while viewing my work to increase awareness and understanding." Each work of art by the artist embodies his way of seeing the world, his emotions and his thoughts, from this point of view each painting has an autobiographical streak.
Art Curator Martina Viesti
Ric Conn
blue
Ric Conn
end of the road
Ric Conn
farewell
Ric Conn
the green fairy
Riikka Korpela
Rikka Korpela and her digital works have a very strong reference to the world of disco, disco music. A musical genre that continues undaunted to make its now archetypal and eternal presence felt. In fact, disco music has never ended because it has entered the DNA of popular music, reaching everyone. It possesses an extremely stratified social symbolism and structure and a precise identification: a genre that has been adopted by African-Americans, Puerto Ricans, homosexuals, communities that have always been discriminated against. Without forgetting that disco is a music that has taken a lot of root among women, and it is one of the first genres that brought out the more feminine side linked to music, to dance.
Riikka Korpela
"We need more people on the dance floor", among the artist's many works, seems to be an invitation to reclaim those parts of us that are discriminated against, marginalized, deviated for many by inverting their predetermined role, thus allowing them to express themselves, and why not, perform, in all their explosiveness. It is no coincidence that the music industry stopped the exponential growth of disco, they did not want minorities to have the upper hand. Images with fluorescent colours, strong contrasts and interesting volumes. Repetitions of closed and beating lines, rhythmic compositions. The artist's work therefore presents a tension, a drive that, at the limits of paradox, is voluntary and directed. Manifesting oneself. To claim an existence as a body among bodies, for the mere possibility of being one.
Art Curator Federica D'Avanzo
Riikka Korpela
We need more people on the dance floor
Riikka Korpela
Lift your head up high
Rinata Shaka
Since the dawn of time, woman has always represented a perturbing enigma, a profound mystery always endowed with a certain power. Rinata Shaka's digital paintings have a woman figure as their subject. A beautiful woman. Faces that have within them that duality and ambiguity that the feminine holds and in turn produces. Being therefore ethereal and demonic, spiritual and satanic, innocent and candid. A continuous struggle, which will probably never end. The feminine principle has always had an ambiguous and obscure character, given its intimate association with the unknown, Eros, death, witchcraft, the sacred, the spirit world and the afterlife.
Rinata Shaka
The passion for the unknown, the unconscious, suggests interpenetration with the maternal body, and hysteria as enigmatic language, body language. Quoting Mc Dougall, "The little girl's primary homosexuality drives her to desire to sexually possess her mother, to penetrate her vagina, to 'climb inside her', to 'eat her in order to completely incorporate her body, with all the magical powers it possesses. `` The little girl also wants to be penetrated by her mother, wants to have a baby with her, and thus become her only love object, to the exclusion of the father." All incredibly perverse, if taken literally, but it completely explains why in art the female figure remains the undisputed centre of reflection.
Art Curator Erika Gravante
Rinata Shaka
Saeko
Rinata Shaka
Rei under the rain
Roxanne Pechin "In my opinion, art is a way to challenge your ego, and thus ask yourself the right questions in order to move forward as a human being" Roxanne Pechin
Roxanne Pechin is a talented 29-year-old artist who has turned art into an opportunity for happiness in life. Her stroke is recognisable, like her works, the ink gives the viewer a journey into the artist's natural and imaginary world. Her style is truly original and is based on the architecture of spaces, the elegance of forms. The perfect combination of automatism and imagination. She presents at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. Three works from the new collection called 'Organised Chaos': FRANK, EDMUND and HARRY. The artists describilng her works states: "All of us must deal with unexpected situations and events during our lives, which disrupt our often-rigid agendas and fast-paced days. The Geometrical aspect of these works represents this, the frame to respect. And the other aspect, freer and more sinuous, represents these elements over which we do not have control on. These three pieces have First Names as titles because, first, I had to "give birth" to these works but also because they refer to the complexity of life of any human being. This remains that we all have our lives to manage. This can be hard things as opportunities or challenges to be taken up, and that we all have our path to follow. And most of the time, No one knows what you are going through. Negative or, hopefully, positive waves. But I will end with this quote from Claude Monet which has a lot of meaning for me: "Everyone discusses my art and pretends to understand, when it is simply necessary to love."
Art Curator Mara Cipriano
Roxanne Pechin
FRANK
Roxanne Pechin
HARRY
Roxanne Pechin
EDMUND
Rüdiger Carius “The source of art is being” (Rüdiger Carius)
The serene complexity of being alive is summed up for us by Rüdiger Carius. With great joy, the international art gallery M.A.D.S. is once again hosting his works. Rüdiger is singular, innovative, something completely unique in the art world, and M.A.D.S. is delighted to attest to his talent and to make his artistic current known to the world. In 2020, Rüdiger invented his own artistic style called Split Art (a mix of colours linked to psychology and neurobiology in combination with 'destroyed' forms) and today presents works that are tributary to his current: Goldrush, Neotech, So cool!, Summervibes are completely unrelated to figurative schemes and belong to the artist's deconstructed universe. Beach, on the other hand, belongs to the more figurative strand of Split Art. In any case, it is interesting to see how Rüdiger takes certain still images from human life and deconstructs them into colourful geometric shapes, synthesising and going beyond the dimension of the visible. This is a skill belonging only to the great masters of contemporary art. Goldrush, Neotech, So cool!, Summervibes and Beach are the works with which Rüdiger delights visitors to the exhibition PRETTY PERV. Beach comes alive with the little men typical of Rüdiger's art, who engage in activities in what can be considered a parallel universe but which has figurative expressions of our world of fun. The atmosphere is joyful and Rüdiger emphasises this through the use of a smiley typical of the language of the current technological generation. Goldrush with its colours and shapes evokes luxury and materialism; Neotech is a curious, colourful, geometric expression of the new technological age. So cool! belongs to the purest current of deconstruction and geometric representation of reality; again, as the title indicates, the emotion the artist conveys is one of positivity; just like Summervibes, a fresh representation of summer vibrations.
Art Curator Mara Cipriano
Rüdiger Carius
Beach
Rüdiger Carius
Goldrush
Rüdiger Carius
Neotech
Rüdiger Carius
So cool!
Rüdiger Carius
Summervibes
Sagum Sagum started out as a writer and turned into a visual artist. His works are enigmatic and intriguing, full of pathos and passion. He narrates through images and words, swirls of feelings, strong emotions, moods and experiences. His creations are often imbued with mystery and fascination. In 'Modern Love' he tells a contemporary story, makes a portrait of today's society, dealing with the breakdown of illusions and the clash with reality. The colours are dark, dull. The contour lines can barely be distinguished from the background. The details, however, are meticulous and the inspiration undoubtedly surrealist. A man, in the guise of a defenceless dummy, is lying on the ground trying to get out of a snail shell. Sagum represents a kind of metamorphosis. The rocky landscape is deserted, no one can help the man who is left alone and without hope. Sagum also tells of the end one comes to if one remains locked in one's shell for too long. It is called 'selfdefence' but at the same time it is counterproductive because it does not allow you to live, it suffocates you and leaves you alone against everything and everyone. The image comes as a sharp blow to the chest for the viewer who has to confront reality. The empathy it arouses is enormous and leads one to confront the character lying on the ground. What have we become? Men encased in their shells without interaction, in loneliness and desolation? There is no longer real communication, contact. Everyone has become selfish and unscrupulous. Although it is a digital drawing, it is so meticulously realised that it appears to be made with India ink, pencils and charcoal. Sagum is a complete artist who, through words and shapes, depicts his contrasting thoughts and feelings, focusing on the concepts that animate our community and our world today.
Art Curator Ilaria Falchetti
Sagum
Modern People
Sakura Togari Oscar Wilde suggests that we feed our monsters. Monsters represent that disruptive and destructive force that can take various mythological forms. Some say that monsters exist apart from man; others claim that monsters are created by man himself. In either case, it is no coincidence that monsters have found the human psyche their preferred mode of expression. Monsters inhabit us, and perhaps we must treat them precisely as unwelcome guests of Psyche. Often, we are faced with the prejudice that it is irrationality that creates monsters, yet just as often it is reason that creates even more bewildering ones. Let us therefore abandon reason and the literal and, to delve into the place where monsters dwell, embrace the imaginal. To intuit how a monster acts within us, I start with the etymology of the word: monstrum, prodigy, extraordinary thing, against nature, that shows itself. The monster is a part of us against nature that wants to show itself. Something prodigious that is beyond the ordinary way of seeing things. The monster is an event against nature, so it wants to make us change the direction of life. Although therefore the word monster has within it an evil and demonic meaning, at the level of the psyche the monster is something that changes our perspective of vision, that extraordinary event that makes us wonder about ourselves. And that is how Sakura Togari creates her works. She depicts monsters and strange creatures in her paintings. At first glance, they might look like monstrous and supernatural entities, and yet, at the sight of them, we do not feel a sense of fear and uneasiness. In "Rebirth" there is no terror just as there is no panic, anguish or suspicion. A large reddish element rises from the thicket filled with trees characterized by red berries. A reddish-yellow sky creates a strong contrast with the vivid red body of the monster. The latter is extremely tall, rising above the treetops and seeming to billow thick, pitch-black smoke from its top. For a moment we seem to be standing in front of an erupting volcano spewing lava and lapilli. The body is organic, presenting a rather natural shape. It is red just as the flesh that makes up our bodies is red. The torso is crisscrossed with bright-red tubes, as are our arteries, which run all the way through his body until they break away from it to reach the green forest below him. Through these arteries the monster either clings to its surroundings or is sucking lifeblood. Yet all this does not frighten us. Sakura Togari does not want to represent the monstrous meaning of the monster but rather represents, through her works, monsters she already knows and has learned to converse with. A monster that eats weakness, born from the same weaknesses and uncertainties that previously dwelt in the artist's heart and are now the flesh of the monster.
Art Curator Lisa Galletti
Sakura Togari
Rebirth
Sally Lennon Don’t wait for extraordinary opportunities, seize common occasions and make them great. (Orison Swett Marden) The fascination with the phases of change is the cornerstone of Sally Lennon's artistic vision. There is something enigmatic and symbolic in the fleetingness of metamorphosis, something perhaps more fascinating than the fixity of completeness. The unrepeatability of the moments of transformation constitutes for Sally a reason for investigation to capture, before it changes again into something new. We can admire an example of this particular point of view in the work presented for Pretty Perv, entitled Life is never easy, life is very harsh, we have to be strong otherwise life will destroy us. The creation of the artwork is divided into two moments: on the one hand the realization of a painting with oil dye in water, and on the other the shooting of some photographs that document the phases in succession. The gaze is thus captured by iridescent swirls of purple and blue, which face each other, meet and merge together in a cathartic embrace. Sally realizes a real phenomenology of her work of art, and this aspect takes on an even deeper meaning when compared to the emotional path of the artist, who found in this type of approach a way to react to a difficult situation. But there is something else. The basic concept of Sally Lennon's art seems to evoke a new reworking of Horatian's carpe diem: an exaltation of every single moment is capable of giving a myriad of suggestions and sensations, each of which would be lost forever without the farsighted awareness of the artist. An admirable teaching, to be fully accepted.
Art Curator Chiara Rizzatti
Sally Lennon
Life is never easy, life is very harsh, we have to be strong otherwise life will destroy us
Samantha & Danielle Glassman “Complicating is easy, simplifying is difficult. Everyone is capable of complicating, few are capable of simplifying." (Bruno Munari)
Samantha & Danielle Glassman are twin sister graphic designers and digital artists. Their training and common passion for art led them to pursue graphic design and show their creations to the world. Words, colors and, above all, symbols become the artistic language through which the two sisters express themselves and speak to the public, seeking an active confrontation and to inspire others. The dialogue with the observer is therefore the protagonist of their artistic poetics, the ultimate recipient who encourages them to design artworks with a personal essence but which are reflected on the outside, becoming universal works. Graphic design elements and typography are intertwined with common elements and colored abstractions: the choice of the shade of pink refers to an engaging visual impact but with a captivating flavor, which however hides a secret message of trust in one's potential and in showing who we really are. Knowing yourself, thanks to art, and not being afraid to show it to the world.
Art Curator Federica Schneck
Samantha & Danielle Glassman
Perception
Samantha & Danielle Glassman
Wonderland
Samantha & Danielle Glassman
Go Where You Feel Most Alive
Sana Koeda Let us immerse ourselves in blue. Blue is the color of the sky, the sea, infinite space and represents (in opposition to yellow, earthmother, physical, feminine) the sky-father, metaphysical, masculine. It also corresponds to the Visshudhi throat chakra, which means to purify and is located at the first cervical vertebra. The key word for blue is purification, by make pure we mean the ability to separate what is poisonous, harmful from what is not. Blue is the color of the wings of the Cherubim who represented divine wisdom. Staring at this color for a long time produces an effect of stillness, contentment and harmony. Blue is the color of the sea and sky and ice. Therefore, blue is the color of silence, calm, tranquility and coldness. For the Chinese, blue is the color of immortality. It represents intellect, truth, faithfulness, constancy, Blue is the color of great depth, the feminine principle. For Buddhists it represents Heaven. It is purifying and is the color of space. It induces introspection, sensitivity, calm and serenity. While In religious symbolism, blue indicates truth and is associated with the creative power of God. In ancient Rome, on the other hand, blue was worn by civil servants, thus marking the beginning of the idea for today's police uniforms. Humanity has always found a hidden fascination hiding in the hues of this color. Mystery, calm, infinity and tranquility are some of the adjectives that Blue arouses within us. Sana Koeda with "Marine Blue" listened to her need to use, mold and paint with the color blue, precisely marine blue. And lo and behold, a scenery characterized by multiple shades and hues of color opens up before our eyes. The backdrop is spread with bluish gray color in large, rapid strokes. The drafting is full, occupying much of the representational space. The instinctiveness of the drafting can be seen effectively at the edges of the work, where the artist wanted to allow a glimpse of the raw, white canvas that, beautifully, contrasts with the dark color. The closer you get to the center the more the color changes. From a soft gray-blue it moves to a deep, almost midnight blue and then to the heart of the work, characterized by intense blue brushstrokes that are extremely clear and vivid. Corresponding with this color change is the subject of the work, a decidedly expressive portrait characterized by a rather nervous stroke that moves quickly throughout the bluish pigment. The black and white strokes of color move in unison to compose what is the outline of a face. A mouth, a nose, a neck, two cheekbones and three eyes. Therein lies the wonder that lies in Sana Koeda's works. Nothing is determined, nothing is certain. The presence of an eye that seems to fall on the cheek is proof that the expression of the artist's work can never be fully deciphered. The work calms us, lulls us, soothes us and then instills in us, with the presence of anomalous elements in the face, doubt and mystery. And that is the beauty of it.
Art Curator Lisa Galletti
Sana Koeda
Marine Blue
Sandy Jian Pulse refers to a drive, or amount of energy, that makes the organism strive towards the goal, in other words, we are talking about an internal need within the individual that, by causing an accumulation of inner tension, pushes the latter to discharge this energy in order to reach a state of stillness. The impulse of rhythm, which artist Sandy Jian speaks of through her artwork, seems to be an uncontrollable and uncontested tendency that stems from a desire for authenticity. These digital paintings seem to want to declare and explain as best they can, their intention to be protagonists. The author thus reveals her presence and her pride in being both chosen and the one who chooses. When we speak of drives, we clearly begin with a very precise reference by Freud on the various stages of the child. Freud states that in reality sexual pulses are present from early childhood and are produced by the excitability of specific erogenous zones that change in the course of childhood development. He therefore speaks of Partial drives because their existence is linked to individual parts of the body and the related gratification is obtained by autoerotic practices on those parts. Sandy Jian's digital paintings have a very strong childlike appearance, but not a naive one, as if the technique and aesthetic rendering was chosen in a truly intentional manner. What we see looks like a catalogue of urges described in a childlike way. truthful and genuine. The desire for the recognition of love, or rather pleasure.
Art Curator Erika Gravante
Sandy Jian
Dear Soulmate
Sandy Jian
Cuneiform 10000 B.C.
Sandy Jian
Pulse of Rhythm
Sandy Jian
Lavender Fantasy at Bali-Linkou
Sandy Jian
Violet
Sara Rashidi
Among the various literary forms of Japanese origin, Haibun has as its fundamental characteristic that it is composed of a prose part and one or more haiku poems, which may be found interspersed in the text or at the close of it. The prose part of Haibun, consists of short, concise periods that aim to bring vivid, clean images to life: they show the salient features of a feeling that goes beyond and transcends the mere written word. From a lexical point of view, we find the expulsion of any fancy or pompous terms, absent are various lexical frills; while, as for the haiku poems, they take up the subject matter treated thus enriching the writing, taking the reader a small step further in understanding the text, or they juxtapose a new image intrinsically connected or juxtaposed to what has been reported earlier. This literary genre is completely wedded to visual art. The painting of some artists presents exactly this structure, which naturally assists in the creation of dense images. And here, as with the Haibun, Sara Rashidi's artwork presents a node that takes shape and is recognized through a careful reading of the image. The background as the introduction and emotional landscape of the embrace imbued with corporality that becomes the poetic subject of the painting. An image that describes at its best what can only be glimpsed from a hidden and secret point of view. A stillness balanced by the perpetual motion of the emotional wave. Flesh intersecting with flesh forming a core that will generate countless fantasies.
Art Curator Federica D'Avanzo
Sara Rashidi
Heterosexual Bodies, Twisted
Sarolta
Sarolta is a Hungarian self made artist whose artworks are burst of colors and shapes arranged in a creative way. Her artistic research has moved from painting landscapes, flowers and animals to the fluid art which she enjoys doing most nowadays. She believes creating something beautiful is a wonderful feeling, exciting but also relaxing. Sarolta uses art as a form of meditation, while she is painting, she let everything else go and unleash her creativity on the canvas. Her creativity stands in the fact that she doesn’t like to limit herself to one subject, but tries to continuously experiment with fluid art, as it gives her endless possibilities and opens her vision to new worlds.
Sarolta
She often embellish her paintings with acrylic markers or decor pens to emphasize or add extra details. Fluid art can be full of surprises and she believes this teaches her flexibility. As one can control the flow of the paint to a certain extent but the end result is often quite different from what the artist have imagined. Just like in real life - she goes with the flow and let the paint guide her, creating masterpiece through which she hopes to transmit pleasant feelings to the viewers when they contemplate the artworks, a mission that she always succeeds in throughout all of her artworks.
Art Curator Salma Eltoukhy
Sarolta
Mysterious underwater world
Sarolta
Ethereal beauty
SayuShiba Each person is swimming in different waters, each one taken from her own story, questions and everyday life. Thoughts float in our heads: calm, restless, passionate and sad thoughts mingle with each other giving rise to a whirlwind of sensations within which each of us is immersed. SayuShiba, Japanese artist, realizes through the digital painting technique the colourful work "Bloom Vividly". The line the artist uses to outline the contours of the flowers is white and thin and gives the viewers the feeling that they are floating light. In some places the white strokes seem to form bubbles and create a pleasant contrast with the pink, purple, red, orange and brown tones of the flowers and the blue, green and purple background that seems to be made of water. Those who look at this work feel lulled by the same calm waters in which they seem to navigate these flowers, pervaded by a pleasant feeling of tranquillity and curiosity in the bloom and see what the flowers will be like once opened. Each of us at some point in our lives flourishes, we know and we discover for whom we are. SayuShiba’s work represents the joy of discovering our identity and blossoming, ready to face life and immerse ourselves in it.
“Bene, vediamo un po come fiorisci, come ti apri e di che colore hai i petali. Avanti su, io guardo, tu fiorisci. Well, let’s see how you bloom,
How you open, what color you have petals.Come on, I look, you bloom.” (Patrizia Cavalli)
Art Curator Sara Giannini
SayuShiba
Bloom Vividly
Seon Yoo “We should always dream on.” (Seon Yoo)
Within the poetics of the emerging artist Seon Yoo we can trace a constant search for beauty expressed through the representation of abstract fantasy-landscapes. It is clear the inspiration both from great artists such as Matisse, Van Gogh, Monet, Wong, but also from landscapes visited by the author herself who transposes them in a style between Impressionism and Fauvism. Through her masterpieces, such as the artworks the artist decides to exhibit in “Pretty Perv” exhibition, held by M.a.d.s. Art Gallery, Seon speaks to us in a personal and intimate language, communicating her feelings and thoughts. The colors she uses for “Happy Wanderer”, “Lake Blanche” and “Prayer under the Moon (Ha Long Bay)” are bright and dreamy as it to create soft and harmonized contrasts. These chromatic ranges highlight the shapes of mountains, lakes and trees. In these naturalistic frames the human figure, almost completely absent, is immersed as if it swallowed. The paintings have no blank spaces, and the brushstrokes are full and often enriched with flecked or dotted strokes. Although there is no depth in all three artworks, the perspective is however suggested by the richness of the elements within the painting that give us a glimpse of unexplored worlds in which to dive in. We can find Seon wonderful artworks currently exhibited also in many collections around the world in Asia, Europe and the United States.
Art Curator Angela Papa
Seon Yoo
Happy Wanderer
Seon Yoo
Lake Blanche
Seon Yoo
Prayer Under the Moon (Ha Long Bay)
Silvia Privitera Petino "I have nature, art and poetry, and if that's not enough, what more can I want?" (Vincent van Gogh)
For Silvia Privitera Petino art has always been present, but she began painting as a self-taught only about a year ago, specializing in portraiture. The artist, however, moves away from the traditional hyperrealistic representation, seeking a composition that blends the compositional aesthetics and the softness of color for the purpose of greater emotional involvement. With "Fern", Silvia Privitera Petino proposes a reinterpretation of the idea of the integration of women, and more generally of humanity, with nature. The represented fern, one of the first plants to inhabit Planet Earth, is not only an additional component but becomes, together with the portrait of the woman, the protagonist of the entire artwork. The strong bond that is created between the two elements recalls the deep connection that the human being has with the planet and, above all, with nature: a deep, primordial connection which, in the work, is represented by the artist through a relationship balance between the various elements. The female face does not dominate nature, but welcomes it and makes it its own, and the choice of vibrant colors increases the idea of threedimensionality and visceral attachment to our planet.
Art Curator Federica Schneck
Silvia Privitera Petino
Fern
Snezhana Stoyanova Search yourself well, what you want to be, since you are everything. The history of the whole world slumbers in each of us. (Gialal al-Din Rumi)
For Snezhana Stoyanova, art is a refuge, it is irrationality and abandonment to an inner world full of emotions and well-being. No rules, only authenticity is in force. For the artist, art is a tool for personal reelaboration and the surrounding world, a means to listen to one's inner self and to reproduce it, without filters. Through a not too vibrant color palette and the representation of the human being, the artist tends to create artworks where the protagonists are inserted in imaginary realities, suspended, distant from social customs and tending, instead, towards their own primary nature. Through an inner reflection, what the artist aspires to is a transition towards the purest and most true component of his being, a total connection that goes beyond space and time. Snejana Stoyanova's artworks are a moment of reflection, an open point to interact intimately and silently with the spark of our soul.
Art Curator Federica Schneck
Snezhana Stoyanova
A difficult balance
Snezhana Stoyanova
Weightlessness withdrawal
Snezhana Stoyanova
Levitation
Socrates Sandman Sapounas “ You never know yourself till you know more than your body" (Thomas Traherne) 7.753 billion people in the world and we all, no one can deny it, are afflicted by inner conflicts. They are our problems, the core of our conflicts. The delta between need and fulfillment generates disturbance, which constitutes desire. Ergo the aspiration and emotional involvement that triggers every time something intrigues us. If something no longer creates emotions or upset for us, then we lose interest, we are no longer involved. This is the real mechanism by which we fulfill the absolute need to live Pathos, that is, emotions. The object of desire may change from time to time. The important thing is that it fulfills the task of feeding the Pathos, that is, to keep our emotional reservoir full. Socrates Sandman Sapounas, a multifaceted Greek artist, is able to best represent the internal wars that tear each of us apart. Through his art he explores themes of escape, isolation, violence, ecstasy, delirium and above all the search for identity and transformation. Do we really know ourselves? The paintings, with psychedelic facets, allow us to embark on a journey to discover the true essence of ourselves, as human beings, analyzing disappointments, sorrows and daily frustrations. "No Remedy for Memory" is the striking example of how much the artist sinks into the human soul, studying it, analyzing it and, above all, exposing it to us. The main subject is a male figure, characterized by the lack of mouth. The mouth is the meeting place between matter, food, and spirit, air and words, through the mouth the body receives nourishment for its subsistence; but it is also the highest manifestation of the Logos, of feeling and culture, as well as the seat of man's first identity, it is a gateway to interiority. The mouth, therefore, plays a leading role in interpersonal communication, both verbal and bodily and the fact that it is not represented is a symptom of a strong discomfort. A fundamental element in the work is the "cage", understood not only as a coercive moment of personal freedom but as fear and false consciousness of oneself and of the world. The most insidious cage of our time is in fact within us: it is the unbridled desire to appear, to be there, to show oneself on social media, as a remedy for a destiny of loneliness produced by the perception of one's own irrelevance. So, thank you Socrates Sandman Sapounas for allowing us to get to know each other a little better.
Art Curator Giulia Bresciani
Socrates Sandman Sapounas
No Remedy for Memory
Soni Rodriguez “Bad artists copy. Good artists steal.” (Pablo Picasso)
Soni Rodriguez is a Mexican artist living in Austria. His artistic research stems from a deep interest in modern art and in particular Cubism, exploiting its expressive characteristics to tell his own vision of the world. The decomposition of the image that distinguishes this artistic current becomes a revolutionary challenge for Soni Rodriguez, aimed at transforming the teachings of the past into a new present and future. In fact, his works show themselves to be profoundly influenced by the cubist imprint, while revealing an entirely new and extremely contemporary face. The work "The Division", exhibited at M.A.D.S. Art Gallery during the exhibition PRETTY PERV, is a reinterpretation of Pablo Picasso's well-known painting "Les Demoiselles d'Avignon", emphasizing the female body in today's times. The symbol-rich painting was completed this year, in 2022, and we can recognize some references to the recent pandemic. The three women depicted in the upper part of the work show covered faces: two are wearing masks, while the central figure is wearing a plague mask. Four other women sit in the lower part of the painting. Their glances do not meet, communicating a sense of isolation, loneliness and apparent colloquiality. The nudity of their bodies is shown in places, interrupted by the facets into which the image is divided and the different positions assumed by the subjects. Elements such as the flowers and the sun above their heads refer to Nature, the origin of everything. There are many interpretations that can arise from the vision of this work, just as there are many faces that compose it. The fact remains that the female body is the founding element, but whereas in Picasso's case the women portrayed show themselves proud in their nudity, here they seem ashamed of it. Soni Rodriguez wants to launch a social critique towards the censorship of nudity, asking what the disease of the 21st century really is.
Art Curator Francesca Brunello
Soni Rodriguez
The Division
Sophia Openshaw “Art is not what you see, but what you make others see”. (Edgar Degas)
Exploring spiritualism and psychology, American artist Sophia Openshaw creates unique artworks that tell stories to connect people across the boundaries of space and time. In particular, 'Quia Ergo Femina' is a mixture of styles, motifs, emotions and perceptions that refer to different worlds. Sophia encompasses different epochs, distant artistic currents in order to represent in a single work the passing of time the female figures that have followed one another in the course of time. Thus landscapes lose the horizontal line, wrong proportions to represent the figures, which are arranged in rhythmic or diagonal patterns, nothing about perspective. The painting now serves as a means of expression of the spirit and no longer describes reality but draws distant artistic references from it. His research is therefore based on the juxtaposition of colours but also of shapes, their agreement or contrast, resulting in a lively whole with a taste for decorativeness. Decorativeness accentuated by the creation of shapes and two-dimensionality. The figurative and decorative elements are recognisable and delimited in distinct epochs, it seems that the artist painted this picture without a precise theme, although the work has been the subject of various interpretations, which see it as depicting biblical, pagan or oriental culture subjects.
Art Curator Giulia Fontanesi
Sophia Openshaw
Quia Ergo Femina
Stefani Koparanova – SKOPA Every act of rebellion expresses a nostalgia for innocence and an appeal to the essence of being. (Albert Camus)
The propensity for art does not always manifest itself in a predictable way, indeed it is often the result of a discovery of oneself and of the best way to express oneself. The same happened for Stefani Koparanova, who, following her studies in Fashion Design, found her privileged dimension in painting. Her eclectic talent immediately led her to important awards, and the symbolism that permeates her works makes her an original and extremely fascinating artist. The paintings presented during the Pretty Perv exhibition embody a metaphorical perspective of great interest, starting with Innocent Choices 1. In this composition, admirably balanced from a chromatic and stylistic point of view, the artist manages to effectively narrate the morbid attraction of adults towards young women, who have not yet lost their childish innocence. The relentless male greed, personified by a worm, is caught in the moment of crossing the boundaries of the female retrosia, powerless in its delicate candor.
Stefani Koparanova – SKOPA
Innocent Choices 2 continues the narrative with the same logic. The plum, still immature, is the expression of the little girl, who finds herself a prisoner of the male gaze and of her voluptuous desires. The purple plums in the foreground, already picked and figuratively ready to be savored, seem to have no appeal compared to the unripe purity of youth. Stefani Koparanova manages to elaborate a real reflection on a controversial aspect of sexuality, and seems to invite every observer not only to grasp the artist's point of view, but also to think about it in order to develop their own thoughts. The artist gets to the heart of the represented theme with uncommon effectiveness, limiting distracting elements to depict with essential simplicity a forced abandonment of innocence, in powerful and evocative images, which strike the mind of the beholder with an unfiltered truth.
Art Curator Chiara Rizzatti
Stefani Koparanova – SKOPA
Innocent Choices 1
Stefani Koparanova – SKOPA
Innocent Choices 2
Stephen Linhart “Destruction is also creation.” (Marcel Duchamp)
Stephen Linhart is a contemporary American artist whose artistic research revolves around the concept of image in its deepest sense, investigating and penetrating the web of pixels that compose it, until he sinks below the surface. What appeared in the beginning now dissolves, giving rise to a new universe of interpretations that flow fluidly one inside the other. In the five works ("Chatterton's Dream"; "Double Exposure"; "Follies"; "Leda & Medusa"; "Psyche") exhibited at M.A.D.S. Art Gallery during the exhibition PRETTY PERV, Stephen Linhart makes an interesting intervention, creating digital collages in which works, mostly belonging to the 19th century, merge with one another, shaping new imagery. The choice of fusing together in a single piece the art of artists from similar periods, but with different styles, or of intervening digitally in post-production, allows the artist to break away from tradition and explore new paths related to the image. It also challenges the viewer, who is stimulated in trying to understand what is hidden in this visual weave. In this series of works lies a struggle for the survival of the original, now reborn in a new light. In reality, Stephen Linhart, in doing so, does not deviate much from the action carried out by Duchamp at the beginning of the 20th century, when he turned the art world upside down with his ready-mades. In fact, the artist does not simply make a collage of images, but uses already existing works of art to create something new, where the concept according to which they were created now takes on a new value.
Art Curator Francesca Brunello
Stephen Linhart
Chatterton's Dream
Stephen Linhart
Double Exposure
Stephen Linhart
Follies
Stephen Linhart
Leda & Medusa
Stephen Linhart
Psyche
Susanne Walser
Susanne Walser is a really fascinating artist. With few elements she is able to create a vision that completely transports the viewer to another world and imagination. Her art is always different and surprising, In the painting presented on occasion of the international art exhibition Pretty Perv, we can see a really particular composition in which the element protagonist is a glider. In a nostalgic way the artist comes back to her past to remind the beautiful flight with her husband. As she says: <<I have been inspired to paint by nature itself, which I have been able to experience with my husband during wonderful flights in a glider, free-roaming the skies over the breathtaking Austrian mountains cape. The aesthetics of a glider following the laws of nature always touch me. The glider moves freely and swiftly through the air, its movements determined by the weather and by the currents of the air, being one with the flow of nature>>. In this way the artist Susanne Walser is able to tell to the viewer something deepest and intimate that belongs to her. So for us, watching her paintings is not just the opportunity to enjoy her beautiful art but also to know more about her.
Art Curator Elisabetta Eliotropio
Susanne Walser
ExArch (Experimental Architecture)
Svetlana Miskova “Abstract art enables the artist to perceive beyond the tangible, to extract the infinite out of the finite” (Arshile Gorky)
Experimentation is a human action that arises from curiosity about the unknown. It takes place in different moments and involves some decisions in which people can abstract and combine ideas, feelings and techniques that go against canon, traditions and limitations. So, what would be the creative capacity without the development and freedom of one’s imagination? Svetlana Miskova makes her own abstraction of reality in which it is shown how art is able to generate a real aesthetic impact on viewers through colors, shapes, details and textures. In The Blue painting it is possible to find a mixture of lines and dots, delicate and messy strokes that together create the final harmonic composition, an emotional experience. Also, Svetlana's artwork challenges the spectators to play with their imagination in order to get carried away by all its elements and, just like in reality and feelings, it is possible to find beauty and enjoyment within certain chaos.
Art Curator Liliana Sánchez
Svetlana Miskova
The Blue
Swantje Rufle
Almost similar to the art of the Romantic Landscapes English artists’ Constable and Turner, the artist Swantje Rufle interprets the concept of the exhibition through her natural paintings. Landscapes, whose main character is the sea, are the artist’s meaning of passion and affection. She has been able to capture positivity also with the representation of dark seascapes. Significant in these scenes is the light and the luminous effect given by some flash coming from the sky. ‘Breaking through’ is the most obscure scene that, with its movement, confers to the piece a dynamic atmosphere, as if the viewers could listen to the rumors and the smell of it. As the artist herself asserts <<nature has always had a healing and earthing effect on humans. Its beauty is characterized by its diversity, balance and simplicity>> and this is why She tries to capture and emphasize these aspects in her works. Swantje wants to bring people closer to nature again by moving their imagination. ‘There is always sun above the clouds’ and ‘Where the sky meets the ocean’ link together the main character of our universe, giving to the scenes a sort of premonition about what is coming. The artist pays her attention to the natural elements, adorning them with details such as the sea’s waves reflecting the sky and the clouds covering it. The concept of the exhibition is represented through the inner emotions coming out from the first sight: passion, feelings and excitement.
Art Curator Martina Stagi
Swantje Rufle
There is always sun above the clouds
Swantje Rufle
Where the sky meets the ocean
Swantje Rufle
Breaking through
Tahara Mio Tahara Mio is an artist of Japanese origin. Her paintings are clearly symbolist and her style is very much influenced by Japanese culture, both in its lines and shapes. Tahara seeks a contact between the Western and Oriental worlds, creating in his works a mix of elements that are perfectly integrated with each other. Her artworks are brightly coloured, emanating energy, life force and purity. The viewer, looking at them, is immersed in a cheerful and carefree atmosphere, where he is free to set his mind free. Tahara represents a joyful and peaceful moment within the hustle and bustle of life. In 'Hear bird phone', the technique's reference to Impressionism is evident. The colours are blended together with small, juxtaposed brush strokes, giving movement and dynamism. The contours are evanescent, blending into the background, creating a harmonious, almost magical atmosphere. The subject is a young woman with an enchanted gaze. The glow of her skin blends in with the fast, dynamic brushstrokes. Everything appears quiet and carefree. Tahara moves across the canvas with elegance. Small marks are left on the canvas in different thicknesses. The artwork appears as a symbol of union between the rigour and traditions of Japan and the liveliness of the West.
Art Curator Ilaria Falchetti
Tahara Mio
Hear bird phone
Talitha Du Preez What is called romantic in a landscape is a quiet sense of the sublime in the form of the past. (Johann Wolfgang Goethe) Talitha Du Preez's passion for the world of painting can be seen as a consequence of a deep love for the superb manifestations of nature. Always fascinated by the surrounding landscape, she has embarked on her path as an artist focusing particularly on landscape painting, letting herself be inspired by the suggestions of romantic art. The sublimity of the natural elements, in fact, is one of the cornerstones of the artist's production, and involves the viewer in an allencompassing contemplation, tinged with a delicate melancholy. Reminiscing - the artwork presented for Pretty Perv - unfolds before the eyes with a dark scenario, in which a hazy sky outlines the silhouettes of slender trees, which bring to mind some masterpieces by Caspar David Friedrich. The essentiality of the composition is enhanced to the maximum degree by the execution with charcoal, which is a technique particularly appreciated by the artistic personality of Talitha. The soft shades of white, gray and black, in fact, fully represent the mood of poignant nostalgia evoked by the memory of a lost time, and of an impossible return to a past that appears as distant as it is desirable. The artist realizes a real meditative act, which also involves the viewer and captures the emotionality even before the mind. Her work takes romantic Sehnsucht into a new and personal dimension, and allows all of us to participate in it with a new and passionate awareness.
Art Curator Chiara Rizzatti
Talitha Du Preez
Reminiscing
The Stars Collector The art of Dolores Nemi Caldentey, aka "The Stars Collector" represents the alienating sweetness of a summer evening. Her works are comforting visions in which the viewer can find refuge away from the daily frenzy. The colours, the light, recall a dreamlike dimension of great inspiration. The artist’s intention is precisely to collect stars, points of light that are then transformed into moments of intimate life characterized by feelings of love and peace. "Our Own World" are clearly visible these characteristics: a couple of young people dance in a world far from Earth. They're in their dimension enjoying these moments that belong only to them. Tenderness and true love are the protagonists and remind us that we must always point to true and pure feelings that make us feel light, ourselves and at peace with the world. "Kiss under the stars" is a work that explodes with the light of love. Two young people kiss, their understanding and their hearts are so close that a galaxy is born. Everything is in order, everything is in balance. The union of two hearts turns on the inner light that also expands outside, filling the night sky with bright points. The embrace of the two subjects establishes the union of two perfectly matching dimensions. In "Pillow Talks" the artist talks about sharing and compatibility. When we’re good with someone, we could talk for hours in the night, dealing with the most disparate topics. When we are with the right person, we lower our defenses and open the most secret doors of our inner universe. We trust and speak with the voice of the heart. The artist’s works speak to us of freedom of thought, of love, of expression. Each work represents the magic that only the night can create; a magic that comes from space, from another dimension that allows us to be ourselves opening ourselves to the other as we would not be during the day. "The Stars Collector" creates digital collages inspired by contemporary surrealism. Her style has a nostalgic, vintage and very suggestive feeling. With key elements such as butterflies, flowers and the moon, the young Dolores talks about her experiences and thoughts about life, human connections, and the deep feelings that make us feel alive.
Art Curator Eleonora Varotto
The Stars Collector
Our Own World
The Stars Collector
Kiss under the stars
The Stars Collector
Pillow Talks
Thomas Mushet “My work is very often political, social or environmental in theme... I’m moved by the conditions that many people on the planet endure. I want my art to make a difference”. Thomas Mushet
Net Zero Now is the interesting work presented by Thomas Mushet at the international art exhibition PRETTY PERV hosted by the international art gallery M.A.D.S. The talented artist states "For the future of our planets existence all the polluters must lead the way, and work together. Net Zero Now is his way of highlighting the top ten polluting countries. However equally important are those countries not listed in the top ten polluters. All our futures are dependent on every country, every person’s actions...". Strong is Thomas's message just as strong is his way of expressing himself graphically. Thomas chooses the graffiti style that is typically associated with social denunciation. Thus, one can see that our artist is fully aware of contemporary art currents and evokes them in his personal, original, recognisable art form. Thomas cleverly looks to the master Pollock for movement, just as he looks to Dadaism, Surrealism, Dali, de Chirico, Mason, Duchamp, Miró, Kandinsky. In addition to his great knowledge, he enhances his works by talking to the viewer, sending clear messages: his intent is educational.
Art Curator Mara Cipriano
Thomas Mushet
Net Zero Now
Tomo “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)
Delicacy and elegance, brilliance, and harmony: these are the characteristics of the contemporary Japanese artist Tomo’s works. The canvas is illuminated by light colors such as white, beige, and grey. The titles are inspired by natural elements that Tomo observes with curiosity and wonder during her days. In “Beach” (2022, mixed media on canvas) wavy brushstrokes suggest the movement of the waves breaking on the shore, wetting the sand. The calm sea conveys peace, serenity, and the desire to dream big. "Flame" (2022, mixed media on canvas) is the metaphor of the fire that burns in us: it allows us to have the right energy to develop brilliant ideas, reach the set goals, have the strength to face the challenges without fear. “The Sound of Waves” (2022, mixed media on canvas) brings us immediately in front of an infinite expanse of water illuminated by the moon. When the sun sets and makes room for darkness, the sea begins to make its voice heard. It speaks to us, tells its story and is ready to listen to ours. Tomo's works are tales of her deep inner world in which thoughts and emotions come to life thanks to color. Look at her paintings, get to know the artist's universe and let your feelings get the better of rationality.
Art Curator Camilla Gilardi
Tomo
Beach
Tomo
Flame
Tomo
The Sound of Waves
Tracey-Lee Selby
Looking at Tracey-Lee Selby's painting, Socrates' words on the birth of Love come immediately to mind. At the celebrations for the birth of Aphrodite, goddess of beauty, there were Poros Ingenuity and Penia Poverty. Poros got drunk and fell asleep on a meadow and Pena, selling him, decided to join him. From their meeting was born Eros, Love, who, having been conceived during the feast of Aphrodite, is by nature a lover of beauty. Quoting the philosopher: therefore, as the son of Poros and Penaeas, Love is in this condition: firstly, he is always poor and anything but tender and beautiful, as most believe; on the contrary, he is harsh, uncultivated, always barefoot and homeless, and he lies on the bare earth, sleeping in the open before doors and in the streets according to his mother's nature, and always accompanied by destitution. On the other hand, on his father's side he undermines the beautiful and the virtuous, for he is courageous and a cunning hunter, always ready to weave intrigues, greedy for wisdom, rich in resources, and a lifelong lover of knowledge; and he was born neither immortal nor mortal, but at one hour of the same day he flourishes and lives, if fortune is propitious to him, at another he dies, but then is reborn by virtue of his father's nature, and what he acquires always escapes him, so that Love is never poor nor rich, and on the other hand stands between wisdom and ignorance. We can say that Love is thus a bridge between man and chaos, between the misery of the living being and the power of the divine, and this painting describes exactly the most intense reflection known on the subject.
Art Curator Erika Gravante
Tracey-Lee Selby
What love is
Tracy White
The escape strategy consists of totally abandoning something that is difficult to manage; in psychology, the impatient, the inhibited, the weak are described as possible escapees. Escape from reality is one of those strategies that pulls the person away from that idea of refuge into which he or she had projected himself or herself, to find himself or herself in a purgatorial limbo of non-presence and therefore nonfugue. All of us, to a greater or lesser extent, are fugitives. Escape from reality is a coping strategy that involves a tendency to escape from the real world in search of desired safety and tranquility in a fantasy world. It usually involves uprooting from reality to find refuge in an imaginary, parallel universe where a better self finally has the conditions to exist. Sigmund Freud himself believed that the desire to escape from reality was part of the human condition. "People cannot survive on the little satisfaction they can steal from reality," he wrote. Painting has always been a great atavistic act of escape from reality, from the moment painting no longer served in its descriptive function, artists around the world began to take refuge in that gesture and its surfaces. An imaginative milky way in which to voluntarily dive to breathe in a golden aura that does not belong to us. An act of stealing almost perversely necessary to find the right refreshment, the right charge to resume one's winding path. Tracy White plunges into this place not her own but properly created by herself and thus draws us into it.
Art Curator Federica D'Avanzo
Tracy White
Spark
Ukiyo “Nature is painting for us, day after day, pictures of infinite beauty.” (John Ruskin)
Poetry and art are united by a profound bond: words selected with accuracy and instinct at the same time describe the power of colors that animate simple shapes. Ukiyo is an artistic team made up of Davide Di Bella and Petrina Razmovska, who in 2022 decide to enter the innovative world of NFTs. The three selected works belong to the Tsukiyo project - moonlit night in Japanese - of which 5000 NFT are part. Each work is accompanied by a poem, which invites the viewer to immerse themselves completely in the illustrations and to travel with their imagination to discover new worlds. The landscapes are the result of an overlap of planes divided by thick white lines. Sand, sea, and hills are often of unrealistic colors, but always balanced and perfectly in harmony with each other. In the sky there is always the sun that shines or the full moon that illuminates the dark night. The poems through a few words tell a story that the reader is called to interpret according to his personal point of view. Art is universal and powerful; art is free, art make you free. Davide and Petrina during the creative process let themselves be carried away by what their heart suggests to them and want those who look at their works to do the same. So, travel to your inner world, go in search of meanings, and let yourself be overwhelmed by the flow of emotions.
Art Curator Camilla Gilardi
Ukiyo
Tsukiyo_1124
Ukiyo
Tsukiyo_3661
Ukiyo
Tsukiyo_4678
Vaida Kacergiene Vaida Kacergiene is an extremely talented self-taught artist. Her creations have a central focus on the relationship between the individual and his inner self. The soul is an integral part of the human experience. She lets her feelings guide her in the creative process. The result is a reflective, sublime and evanescent atmosphere where the viewer is welcomed and invited to make the image his own. Nature is often involved as a mediator in the relationship between man and the outside world. Vaida invites the viewer to reflect, creating an empathetic bond with the image. In 'CHOICES', the artist focuses on the countless possibilities of choice that man has before him every day. The work's symbolist influence is evident. Blue and green colours dominate the image. The brushstrokes are soft and fluid. Everything exudes tranquillity and lightheartedness.
Vaida Kacergiene A mixture of choices with an unexpected and unpredictable result. The colour green gives hope, while the colour blue recalls the impossibility of knowing the future. Every day man is faced with decisions that could change his life. Yet he is forced to choose, to take an action. In 'SUNRISE VIBES' Vaida depicts his perception of the sunlight that governs the laws of the world and illuminates everything. The colours red, blue and green/yellow, are mediated by the luminous white that creates new combinations and stands between the colour factions. Light symbolises strength, rebirth. An invitation of hope to look at the future with different eyes. Each day constitutes a new birth for man. Vaida paints by letting her instinct guide her, and this is evident in the fluidity and harmony of her paintings. The hardness of the contours disappears, leaving room for the softness of the well-matched colour tints.
Art Curator Ilaria Falchetti
Vaida Kacergiene
CHOICES
Vaida Kacergiene
SUNRISE VIBES
Valérie Biet Against the logic of reality, dictated by the impulses of perversion and abnormal, the Italo French artist Valerie Biet combines fragments of reality with the impossible in order to open new dimensions. The multidimensionality primarily arises from the combination of different techniques that she acquired throughout her lifetime, enriching her works with complexity given the multifaceted skills that the artist can offer. The union of the singular elements in Valerie’s artworks create bits of her inner universe that only when together reveal parts of her story, just like a collection of chapters makes sense for the narrative of the book. Deliberately represented, the female figure and its beauty is the personification of the rational aspects of her artworks, which are then combined with details of the unconscious manifestation of her past, the future and the present, that fad into each other as a whole. Behind every element, there are traces of a fantasy, an obsession, an emotion that unconsciously pushes to be displayed, and that urges to be shared with the rest of the world. These components have strong symbolism and carry multiple meanings that are brought together in the observer’s mind, who is then able to create their own story and investigate their temptation and perversions. For this exhibition, Valerie is showing fragments of her colourful world that dares rational possibilities and is governed by perversion and impossible scenarios that need to be disclosed to the audience in order to be one again.
Art Curator Francesca Mamino
Valérie Biet
CryptoWaves
Valérie Biet
Don’t Look at Me
Valérie Biet
Upwards (Empor)
Vincent Van der Bosch For Gestalt, perceptual experience, and by extension, psychic life, consists of dynamic processes organized according to autonomous structural principles. Gestalt theory, or form theory, from the translation of the German term Gestalt as form, structure, posits that form is a configuration in which the function of the parts is determined by the organization of the whole, in other words a whole irreducible to the simple sum of its constituent elements. In personal experience, one recognizes a succession of figure-background relations in which the specific needs of the moment emerge with respect to the context, only to vanish, once satisfied, and be replaced by new configurations. The artwork presented by Vincent Van Der Bosch, Fortune Teller of the heart shaped rock is a very clear example of this theory and how visual art, as well as music, can create events of very strong empathy. A whole composed of several equally significant parts, which control the whole by the mere fact of being present and united. Even the name chosen by the artist is a work of art in itself. Where each element pays homage to a country of his heart. Associations then, aggregations and unities that create layers of futuristic worlds. A geological layering that by its very nature keeps endlessly uncovering itself, revealing itself and surprising the viewer with clues of deep aesthetic reflection. What will the fortune teller reveal and what will reveal itself? As we discover it, the pull increases and increases, we become obsessed with it.
Art Curator Erika Gravante
Vincent Van der Bosch
Fortune Teller of the Heart-Shaped Rock
Vivian Atienza Vivian Atienza is an artist who creates images with a strong emotional impact. Her artistic process, which leads her to the final realisation of the work, consists of a series of studies in art theory and philosophical theory. Her creations are well thought out, both technically and visually. Each added element communicates a certain meaning. Strongly influenced by the perception of colour, she creates images that lead the viewer to deep thoughts of meaning. She invites the viewer to enter new and as yet unbuilt atmospheres to become aware of himself and his innumerable possibilities for transformation. Vivian invites him to embark on an inner journey, starting from the perception of the work through the juxtaposition of specific colour shades. The artist focuses on the interactions that can take place in the realistic and imaginary world, in soul and body. In 'Oscillation of Soul' the reference to the metaphysical world is evident. Here, states of the soul are compared to certain emotional states. An experience provokes a reaction from the soul, which has to manage, understand and channel it. The soul interacts with the outside, processes the fact so that it can only be sublimated and labelled as a past vulnerability. The image is strong and disruptive. The volumes are defined and the elements entangle one on top of the other, in a play of overlaps and unions. The reference to the masses of the human body is evident, to make clear the contrast between the non-tangible soul and the body that is its manifestation in the contemporary world. The intense blue of the background contrasts with the soft tones of the complexion. In 'Silenced Tongues' the colours that prevail are the violet/red of the subject and the green/blue of the background. The contours are evanescent; it is the colour that establishes masses and volumes. The oil painting technique allows the pigment to be fluid and the nuances soft. Here the artist creates a parallelism between man and animal, whose destinies are inexorably crossed. She paints three bovine tongues to create a focus on the suffering of living beings. In 'The Seer', the artist approaches the figurative world while remaining anchored in metaphysics and surrealism. The figure of the blind seer is inspired by a poem by Dali. Here Vivian deals with the theme of truth and how it is visible even in blindness. She represents an omniscient figure, who does not see but knows everything. The colours weave together like a dance and the contours are more defined than in previous works. The colour is vivid and brilliant. An image that knows no limits, locked in an indefinite space and time. That transcends all ages. Vivian in all her paintings recalls the relationship between soul and body. Now a vision of intermediation between what is tangible and what is part of the interiority of us all.
Art Curator Ilaria Falchetti
Vivian Atienza
The Seer
Vivian Atienza
Silenced Tongues
Vivian Atienza
Oscillation of Soul
Waki Imaizumi An intimate, pure, profound journey. A work that reflects in its candor and simplicity the nature of being human. "Tatako" is a story that speaks through images, speaks through strong words used in simple sentences so simple that they are extremely sweet and nostalgic. Waki Imaizumi manages to communicate through a simple and effective drawing style the many overlapping facets of a human being. She tells of a sweet friendship, an inseparable companion and then moves on to the feeling of boredom by hinting that inside every human being there is a dark part that can sometimes come out. Then the story resumes, the years and experiences pass: marriage, cohabitation, awareness of the past event and the return to the purity of youth. Waki manages to tell a tale with such strong meaning without lapsing into prejudice, superiority of purpose, and the traditional distinction between good and evil. The human soul, as we have said, is multifaceted and Waki knows this well. The very "evil," or doing evil, can be provoked by a sense of dissatisfaction, a moment of boredom mixed with sheer curiosity. The response to decisions and intentions that animate an individual is never too simple. The result of complex formulations and emotions, an individual human being's choice is far more complicated than a word, far more complicated than a decision made. Beneath it lies the sea of the conscious, the unconscious and our drives. Although the narrative is in the first person, Waki tells the story aware of what is happening. This produces a sense of calm and sweet melancholy in the viewer. This sweetness accompanies the latter even in the strongest moments of the story, in the moments when thoughts become reckless and gestures become tragic. The sweetness with which the artist has permeated the work makes the whole narrative extremely bittersweet, sometimes sad, sometimes nostalgic. And it is precisely nostalgia that we also find in the final pages, when the protagonist has now lived most of her life and comes face to face with what happened that fateful day together with her friend Takako. Waki has the ability to make extremely important and often uncomfortable topics sweet and tame. It is an extremely rare ability, the result of a great sensitivity that dwells in her soul.
Art Curator Lisa Galletti
Waki Imaizumi
Takako
wiCa Elongated shadows rise before our gaze. All around is the darkness of a night lightened by a full moon. The satellite rises, imposing, beyond the subjects of the work. At first milky white, it then turns blue, becoming one with the sky. Around us is darkness. Maybe we are in a forest, maybe we are in a cave or we are in our bed and everything we see we are imagining. Above a black blanket characterized by grayish spots rise strange shapes. Organic, natural forms stretching upward in an extremely sinuous and elegant way. What are they? Or rather, who are they? These beings have surrounded us, at this moment they are all'around us. What do they want? Why are they here? The darkness of the night makes it difficult for us to recognize their identity, and yet, what is certain is that they are not human beings. They have no limbs or shoulders or legs. They look like a mass of malleable matter that stretches and shortens while swaying slowly. One of these beings approaches us, it is very close. We can feel its presence and yet we have the impression that this being is intangible, almost transparent and devoid of matter. Looking up we notice two small white eyes. They stare at us. They stare at us insistently. As soon as we want the gaze we realize that we have caught the interest of all the strange beings we can see. Two, four, six, eight eyes and so on; all fixed on us. They are scrutinizing us, examining us moved by great curiosity. They do not look evil, in fact, the feeling of fear is never there. They move slowly, stretching their heads toward us and then withdrawing them. They are very curious and they themselves probably want to understand who we are and what we are doing here. After all, that is their place, that is where they live; we are the ones who have entered their world. The apprehension leaves our hearts and their curiosity infects us, we would also like to understand what these beings are, who they are. Apprehension gives way to excitement about the new encounter, and what we would like to do now is just to extend our hand to one of them. Yet, we already know the answer. They are intangible, almost transparent beings: behind them we can see the rectangular silhouettes of the backdrop that occupies the space behind them. The only thing we can do is observe them, let go of our fears and let out their curiosity, just as they are doing. Their appearance all of a sudden from creepy becomes docile and tender, fear has shaken our certainties, and now that the creepiness has dissipated we sense in our hearts the true nature of these beings. They are good and playful entities. All that remains is to make friends with them and meet them again in our dreams.
Art Curator Lisa Galletti
wiCa
Come Again
Yoko Morita Yoko Morita is a Japanese artist, whose artistic career is divided between illustration and design, but also the creation and presentation of three-dimensional and two-dimensional works. The artist Yoko Morita is the guest, for the first time, of an exhibition organized by M.A.D.S. Art Gallery on the occasion of “PRETTY PERV”. The "reminiscence" work is made with a coutout technique, this allows it to divide and reassemble, create something new from something that already exists. The work turns out to be primordial, visceral and profound. The multiplicity of elements present captures the observer's attention in different points of the work which at times recalls rock painting. The colors of the elements are soft and delicate, recalling stones and appearing to have a smooth and pleasant texture to the touch. The artist seems to have deconstructed a real situation, like a hunter on horseback inside the forest. The work gives the observer a sense of peace and freedom, it is as if the artist has suspended a moment in time and stopped it forever. The artist's artistic and academic experience is evident in her creation in the exhibition, as it easily allows her to tell a story that strikes the observer and captures their attention without allowing them to take their eyes off it.
Art Curator Martina Viesti
Yoko Morita
reminiscence
Yoshi “Nature is not only all that is visible to the eye, it also includes the inner pictures of the soul”. (Edvard Munch) The artist Yoshi starts with the depiction of reality and then transforms it into simplified and flattened shapes by the combination of pure, bright, primary and secondary colours, far from natural description. "Octopus balls" can be viewed from any point because it is composed of patches of colour and black marks that do not give rise to precise, recognisable forms. In this work, the figurative elements are recognisable and delimited within marked black outlines, although the lines are given the task of flattening the volumes and the colours are unreal. The artist expresses his inner state; all figurative elements are abandoned. The painting becomes a triumph of shapes and colours free of any mimetic function. The colours used are not circumscribed, and take on different shapes and shades. Every single fragment, every nuance has its own aesthetic value, attributed to the colour with the task of soliciting inner feelings in the spectator. The stroke is free and arranges signs and spots with absolute freedom, arranged in space: curved lines, nuances, radiations coexist. There is a strong simplification of the figures, which gives the representation light and clarity. The colours become autonomous, precisely in consideration of the main subject, the manipulation of colours makes the main subject stand out, creating perspectives immersed in an atmosphere of transcendence and spectrality. The colours are cold but still, the light is static and intense. In the work all is silence, the atmosphere of desolation can be perceived from the main figure, arousing the impression of stunned and lacerating silence. "Octopus balls" takes us back to an archaic and original humanity, seer, heroic, inhabitant of distant and mysterious times and, in this sense, inhuman.
Art Curator Giulia Fontanesi
Yoshi
Octopus balls
Yu Kuei "I feel you are wondering: what does it mean to be a color? Color is the touch of the eye, the music of the deaf, a cry in the dark." (Orhan Pamuk)
Yu Kuei, who has always been close to the chocolatier business, approached the world of art not so long ago, nevertheless demonstrating a deep and engaging expressive maturity. The challenge against depression is what led her to seek help, comfort, a real therapy in artistic creation. Her abstract artworks, characterized by an apparently simple aesthetic, however, hide all the discomfort and suffering felt by the artist, who pours all her emotions and sensations onto the canvas. And so the canvas becomes a medium between Yu Kei's inner world and the outer world, allowing the observer the possibility of creating a connecting bridge, of getting closer to the inner self of the artist and giving rise, from all of this, to a profound reflection on the value and power of art as a therapeutic tool. In "Cave" the blue acquires the role of protagonist, the one who, in silence, dialogues with the observer, showing him all the depth of things, of the world and, above all, of the human soul.
Art Curator Federica Schneck
Yu Kuei
Cave
Yuuichi Hagure There is something fascinating about color as it molds, spreads on paper, expands and shrinks. As in an alchemical dance, the pigments mix, mingle and make acquaintance with each other. The mixing of the elements produces a result that smells of magic, of mystery: one does not know what shade of color will be born from the fortunate union of two pigments. The slightest variation produces unprecedented hues that are molded on the canvas in communion with the rest of the color. This is how Yuuichi Yagure sets up his art. Through the use of Copic markers he molds on the paper support a precious chromatic web that bathes every point of the representational space. The color glides, creates shapes resembling clouds, stops in certain places and condenses in others. The web is so dense and vividly colored that it seems to move at the slightest breath of wind. At other times, the mind wanders and the thought rests on ancient mosaics bearing mysteries. The web has become ceramic tiles that compose poetry in images. The formal setting, though chaotic presents a studied balance in forms and sign setting. Trace of color as the highest expression of self and what the artist wants to communicate. Yuuichi, like a spider, weaves the silky threads of this chromatic web suggesting to us (but not manifesting to us) what he wants to express through sign and pure color. "Temptation" is violent, it is direct. The mind wanders and sets its attention on the discharge of lightning. The two thunderbolts, made with blue pigment cut the composition obliquely. Protagonists of the work, they are shaped through the force of color to acquire meaning. The color shrinks, widens; it becomes threadlike and then becomes soft and round. The fickleness of a temptation is right here in these forms. A temptation that flashes into our heads in an infinitesimally small amount of time, just like the discharge of lightning. The current discharges to the ground, the same thing happens in our soul. If in "Temptation" the composition is outlined through extremely energetic bluish lines of force, in "It's from her..." we witness an amalgamation of elements. An alchemical cauldron precisely where sensations, emotions, flashes of memories mix in unison to produce new vital matter. In the work we struggle to find a point of origin. There is none, just as there is no center. Blue, pink, yellow and light blue pigments wind throughout the composition producing a rich result that powerfully expresses the complexity of the artist's feeling and desire. Nervous little touches expand, transform, mutate and mix with one another; endless details of the woman Yuuichi retains within his memory. It is a complex, layered, intense and total work; a splendid representation of feeling.
Art Curator Lisa Galletti
Yuuichi Hagure
Succubus
Yuuichi Hagure
It's from her...
Yuuichi Hagure
Temptation
Zarga Martini
Shibari is a Japanese technique of constraint with ropes. It is of course part of the diverse world of practices that exist in oriental eroticism. The binding represented by Shibari takes place precisely with ropes. It is not really a technique of submission as much as the expression of a willingness to rely on the other, to trust blindly. In Shibari, i.e. the act of tying someone up, the Nawashi (rope artist, i.e. the one who performs the tying) performs geometric designs and shapes that create a wonderful contrast with the natural curves and recesses of the female body. The texture and tension of the ropes create a visual contrast with the smooth skin and curves, emphasizing the softness of the body shapes. Lights and shadows created by constriction become aesthetics of eros in Zarga Martini's digital works. The areas that are revealed in these passion graphs seem to be areas of the body constricted by ropes, by perhaps invisible pulls that seem to do their sublime work effortlessly. The sensual charge seems palpable, the warmth diffuse. The play of bodies is happening in front of us. These images have in their pop references a great contemporary component of desire to watch, to be part of, to witness the enjoyment of others, the intimacy of others and thus ultimately, pleasure. As with tying with ropes, the desire is therefore to reach a state of trance, to be transported completely helpless by the artist's visions, inevitably blocked by the presence of the work and its ideal constraint.
Art Curator Federica D'Avanzo
Zarga Martini
MORE INTEGRAL
Zarga Martini
DIGITAL NUDE
Zarga Martini
DIGITAL NUDE 2
Ziggie "Pornography is nature, eroticism is culture, that is, fantastic transfiguration, imaginative ignition, all things that the opaque nature does not know" (Corrado Augias)
Justine Orlando, aka Ziggie, is a French artist who considers herself a citizen of the world. Her numerous travels and related experiences have allowed her to discover new cultures and sides of herself that we find within her art. Her sensitivity and her personal vision of the world are mixed with various kinds of issues, mainly linked to the attention to the Lgbtqa+ cause, sex work and women's rights. "AFRODESIA" is an aggressive, captivating artwork, which plays on the simplicity of the shapes and the saturation of the colors to create a bond with the observer and induce him to reflect on today's porn industry. In the work the woman's body, which has always been placed in the background and commodified, acquires the role of true protagonist: no longer a simple piece of meat, but a real point of reference for the entire artistic composition. Malice, irony and fantasy intertwine, showing in the gaze of the female figure a sense of revenge, of power, of belonging. Ziggie's art is explicit, provocative, colorful, but it places numerous social causes at the center of attention, the result of enormous debates today.
Art Curator Federica Schneck
Ziggie
AFRODESIA