Curated by Art Directors Carlo Greco and Alessandra Magni Critical texts by Art Curators Alessia Perone Angela Papa Camilla Gilardi Carola Antonioli Chiara Lezzi Chiara Rizzatti Eleonora Varotto Elisabetta Eliotropio Erika Gravante Federica Acciarino Federica D’Avanzo Federica Schneck Francesca Brunello Francesca Catarinicchia Francesca Mamino Giorgia Massari Giulia Dellavalle Giulia Fontanesi Ilaria Falchetti
Karla Peralta Málaga Letizia Perrieri Letizia Vuotto Lisa Galletti Lucrezia Perropane Maddalena Conti Manuela Fratar Mara Cipriano Maria De Marco Marina Maggiore Matilde Della Pina Marta Graziano Martina Lattuca Martina Stagi Martina Viesti Sara Giannini Sara Grasso Silvia Grassi Vanessa Viti
How do we know what is the wisest thing to do? In the heat of the moment, how do we decide? If you talk to some philosophers, they may tell you that we simply need to reason. But experience suggests that things don't work that way. Most of the time we don't have time to sit down and think. So how do we make decisions? Often, we follow our gut feelings and instincts. Visceral, deep, instinctive, but also irrational. The word visceral derives from the late Latin visceralis and literally means "of the bowels", or in medicine it is what affects one or more viscera, in a broader sense everything related to the systems responsible for vegetative life, the systems that allow us to to live. Metaphorically it has therefore assumed the meaning of all that is profound, inherent in each of us. Doing something visceral means acting instinctively, following the voice of our deepest self that often guides us and makes us act without thinking too much. At the same time it also indicates something irrational and non-critical, as if it arose from the guts and was inherent in our individual biological constitution. Since ancient times it has been said that the belly is the seat of emotions and the unconscious. In recent years, medical research has discovered that there is a second brain that we could define as abdominal/visceral that functions independently from the upper one. The existence of a direct abdomen-head communication has been demonstrated: serotonin continuously keeps the head updated on what is happening in the belly. It was then discovered that the intestine works autonomously, helping to fix memories related to emotions and has a fundamental role in signaling joy and pain. In short, it is the seat of a real second brain. The word "visceral" is in fact used to indicate that a thing, an attitude or a way of expressing oneself is very intimate, passionate, intense. Something significant, full of feelings (both positive and negative), linked more to the impulse and instinct than to the rational. As the word itself says, when we use the term visceral we refer to a way of expressing ourselves that comes from within us. The idea that there is something that emerges directly from us and that comes out naturally gives us the feeling that it is something truly natural, not rationalized, which appears through instinct and which does not always measure the consequences it can generate. In this sense, art has, in many respects, a profound relationship with what is visceral, since it has always been the most sincere and least rational way that human beings have of expressing themselves. Artists are often seen - in fact - as carefree people, not repressed by social guidelines and who bring out of their being all those feelings and sensations that arise in their bowels and that they cannot repress or silence. Art has always had the power to be the means of expression to give vent to one's irrational instinct. Through their art, each artist can truly express himself without being subject to rules, without having to follow a line or a thought. M.A.D.S. calls artists from all over the world together to shout loudly: "Let your instincts free! Let it guide you! Don't repress it! Leave its free to express itself through your art!". M.A.D.S. asks to the artists to give voice to their deepest, most intimate and most visceral self - in fact -. Concept by Silvia Grassi Art Curator
Aine Osborne “For whatever we lose (like a you or a me), It's always our self we find in the sea.” (e.e. cummings) It is difficult to accept that the common man can believe in the concept of a dialogue with water, in reality this dialogue exists. The Earth, also called the Water Planet, is covered for 70% of its surface with water, the same proportion found in a human body. Snow, which has been falling on Earth for millions of years, contains crystals that are similar to each other but different from each other. Each crystal carries within it a piece of information. More precisely, the geometry of the crystal is the information itself that crystallizes.Water, through the creation and contemplation of its crystals, makes a dialogue with man possible by raising his awareness. With this image that comes from Nature, we cannot fail to draw a similarity between snowflakes and human beings, both born from the same matrix but then differing when they arrive in matter, each carrying with them the baggage of their own experiences. In the same way, the movements of water result from the impact of an object. The artist tells us that she has observed these vibrations and changes for a long time, still the same matrix, which she fluently generates. The generative and regenerative power of water is something well known. Artists of all times have been fascinated by it and have worked on the refinement of its formal representation as well as its emotional glare. The drama of the unpredictable becomes the subject of investigation and research, it becomes the protagonist of the painting and it is in this way that we can assist to the said dialogue with water becoming real.
Art Curator Federica D'Avanzo
Aine Osborne
Reflection
Akino Kishimoto “The job of the artist is always to deepen the mystery.” (Francesco Bacone)
Observe the world around you, grasp every nuance and capture the messages that the universe wants to communicate to you. The famous English philosopher Francesco Bacone stated that the artist's work consists in going into the mystery: entering the darkness, creating one's own light, and discovering what lies behind the night. Akino Kishimoto is a contemporary Japanese artist whose works have as protagonists animals, and nature with which she has always had a deep bond. In "Make one's peace" (2022) we see in the centre a flower with red petals created thanks to the combination of thin brushstrokes. The work is a tribute to peace: the flower is like a ray of sunshine in the rain, a hymn to peace amidst the screams of war. In “Piercing (owl)” (2020), as the title itself says, the protagonist is one of the most fascinating nocturnal animals. Its large eyes carefully observe the viewer. What does it want to tell us with that curious look? The warm color of orange contrasts with cold colors such as green and blue, creating a pleasant chromatic effect. In “Touch bottom” (2022) an eagle, an animal symbol of power and victory, flies showing its charm among bright orange and blue splashes. Akino Kishimoto through her works invites us to observe the world around us, to contemplate it and to try to understand what it wants to suggest to us through its signals. Watch, reflect and learn.
Art Curator Camilla Gilardi
Akino Kishimoto
Make one's peace
Akino Kishimoto
Piercing (owl)
Akino Kishimoto
Touch bottom
Aldona Stępień "Some painters, including myself, do not care what chair they are sitting on. It does not even have to be a comfortable one. They are too nervous to find out where they taught to sit. They do not want to “sit in style.” Rather, they have found that painting—any kind of painting, any style of painting—to be painting at all, in fact—is a way of living today, a style of living, so to speak. That is where the form of it lies. It is exactly in its uselessness that it is free. Those artists do not want to conform. They only want to be inspired.” (Willem de Kooning)
Aldona Stępień chooses, to present herself at the international art exhibition VISCERAL hosted by the M.A.D.S. International Art Gallery, a quote from one of the pioneers of Abstract Expressionism. Exactly like the great master, hers are harsh, powerful brushstrokes and a relentless struggle with color, fabric, palette knife. But most of all with herself. In addition, Aldona abandons any kind of figure to give voice and space to color, the absolute protagonist of her works, exactly like the action. Aldona affirms her existence and resisistence to the chaos of modern life through action. His works indulge in free and spontaneous gestures and the total absence of forethought, the drive of impulse. Through expressionism, through the free expression of color and the artist's individuality , she records her feelings, thoughts, situations and moments. She creates images inspired by nature and emotions. Aldona presents Apologies no. 3110, Blue Rain no. 2608 and New hope no. 1312. It is fully visible how much color suggests the moods expressed by the artist, they are works inspired by nature, landscapes, and emotions.
Art Curator Mara Cipriano
Aldona Stępień
Apologies no. 3110
Aldona Stępień
Blue Rain no. 2608
Aldona Stępień
New hope no. 1312
Ale Osollo Creating art and meditating have many similarities. Slow down, focus on the present, be present, resist external thoughts, feel the process. It’s like being absorbed by what you are doing so that everything around can fade away. These two processes can be part of the same domain of what brings peace to the soul, but for some people, they are equivalent to each other. For the Mexican artist Ale Osollo, creating art is comparable to taking part in a meditative journey in which she is able to join her otherwise scattered attention and mind wonder in the deepest parts of the creative brain. An innate process, an innate need to create and to connect to the viewer through her art. It’s a way for her to communicate and to show her vision of the inner and outer world, often composed of fragmented and contradictory emotions that only by creating art make sense to herself and to the others. Painting is for her an elevation of the body, the soul and life in general, that knows no tangible limits; it’s part of a bigger energy that only by art can be unified as a whole and by witnessing her art, we can contribute to it. In her artworks, she guides us in her meditative processes, and by travelling with her we can appreciate and empathise with her inner world and parts of their personality that are found in the paintings.
Art Curator Francesca Mamino
Ale Osollo
El gran búfalo (The big bufalo)
Ale Osollo
Mr. Maguey
Ale Osollo
ROBOT
ALEKSANDRA MOREIRA FRANZINI
Leave it to fluidity to pursue our visceral thoughts. ALEKSANDRA MOREIRA FRANZINI, presents “Golden Metamorphosis” for the “Visceral” Mixed Reality art exhibition at M.A.D.S. Art gallery. It is imperative to understand how fluidity can undertake the task of expression, to not repress it. We find ourselves usually trying to convey a collective will and sometimes we lose consciousness of reclaiming our own individuality. “Golden Metamorphosis” depicts a succinct universe pursuing the truth of the human self. We witness a motion graphic artwork using golden geometric star-shaped forms, which praise a succinct universe continuum. The artwork moves around its own axis as a celestial body would. Time passes with each movement carrying the responsibility to evolve into a new perspective by creating a repeated golden path, with each repetition we find something new. "There is repetition everywhere, and nothing is found only once in the world."-Johann Wolfgang von Goethe. We repeat in order to evolve. “Golden Metamorphosis” comes as a succinct universe to release its visceral truth: We repeat in order to evolve.
Art Curator Karla Peralta Málaga
ALEKSANDRA MOREIRA FRANZINI
Golden Metamorphosis
Alexia Dilaveri “For me art is a meeting point, a place where we can uncover and share what words cannot define” (Alexia Dilaveri) Alexia Dilaveri's art is the purely profound expression of the human soul. Alexia touches the strings of everyone's sensitivity by expressing herself clearly and directly. The artist focuses on color and lines, color is used freely and in an emotional as well as constructive function, Alexia makes an incisive use of pure color that tends to immediacy. Starting from different suggestions and stimuli, she seeks a new mode of expression based on the deep communication of emotions. The artist's lines are simple but incisive, we see this in Blinding Light and Enclosed. The dynamic and expressive use of color, on the other hand, characterizes not only these first two works, but mainly Buried. These are the three works presented at the international art exhibition VISCERAL hosted by the international art gallery M.A.D.S. In Buried, thick layers of acrylic paint are applied with brush and scraper. The figure and background are merged with interwoven strokes of color. It explores the dread when the line between what you can and can’t control becomes blurry. Blinding light is a numbered lino print overlaid with continuous line drawing in ink. The series explores the state between awareness and deeply rooted experiences that have shaped our sense of self. In Enclosed aggressive strokes of oil pastel and pencil are laid over acrylic applied with a roller. The piece evokes the tension felt when personal boundaries are pushed.
Art Curator Mara Cipriano
Alexia Dilaveri
Blinding light
Alexia Dilaveri
Buried
Alexia Dilaveri
Enclosed
Alexis Paul
Alexis Paul is a very interesting artist. On the occasion of the international art exhibition VISCERAL she presents one work titled Energy. In the center of the composition we can see a vortex of different elements and colours that attract the gaze of the observer, as if this movement creates a powerful energy that involves the observer. This kind of technique could be connected to the theme of the exhibition VISCERAL. In fact with this kind of formal choice the artist is able to communicate the idea of something that goes to the depth, the visceral part of the canvas. With her abstract language the artist is able to create contact with the viewer and communicate in this way her energy.
Art Curator Elisabetta Eliotropio
Alexis Paul
Energy
Alisa
Alisa's work contains that dreamy force with which the viewer is captivated. She takes the decision to dedicate herself to art, to represent emotions from her past and give kindness to people that watch her art. She can express emotions like love through unique characters. On the occasion of the “Visceral” exhibition at M.A.D.S. Art Gallery, she exhibits a digital work titled “In the end it is myself”. We can see two girls, one speaking into the other's ear, like telling a secret and looking towards the viewer. The two figures are characterized by a delicacy of gestures and gaze both towards each other and towards the viewer who approaches this work. We are captured by the gaze of the two girls, as if they are inviting us to be part of their secret and to join them. The contrast of colors is also striking, especially between the pink of the hair and the blue of the background. Alisa uses strong, flashy colors that instantly grab attention. Moreover, there is something mysterious about these two figures. We are led to think at first sight that the two girls are twins but they could also be reflections of each other, as suggested by the title. An opportunity also to underline the particular bond that connects twins, or brothers in general, one the mirror of the other with which to share memories and secrets.
“When you take a portrait of someone, you take a portrait of their soul” (Winna Efendi)
Art Curator Federica Acciarino
Alisa
In the end it is myself
Analvis Somoza Jimenez “Tradition is not the worship of ashes, but the preservation of fire.” (Gustav Mahler)
Analvis Somoza Jimenez is a contemporary Cuban artist. Her artistic research is intensely linked to local culture, enveloping the viewer in mystical settings, populated by serious faces whose gaze is projected towards a distant world. Warm colours accompany her paintings, mostly characterized by a language that echoes the Expressionism of the first two decades of the 20th century. This combination of elements helps to define her stories, from which a sense of calm and intimacy emerges. In the work 'Emigrantes en Miami', the artist takes us on a spiritual journey through the Cuban traditions. In the lower part, we notice a boat, on which small wooden huts stand one on top of the other, leading our gaze upwards, until we encounter a myriad of faces observing us. These figures are hairless and elongated to the point of looking like trees rooted in a land rich in history. Their strong eyes and erect posture convey deep emotions, disintegrating the barrier of time to transport us to the legends of a long gone people. The artist's desire is to remember the past of her places in order to safeguard their culture, so that it can be handed down and passed on in time. She wants to maintain a contact with her land by giving new life to the souls that inhabited it and allowing them to speak once again through the eyes of those who experienced a reality, which we no longer see today, but that still vibrates within every inhabitant of this island.
Art Curator Francesca Brunello
Analvis Somoza Jimenez
Emigrantes en Miami
Andrea Guedella
The social and health situation that each of us has had to face in recent years has been truly sudden, unexpected, no one could have ever imagined it. Anyone, locked in the house, has the opportunity to reflect on what was really important, on what scares us of the future, because every daily action, which was previously trivial and insignificant, from which moment it could have been dangerous or not had the ability to fill in. Precisely in that pandemic period the artist Andrea Guedella gave life to the series of works "Victual". The artist reflected on the fact that this situation has awakened in people some primordial instincts, very visceral, such as the fear of not being able to get food, of dying. All this then heightened the awareness of the importance of taking care of us and our body. Closed at home, without the possibility of going out and finding materials, the artist, for her works, has created and exploited what she had: herself and her body. Her own body has therefore been transformed into food, into what is necessary for us to survive. We are what we eat; food is a fundamental part of our health. Here we see one of the works of this series, “Cob”: the teeth that usually bite into the cob are now themselves parts of the bitten cob. We have learned how much we must, even literally, bite into life, not miss a moment, live every second to the full, because everything is so unpredictable and we can become so helpless in the face of what presents itself.
Art Curator Silvia Grassi
Andrea Guedella
COB
Andrew Ratekin "The difference between reality and unreality is that reality is so disreputable." (Allan Sherman)
Formal associations are what makes Andrew Ratekin's art so enigmatic and mysterious. Applying the mixed technique, what interests the artist is, above all, the confrontation with the observer through the creation of artworks with a symbolist flavor. The goal is the overcoming of real appearances, the penetration into a personal artistic imagination focused on themes such as the instability and fragility of today's life. Nothing is as it seems, there are many appearances, and it's on this reflection that the artist manages to give life to abstract works populated by figures, symbols and objects that cannot be traced back to a logical criterion. The truth can only be discovered through observation, reflection and, above all, the association between the various elements of the works. Flowers, plants and trees relate to elements such as skulls and gas masks, as if to underline the strangeness and complexity of life, the idea that nothing is certain, within the reality we live, everything is unstable, strange and, perhaps, absurd, like the associations that are generated by observing his artworks.
Art Curator Federica Schneck
Andrew Ratekin
Of death and love
Andrew Ratekin
Sensory deprivation
Andrew Ratekin
Sunset in December
Anke Riemenschneider "Nothing can cure the soul but the senses, just as nothing can cure the senses but the soul." (Oscar Wilde) Anke Riemenschneider, artist, pianist, short story writer and poet, creates works of art that touch on all of these different fields and result in very personal and original compositions. With the advent of new painting media, such as digital painting and new video art materials, Anke Riemenschneider has extended her experimentation to visual art. Word and sound contribute to the creation of thimble works that become the focus of her art. If they were previously thought of as independent media and art in their own right, they have become essential, complementary traits in the creation of works of art. Writing, music and art, together as a method of working, investigating and creating works with different artistic mediums. Anke's artistic life influences the conception of a work as an expressive and experiential place, where feelings and stories of a life can be found. We are confronted with an explosion of life and material. The use of music as a means of externalizing one's creativity guides the colours on the canvas, expressing strength and emotions, to which is added a particular emotional charge as Anke is interested in psychology and the motions of the psyche. The musical notes become an extension of the motions of the psyche and help give the paintings a strong emotional and experiential charge. Music as a cure for the human soul, only finds order in the apparent chaos of notes and the melodies they produce, Music, soul and life in paintings through the matter that shapes our existence. Colour, light and psychic automatism; these are the components of the artist's abstraction. It seems that the artist reflects a lot on the concept of form as an expression of interiority, of his deepest emotions. Art must therefore stimulate different sensations and emotions in the viewer's soul, it is the achievement of a melodic and harmonious composition, dense with meaning.
Art Curator Giulia Fontanesi
Anke Riemenschneider
La jouissance
Anke Riemenschneider
Manon Lescaut (from l’opéra series)
Anke Riemenschneider
In Erlkönigs Welt
Anna Lani
Anna Lani is a London-based Polish artist whose main practice focuses on collage, creating art that goes against her sense of conventionality by using bold colours, patterns and combinations. The artists unite figures that convey a sense of ambiguity, but that at the same time trigger curiosity in apprehending the connections among the different images displayed in the multidimensional workspace. Just like in everyday life, her work is characterised by relationships of seemingly simple images when taken alone, but in their totality, they create complex figures that reflect the entanglement of our existence.
Anna Lani
This complexity is spread across the multidimensionality of artworks, producing strong visual impressions that further nourish the captivating and intricated dynamics of life. The use of different dimensions in her art, allows the viewer to question themselves about their feelings, and reflect on how the contraposition of images and patterns stimulates their emotions. Her artworks include human features, creating a sort of dialogue with who is observing it: who is in the picture? It is me and it is you simultaneously. It’s an introspective journey to understand me as a whole and how I relate to you. It’s an empathetic interaction that reminds us of our similarities, rather than differences, in the simple - and at the same time intricated- reality of the system that we live in.
Art Curator Francesca Mamino
Anna Lani
Trial
Anna Lani
You are the truth
Anna Schönfeld
Anna Schönfeld, presents “Through the Windchimes” for the “Visceral” Mixed Reality art exhibition at M.A.D.S. Art gallery. We witness organic forms trying to be released. They are carrying the responsibility to draw a path. A map portrays a choice, which will be imperative to undertake the task of a new beginning, a new path. Cool light tones start from left to right, at the right top corner we may find bright tones and dark ones, which are in direct contrast with the left side, which is more fluid. A map has been drawn a new path has taken its course. The shapes we see in this map are private, which means they are created as islands. “Through the Windchimes” present two choices: to stand still and listen or to stand still and witness what happens after you have listened. Which creations are being manifested? Do we perceive the shapes as islands or as peninsulas trying to connect even though it has been stablished they will have no connection and will remain private? Two choices: the public happening or private happening. Or maybe… “We're all islands shouting lies to each other across seas of misunderstanding.”Rudyard Kipling, The Light That Failed. What could actually go through a wind-chime? Yes, we are aware of what happens in public we know our private thoughts but are we really aware of them? Anna Schönfeld´s visceral truth unfolds and it is our choice to pick one. If you choose the private one, you must be aware that only artists can create bridges between islands.
Art Curator Karla Peralta Málaga
Anna Schönfeld
Through the Windchimes
Anne Girault Bardaud
The peculiarity of contemporary art is its being completely independent, its not to compromise, its not to yield to any pressure of the public and in succeeding, little by little, to eradicate the initial prejudices and to enter the hearts of people. In this sense the art of Anne Girault Bardaud is contemporary in all respects because it is not an art of immediate understanding, and yet, for the same reason, it is full of charm. The French artist is part of a collective that combines art with the biological research of cell renewal; not surprisingly, therefore, the three works under examination are part of a series called "Skin". Anne Girault Bardaud makes visible on the canvas the visceral and vital energy of the living; in her works every stroke, every scratch and every incision is a reference to the scars, wounds and sutures present in the skin of each of us, memorandum of past events and consequent emotions. Her works have a tactile and narrative quality, presenting themselves as a fragment of the structure of the epidermis that, however, because of the bichrome of the canvases, take rather dramatic tones. White brushstrokes fill the black surfaces of the canvases in an intricate, but not confused, pattern of signs. The juxtaposition of white with black generates a violent color contrast and yet the viewer, admiring the works, does not perceive a feeling of conflict, but on the contrary this contrast exudes harmony. Both the direction and the magnitude of the gestures, as well as the proportions of the colors are perfectly balanced; there is no jarring. Moreover, while his works may appear cold or less communicative because it seems to witness the reproduction of a module that repeats itself with small variations, at the same time this factor is extremely interesting because it is precisely through this system of repetitions that nature operates. The art of Anne Girault Bardaud, therefore, is mixed with science, more precisely with biology, thus pushing the viewer to reasoning through visual stimulation. This is a particular and undoubtedly remarkable approach to art, so we must recognize the skill and innovation of Anne Girault Bardaud.
Art Curator Francesca Catarinicchia
Anne Girault Bardaud
BURNED SKIN
Anne Girault Bardaud
SKIN
Anne Girault Bardaud
XY
Anton Timchenko
Simplicity, composition and use of light characterize the portraits of Anton Timchenko who remained devoted to his rigorous and elegant minimalist brand, rejecting the sumptuous settings, at the expense of the simplicity of a neutral background. Lighting is certainly one of the main features of Anton's photography and is used with such skill that the final result shows a rare three-dimensionality. A result obtained through the use of very strong but not "bulky" lights that do not obscure the detail. The level of definition of each photograph is indeed impressive: you can clearly identify the textures of the materials, the consistency of the objects, the imperfections and the depth of field. The backgrounds are specially manipulated to obtain a pleasant contrast but are often nothing more than just bare walls or corners, to prevent anything from diverting attention from the main subject of the image. The images combine simplicity and immediacy with a great formal refinement. The backgrounds seem to have been created in such a way as to let the portraits interact with the scene. His is a constant search for authenticity. The exhibition introduces the artist's inspiration, derived from waste and everyday objects, and his ability to bring to light the beauty of environments characterized by a calm and minimalist aesthetic, producing a distilled visual language, characterized by a disarming elegance . In "Mirror" what appears are trees reflected in a puddle, trees whose geometric shapes unfold in different points of the scene. Anton then decides to look for the best perspective by relying only on his own eye and looking for the most beautiful image. He does not separate what his eyes see from what the lens reflects, a sign that heart and photography are much closer than one might think. In this type of images it is very important to leave the photograph intact, without subjecting it to superfluous digital manipulations capable of affecting its purity.
Art Curator Chiara Lezzi
Anton Timchenko
Mirror
Anton Timchenko
Portrait n°1
Anton Timchenko
Portrait n°2
Aspa Svolou The artist Aspa Svolou, who already participated in an exhibition held by M.A.D.S. Art Gallery with a Pollock style painting, this time amazes in Visceral exhibition with five outstanding paintings. We can see that these artworks follow different styles and chromatic frequencies. On the one hand we have paintings that border on abstractionism and others that fully embrace it. For instance, in "Spring” and "Λύτρωση" (personal realization) we can grasp a certain randomness of the strokes, in an alternation of dripping sketches and softer brushstrokes, besides in the other three artworks we can trace the artist's systematic intention during the creation phase. In all of them, the artist is able to express very well what is most intimate hidden in herself, thus embracing the thematic of the event. These wonderful paintings, by ranging between various styles while maintaining the signature of its creator, leave the beholder addicted to the magnificence of the chromatic range carefully chosen for each single painting.
Art Curator Angela Papa
Aspa Svolou
Escape
Aspa Svolou
Spring
Aspa Svolou
Ανθοπλημμύρα
Aspa Svolou
Αυτοπραγμάτωση
Aspa Svolou
Λύτρωση
Atsushi Ohta “Drawing and color are not different at all. As you paint, you draw. The more harmonious color is, the more precise the drawing becomes.” (Paul Cézanne)
Atsushi Ohta presents for the exhibition “Visceral” at M.A.D.S. Art Gallery five geometric artworks (“Drawing a square c.p.62a”, “Drawing for c.p.61-II”, “Drawing for c.p.61-II”, “Drawing for c.p.61-III”, “Drawing for c.p.61-IV”). Letting himself be carried away by his emotions and the creative act, Atsushi emphasizes the play of lines and shapes that capture the viewer's attention, leading him/her on a perceptual and sensory journey with the goal of exploring his/her own soul. The fusion of each element creates an imperceptible and harmonious dynamism, which underlines the different figures depicted and an intense contrast between neutral and dark tones. The artist immerses himself within his drawings and his color palette: everything is created through an interweaving of signs, which emphasize the combination between the movement of the lines and the texture of the squares depicted: it is possible to see the interest in creating a strong and clear image. These artworks are modern and revolutionary, and they leave room for imagination and manage to blend the active spirit of the artist and the viewer. Through the vigor and brightness radiating from the works, Atsushi succeeds in transforming everything into a mystical vision that takes the observer to a parallel universe where everything becomes more evocative. By going beyond geometric rigor and going back to overturning what is perceptible to the human eye, Atsushi Ohta upsets the ordinary and promotes a new and unique way of perceiving reality.
“Art is the creation of an evocative magic that embraces both object and subject.” (Charles Baudelaire)
Art Curator Alessia Perone
Atsushi Ohta
Drawing a square c.p.62a
Atsushi Ohta
Drawing for c.p.61- I
Atsushi Ohta
Drawing for c.p.61-II
Atsushi Ohta
Drawing for c.p.61- III
Atsushi Ohta
Drawing for c.p.61- IV
Bente Røyseth
Being Bente Røyseth a person who is not afraid to always try something new and different, before reaching the Abstract Expressionism, she has experimented and tried different pictorial styles. Her Abstract Expressionism, however, is not totally governed by chaos and psychic automatism, but she occasionally and conscientiously intervenes to redirect the work towards a specific direction. She intervenes as a sort of deus ex machina to give harmony to a work otherwise completely governed by chance. The works of the Norwegian artist, therefore, are intuitive without a doubt, but deliberate at the same time; they are the representation of different emotions and emotions, you know, are governed by reason only up to a certain point. Intrigues of line and colors, free inner expression, this are the works of Bente Røyseth. In them, moreover, there is no longer the limit of the frame, but rather there is the total continuity of painting beyond the edges of the canvases; the famous all-over by Jackson Pollock is performed here to perfection. As for the choice of colors, however, we are very far from those preferred by the American artist. Here the pastel shades have the upper hand and as a breeze caress the spectators transporting them into a kingdom of joy and light-heartedness, in a kingdom of happy childhood memories. What a power art has and what a skill Bente Røyseth has in succeeding in provoking all this. The fact that she uses different media on the canvas is also an important feature; the use of more materials, in fact, embellishes the work because it gives it more character, more dynamism and, in a sense, makes it more alive. When she says “The colours I use feel energizing to me and I hope this energy is transferred to the painting and the viewer.”, we can say with certainty that she has succeeded perfectly in her goal. She transmits so much energy within us that we feel awakened from within; she awakens within us the most visceral feelings of joy, happiness and euphoria. This is the wonderful peculiarity of Bente Røyseth.
Art Curator Francesca Catarinicchia
Bente Røyseth
Eyecandy
Bente Røyseth
High Tide
Bente Røyseth
New Perspectives #1
Benzane Trust instinct to the end, even though you can give no reason. (Ralph Waldo Emerson)
Indifference is the worst enemy of art. If a work does not produce an effect on the viewer, what is its purpose? And it does not matter if it is a positive or negative effect, bewitching or disturbing, the important thing is that it is present, embodies the artist's personality and enriches the viewer with a perspective never encountered before. From this point of view, Benzane's art is an inexhaustible source of emotional, inspired and intimate intentionality, which creates an immediate bond with those who approach one of his works. In fact, Benzane's artistic production is characterized by a unique tendency to combine elements that are not connected to each other to elaborate a story, in which the artist lays bare his most unspeakable thoughts. The Salty Bounds Of Hermes is an admirable example of this peculiar approach, and amazingly summarizes the perception of instinctive and primordial sensations, which collide with the boundaries of rationality. The layering of the work on five levels (each element is taken from a different moment in the artist's life) transports to a vortex of visceral emotions, whose intensification over time is almost possible. The superficial layers do not fade the underlying ones, but take strength from them, culminating in the artist's powerful self-portrait, whose face is lashed by a vigorous red hue, the color of desire and voluptuousness that inflames his instinct. Contemplating the work means embarking on a journey through the burning folds of the deepest impulses, which scream for satisfaction in a cerulean cloud of momentary enjoyment. And here the eye lingers on the statue of Hermes from behind, whose perfect build can only recall a Winckelmannian ideal of "noble simplicity and quiet grandeur". The contrast with the rest of the composition enhances the other elements even more, but it is only an apparent contrast: Hermes, the most astute and restless of the Greek divinities, becomes the emblem of an inner awareness that is not afraid to dwell on darkness, whether it is that of Hades or of the soul.
Art Curator Chiara Rizzatti
Benzane
The Salty Bounds Of Hermes
Bex Wilkinson “It is my opinion that it is the duty of the artist to hold up a light of truth when the population is being manipulated by religious zealots and power hungry politians.". (Bex Wilkinson)
Bex Wilkinson is an American artist, born in Chicago, Illinois. Always surrounded by art, Wilkinson develops a creative sense that today finds an outlet in artistic expression evidently influenced by artists such as Max Beckman, George Groz and Kathe Kollowitz.In general, Wilkinson's artistic production always has a point of view towards what happens in the world, the artist expresses her opinion on different topics through her art. Let's see two works “Don't Say CUNT”, which give expression to an extremely widespread phenomenon related to what it is possible to say or not to say, which are the suitable terms to use compared to those that are better avoided.
Bex Wilkinson
The artist explains to us that “Here in the USA there are "gag" bills being presented in the government to have teachers refrain from saying "Gay" or letting students know that this is a lifestyle. It is very controversial and this piece is about what we are allowed and not allowed to say in our public school systems”. Very interesting is the artist's choice to represent the work as if it were a blackboard, this metaphorically refers to the idea of school and training."Memorial", on the other hand, is a denunciation of the limitations on personal freedoms of expression and associations. The artist wants to emphasize the role of tyrants in the creation of a world that represents hell, a real "hellish kingdom" as Wilkinson herself defines it.
Art Curator Martina Viesti
Bex Wilkinson
Don't Say CUNT
Bex Wilkinson
Memorial
Biljana Glogovac “Treat a work of art like a prince: let it speak to you first.” (Arthur Schopenhauer)
The artist is not afraid to trap herself in painful doubt. Because she knows that surviving in deceptive certainty is just as painful and as far from the truth. In an age, ours, which has made desire and lack, and ultimately man, the horizon of all understanding of the meaning of being, it will still be up to philosophy and art to establish whether a human, all too human truth is the last word, or whether art, in order to prove its necessity, will not once again have to start afresh, going beyond man, finiteness, desire and lack. To expose oneself means to compare oneself with the context in which one is immersed. It means opening oneself up to the world, communicating, verifying, proposing, learning, within the different forms of expression that constitute one's terrain of investigation. Biljana Glogovac dissects her feelings, desires and shortcomings with the scalpel of her paintbrush. She shows herself, exposes herself and thus exposes her own sense of being. The artist's paintings, seeking truth, are traces of the painful crossing that every great undertaking must make. Borrowing the words of Arthur Schopenhauer, the path to truth is steep and long, and no one can travel it with a stump on his foot: rather, it would require wings. I would therefore be of the opinion that philosophy (art) should cease to be a craft: the loftiness of its aspiration does not allow it, as the ancients have already recognized. Let art be art, let it spare no effort or pain, let it restore the beauty of true truth.
Art Curator Federica D'Avanzo
Biljana Glogovac
Broken Infinity
Biljana Glogovac
Mother of Dragons
Biljana Glogovac
Dissection of Creativity
Bisera Vinagre Bote Bisera Vinagre Bote, born in 1973 in Belgrade, Serbia, is a professional German painter living in Berlin, originally from Serbia. At “Visceral” exhibition hosted by M.A.D.S. Art Gallery, Bisera presents three works that belong to the series “The Happy End” created in 2008 and in 2020: the series aims to represent a surreal performance of today's Western world and a symbolic contrast with the situation in which humanity finds itself in times of economic crisis and growing alienation and a world that is losing more and more vitality and splendor and colors. In “Ballerina in Space”, a young dancer moves elegantly following a choreography with two circles that she holds with both hands. The same circles then follow one another around her in a more abstract form and with bright colors, depriving her of any space-time reference and giving the image a dreamy, dystopian and magical sense, attracting the viewer into the image and evoking a vision of what humanity can expect in the future if it continues to ignore the environmental changes caused by its actions. "Desire" instead portrays a naked woman at the feet of another figure, in a highly intimate and sensual context. The woman, with her eyes closed, is struck by a clear light, which illuminates her face, enhancing her physiognomy but also her beauty. The background is once again abstract with red brushstrokes on yellow fields. As the artist says, "Desire" intends to show the survival strategies of modern society necessary to survive unscathed in times of extreme uncertainty about the future and uncertainties due to the current coronavirus crisis and life in material abundance, shaped by greed for bodily and material joys. The same purpose is "Don’t worry, relax", in which another young woman is shot from above while she is on an inflatable in the middle of a swimming pool. We can't see her face since she is wearing a large hat. The plays of light that hit the water and then ripple demonstrate Bisera's great technical ability to represent scenes in a realistic way and to capture moments and moments that carry profound messages.
Art Curator Matilde Della Pina
Bisera Vinagre Bote
Ballerina in Space
Bisera Vinagre Bote
Desire
Bisera Vinagre Bote
Don't worry, relax
Bomseom Bomseom’s artworks are a transposition of her thoughts and her being: colorful, unpredictable and always evolving. Her work comes from her memory and expresses emotions and feelings from the evocation of these memories. She wants her art to bring happiness for herself and to the others that watch her paintings, even in bad times. On the occasion of the “Visceral” exhibition at M.A.D.S. Art Gallery, she exhibits three beautiful paintings that make up the series “Falling in spring”. All these paintings are expressions of joy and happiness. Spring, the protagonist of these paintings, brings a rebirth of life and joyful feelings. All this is expressed through the use of bright and vivid colors. The viewer is struck by the multitude of different colors used by the artist who chooses to use bright and light ones for the first two paintings. The combination of different artistic forms and shades make her paintings a vibrant communicative force. Bomseom creates a language made of shapes and colors that find inspiration in sensations and become the expression of her experience. An explosion of warm colors is before our eyes that fill our sight and our soul. For the third painting, she chooses a darker palette made of various shades of blue. This piece is created with very delicate flat brushstrokes that form like petals but that can also recall stars that illuminate a spring sky. The three works are also characterized by a delicacy of the brushstrokes that the artist uses with great mastery. This, combined with the display of different and vibrant colors, allows us to convey happiness, which is Bomseom's exact intent: to create art to give peace and joy to us spectators. Each color carries a message associated with a sensation that overwhelms the observer. Also inspired by external elements such as nature, she pushed to express the passion for colors and beauty through the combination of shapes and colors that create an intimacy feeling that causes a strong emotional response capable of evoking feelings and sensations, involving and overwhelming the observer's look.
“The richness I achieve comes from nature, the source of my inspiration” (Claude Monet) Art Curator Federica Acciarino
Bomseom
Falling in spring-13
Bomseom
Falling in spring-15
Bomseom
Flling in spring-7
Brian Esch “My art is a documentation like a daily diary where I paint happenings in figures and abstract worlds. Art is my life . Art is a reality which shows the truth of a reality of your own” (Brian Esch) Brian Esch takes us on the journey through his mind and through the forms of abstract expressionism. His figures belong to a universe that is somewhere between dreamlike and cartoonish and embrace vivid, clear forms and colors. The contour lines are thick and dark and the colors are pure, strong and echo the artistic strand related to cloisonnism. Another characteristic element of Brian's art is a form of psychedelic horror vacui that invades his works, which turn out to be the result of rationality mixed with the unconscious, automatism. Brian began painting at a very young age and decided to pursue his inner happiness, which consisted of devoting himself completely to art. He has now built a community of thousands of followers on social media and enjoys a growing popularity that is based on sharing insights into his daily life. Brian gives his audience positive messages, the focus is often on charity, acceptance and equality. From a space with green shows a figure, on the left, with a sun on his chest, he brings a light into his soul. The palette has a main color, green, representing hope and some secondary colors such as yellow representing sunlight, blue and black for the universe where the sky has no limits. The figures that develop from the first are from his mind, they are parts of his life that he carries with him. I call her - the purpel Turaco sees shows a person in the center who has a purple bird on her right side near her chest. The artist's inspiration comes from meeting a person who traveled to Africa where there is a bird called the purple Turaco. And everything around this person in the center is symbolic of a joyful journey during the process of this painting. Supernova of Love shows a feeling of love likened to a star that has one of its peak moments in its life.
Art Curator Mara Cipriano
Brian Esch
From a space with green
Brian Esch
I call her - the purpel Turaco
Brian Esch
Supernova of Love
Brigitte Toffano Ali
The period of the pandemic and the lockdown was controversial and difficult for all of us for sure, yet in this phase of discouragement and isolation many people, especially artists, found the stimulus to create something beautiful. During this time, in fact, Brigitte Toffano Ali has experimented and perfected college and printmaking. The work under examination is, in fact, multi-material; in it, college, print, acrylic and ink are mixed together creating a medium-sized work of contemporary art with bright and strong colors. The inspiration certainly comes from nature, but in it we can also read a reminder to the present: it is necessary that humanity reforests the Earth. The ItalianFrench artist, who has been living in London for about 40 years, has created an energetic work, a work that strikes our eyes and awakens our senses. At the center of the canvas, we can distinguish the trunks of the trees while everything else appears not well defined. We are not able to identify and distinguish the individual components, and yet, we are still able to receive sensations from it, and this is, after all, the real purpose of an artwork. With "More Trees for the Planet", Brigitte Toffano Ali transmits us those emotions and those feelings that reside first of all inside her. In her canvases she lets her most intimate sensations flow freely, and so joy, curiosity and an almost uncontrollable vital energy are spread in the canvas and from there to the viewers. We find ourselves in an enchanted and mysterious forest; is it perhaps a forest of Wonderland? One of those in which little Alice could walk chasing the White Rabbit. Who knows? Any interpretation is possible. What we know for sure, however, is the creativity of Brigitte Toffano Ali and her skill in transporting it into art.
Art Curator Francesca Catarinicchia
Brigitte Toffano Ali
More Trees for the Planet
Bruce Barber
Bruce Barber is an interdisciplinary artist, professor, cultural historian and curator living in Nova Scotia. Successful artist and international achievements Barber has exhibited his works at the Paris Biennale, at the Sydney Biennale at the London Regional Gallery, among others. Barber is once again the guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "VISCERAL" exhibits five works that express the essence of the artist's artistic production. "Unpacking my Library" is a 12-minute performance installation, a time-lapse that the artist developed starting from the inspirational title of Walter Benjamin's 1931 essay "Unpacking my Library": “I must ask you to join me in the disorder of boxes that have been wrenched open, the air saturated with the dust of mood, the floor covered with torn paper, to join me among the piles of volumes, that are seeing daylight again after two weeks of darkness…”. "Revolve" is a performative work in which the artist himself finds himself turning in circles inside a revolving door, the metaphor seems to be sociological and is inspired by the idea of the laboratory animals that are inside the their cages and have, as their only pastime, the possibility of running inside the wheel. Barber's works are all extremely busy from a reflective point of view, the artist is committed to exposing and questioning social and political power regimes, in fact the artist intends to make art committed to undertake communicative action aimed at social change. Ne sono un evidente esempio, anche, le altre tre opere in mostra “VISCERAL”, “Walnut Brain” e “We Had A Vision”.
Art Curator Martina Viesti
Bruce Barber
Revolve
Bruce Barber
Unpacking my Library
Bruce Barber
VISCERAL
Bruce Barber
Walnut Brain
Bruce Barber
We had a vision
Bruno Cecim "Something is always born of excess: great art was born of great terrors, great loneliness, great inhibitions, instabilities, and it always balances them". (Anais Nin) Photographer, video maker and documentary filmmaker, Bruno Cecim began his career in 2005 as a photojournalist in São Paulo, Brazil. His photos have been published in major Brazilian newspapers and magazines, his short films have been exhibited at audiovisual festivals and as an independent artist, he has participated in individual and group exhibitions. For the exhibition 'Visceral', the artist exhibits 'Passing to Boiada', a combination of history, painting... Taking inspiration from the great masters of modern painting such as Pablo Picasso and Francis Bacon, and through a very special technique of superimposing photographic images, Bruno recounts the slaughterhouse that took place in a town in the Brazilian Amazon. The work alludes to the prominent role played by livestock in the agri-food sector, of the harmful practice of breeding in protected areas. The work is a meeting of two photographs in their different forms, where the artist deploys great expressive force, creating a dynamism between the figures that become a manifesto of violence and abuse. The uniqueness of the artistic composition lies in its ability to elicit multiple sensory responses, it brings history, art and narrative into dialogue, a material and ideological dialogue. The work highlights the beauty and fragility of the forest and the brutality of the human being with an innovative yet provocative scope. A relationship is thus created between the two photographic overlays. In this way, the strident brutality of the death scenes contrasts with the beauty of the Amazonian nature that we all have in mind. In this way, Bruno Cecim is able to best express the bestial drama of the devastated territories, the endangered territories, the defaced nature. The artist expresses himself with personality and delicacy. His painting is entropic and subjective, each photograph tells a complete and finished story, it deals with stories that are narrated and lived, thought out and divulged, and find their point of arrival in the present matter.
Art Curator Giulia Fontanesi
Bruno Cecim
Passando a Boiada
Bulgan Khatanbaatar
Just one character animates and habits Bulgan Khatanbaatar’ paintings, all related to symbolic elements and meanings concerning the spiritual power. Each piece is connected to its color that together with the essence of the subject represented, gives an important message to the viewers. The artist used to work on the background first, made up of big and deep brush strokes; it represents the supporting element of the scene, the one that embraces and hosts its character. ‘Bloom’ , associated with the well dressed lady, gives with its magical atmosphere a cold and, at the same time, soft sensation that reminds the viewer to the concept of the word: ‘bloom’, the renaissance of emotions, in this case. The big and luminous element covering the lady’s abdomen - the bloom - can be interpreted as a sort of opening to the feelings and the emotions, let free to come out, just to exhort to a new ‘blooming’. Similar in the restitution of the composition is ‘Zen’ in which a female figure in the classical ‘zen’ position, pushes the viewers to abandon themselves to their thoughts and to listen to themselves. Important and significant is also the silver brush stroke that crosses the lady’s stomach, illuminating it and reminding to the epiphany, the goal of the ‘zen’ state of mind. In its whole, the scene gives a sensation of peace and relaxation. The artist plays a lot with the colors and their symbolic resting. In ‘She bathes if light’, passionate of the light and its multitude of ways in which to express it, Bulgan represents - into an aqua green background got it dirty by the yellow representing the light - a naked female figure attending to have a bath. It is the big sun on the left high corner of the scene to obtain more importance into the scene, conferring its color to the woman too, as to amplify its power. The three paintings show the artist’s aim to reach the viewers' state of mind and to push them to act in peace.
Art Curator Martina Stagi
Bulgan Khatanbaatar
Zen
Bulgan Khatanbaatar
Bloom
Bulgan Khatanbaatar
She bathes in light
Camacho Molina
Each of us has our own intrinsic expressiveness, repressed at an unconscious level by the limits we impose on ourselves by trying to comply with the behavioural rules imposed by society. Not giving vent to our expressiveness is the primary cause of emotional blocks. Feelings, which do not flow naturally, are relegated deep into our subconscious causing discomfort in our bodies. Experiencing emotions to the full gives consistency to our lives, filling them with creativity and enthusiasm, moving us away from monotony and a world full of rules. For Camacho Molina, a Venezuelan architect and artist living in Madrid, art is a means of expressing one's emotions, freeing us from a rational and superficial world. The canvas is a blank space where ideas, emotions and deepest feelings coexist freely and are expressed without judgement. Camacho's works have great expressive power despite their simplicity. The artist has the great ability to imprint her emotions on canvas with the use of very few colours, one or two at most. Thanks to the unusual application of colour, given in a rush, with the help of a palette knife or a hairbrush, she creates unusual textures that give movement to the entire work. Camacho's works are free from aesthetic canons and rules. Through experimenting with various painting tools, the artist has found her own unique way of expressing her feelings, without imposing them on the viewer. Everyone is free to feel their own emotions; a silent dialogue is created between the work and the viewer, which opens the door to the experimentation of new feelings.
Art Curator Lucrezia Perropane
Camacho Molina
Blackfire
Gy.suh
Guts
Camacho Molina
Purasangre
Camilla Fransrud “The richness I achieve comes from Nature, the source of my inspiration.” (Claude Monet)
Camilla Fransrud is a contemporary Norwegian artist whose artistic research is rooted in nature as a source of balance and inner peace. The absence of form and figuration leaves room for the pure expressiveness of colour, which fades across the surface of the canvas, alternating between light veils and denser materiality. Suddenly the viewer finds himself enveloped in deep, humid mists, which make the reading of the landscape incomprehensible and sublime at the same time. The silence that these works convey is meant to lead us into that meditative state that usually accompanies our immersion in nature. In the three works ("Salt of the Earth"; "Good Karma"; "Lifetread") exhibited at M.A.D.S. Art Gallery on the occasion of the VISCERAL exhibition, we notice how all these elements are fundamental to Camilla Fransrud's expressiveness. Grey, the colour that unites her entire artistic repertoire, only contributes to defining her vision, as it symbolizes balance, as the union of opposites: black and white. Used by the artist in its many shades, it is also juxtaposed with various details that punctuate the space, transforming it into an elegant and delicate texture. The sudden nuances and the unpredictability of the stains, speak to us of an intense stream of emotions left to flow unfettered. Nature, once again, becomes a profound necessity, an essential place in which to find oneself and feel free. Always a source of inspiration for artists of all ages, here it dissolves into soft, vibrant fusions of ancestral experiences.
Art Curator Francesca Brunello
Camilla Fransrud
Good Karma
Camilla Fransrud
Lifetread
Camilla Fransrud
Salt of the Earth
Candi Soul Sparkles Whatever is created by the spirit is more alive than matter. (Charles Baudelaire)
Candi Soul Sparkles is a young Icelandic artist, with various origins (a bit Irish, French, British). She is a multifaceted artist, full of vitality, inspiration, joy, positivity, sensibility and creativity. She has a great passion for art as expression of her inner and deep soul and as a fun game to discover ourself for us who observe her creations. She draws inspiration from the inner feelings that the things that surround her internally arouse...she's fascinated by the life that she always faces with an enthusiastic and grateful spirit. To find her soul and live an experience to ours, she uses a rather immediate style, emphasizing the strength of color, lines, shapes and textures. Observing the artwork that she shows in M.A.D.S. exhibition "Visceral", entitled "Ahshahime Maiden Of The Skies" and created in 2022 with a technique painted and drawn, we can see that soft and fluid bands of color (blue, blue, white, orange) intersect towards the center of the painting forming a figure. It releases energy, strength, vitality, light just as it is the soul of Candi Soul Sparkles. With a personal and overwhelming style, Candi Soul Sparkles expresses who she is and invites us to understand who we are in front of art.
Art Curator Giulia Dellavalle
Candi Soul Sparkles
Ahshahime Maiden Of The Skies
Careen Komarnisky (CRKrazy Art Studio) In art as in love, instinct is enough. (Anatole France) The timeless fascination of art had an extraordinary effect on Careen Kormanisky's imagination since childhood. Obviously an instinctive effect, but nevertheless strong enough to bring her closer to any type of artistic expression, from theater to music to visual art. This influence then ended up translating smoothly into a natural aptitude for an equally sponial kind of creation, guided by the suggestion of an inspired moment. One of the peculiar characteristics of Careen's artistic production is the uncommon ability to capture the essence of a suggestion, to ride the thrill of the creative impulse. We can admire a splendid example of this irrepressible verve in the artwork Twins, presented on the occasion of the Visceral exhibition. The two canvases, mirroring each other, are a shining paradigm of fluid art, and catch the eye of the beholder for a great vividness of the bright colors, among which a sanguine note of red dominates. Just like a sudden explosion, the veins of color burst onto the canvas in a swirling flow, and disperse at the edges in soft pink shades. The artist allows the observer to participate in the ineffable experience of an inspiration eager to free itself in all its energetic impact. An inspiration that does not know the inhibiting brakes of ratio, and that needs to be shown exactly for what it is, or rather an overflowing triumph of joyful and enthralling sensations, which can be drawn in a single - and attentive - glance. Careen's artwork is configured as a touching journey into human emotion, from which everyone can draw a teaching of inalienable happiness. An authentic invitation to life.
Art Curator Chiara Rizzatti
Careen Komarnisky (CRKrazy Art Studio)
Twins
Carina Pålgård “If the doors of perception were cleansed, everything would appear to man as it is - infinite.” (William Blake)
What does infinite mean? How many meanings can we attribute to this word? Infinity is the immense, the inexhaustible, the immeasurable, the unreachable. Can we really contain infinity in an idea without our heads starting to spin? Above all, the infinite is incomprehensible and ineffable. Since it has no beginning and no end, a discourse on infinity immediately turns into a real mesh, warp and weft to be woven to bring forth an image. The image of the paradox of the unknown but felt as good future. For the ancients, infinity corresponded to something non-finite and therefore imperfect. Even today, we often think of the infinite as something that is unfinished; and this can confer a certain fascination. With regard to the infinite, the multiplicity of terms with which to name it includes the absence of end and beginning, the absence of the end alone, the absence of the beginning alone. But the concept of infinity itself has a positive valence, so that it is finiteness that is expressed negatively, as the absence of something. So we finally find ourselves thinking of the lack of something, of the end itself in this case, as a positive, pleasant, somehow reassuring matter. Carina Pålgård tells us about "An Infinite Life" through her paintings, and this fascinating dimension enraptures us and leads us fluidly towards the unfinishable.
Art Curator Federica D'Avanzo
Carina Pålgård
Life is infinitive
Carina Pålgård
The transformation of the feminine power
Carina Pålgård
Confidence
Carlotta Fiamingo I am enthusiastic about life, as pure as children, unfiltered and direct. That is why my art is sincere and not rational (Carlotta Fiamingo)
Once again Carlotta Fiamingo gives us her energy, her vitality, her instinct. Carlotta's art fits perfectly with the theme of the international VISCERAL exhibition at M.A.D.S. art gallery. Carlotta's art derives from abstract expressionism but it is the more vigorous, more positive version. It is evident how physicality and movement are at the heart of this art. This suggests how deep her inspiration runs and how deep it is rooted in the artist's gut. Carlotta feels her emotions from the gut and pours them onto the canvas using movement and color. Ibiza is a work dedicated to nightlife, as the title itself suggests. The black background, the night, represents the transgression that of the island's fame, the green represents the freedom to be oneself, and the red represents the overwhelming passion of a summer night.
Carlotta Fiamingo
Patchwork was made immediately after the surgery Carlotta recently underwent. Patchwork is usually an artifact that consists of the joining together, by stitching, of different parts of fabric. This work for Carlotta symbolizes an antique blanket from her mother...so home...something warm and safe that warms the heart. Once again positivity reigns, even in a nefarious circumstance, Carlotta is filled with positivity, passion and gives it to those who look at her works. The young artist feels the fire of creativity burning strong within her and responding to a need, which is to paint, she immerses us in her colorful universe.
Art Curator Mara Cipriano
Carlotta Fiamingo
Patchwork
Carlotta Fiamingo
Ibiza
Catharina Johansson Söderström The contemporary artist Catharina Johansson Söderström develops her artistic research around intuitive paint that gave birth to abstract and figurative figures. Thanks to her painter father, she started to paint from a very young age, being able to perfect her technique during the years and to explore uses of colors. Her works are characterized by colors and color combinations: she lets herself be inspired by them for the creation of bright and hopeful works with which she hopes to bring joy and light to people. On the occasion of the “Visceral” exhibition at M.A.D.S. Art Gallery, Catharina presents three beautiful pieces. In the first one titled “My inner voices”, the spectator is struck by the different uses of colors and shapes. The darker colors are associated on canvas with lighter ones not randomly but creating a connection between them and contrasts at the same time. Like the title suggests, the artist lets herself be inspired by shapes and colors from her interiority until an image emerges, an image of light, an image of hope. The second painting is “The light will prevail”. This work is a pure encouragement to not let oneself be beaten down by bad times. As the artist herself remembers to us “the dark becomes a shade lighter… that means there is hope!” and all we see is a great light prevail, leaving us completely dazzled and imbued with hope. The blue contrasts with the warm color of yellow, and thanks to this, Catharina succeeds perfectly in her intent to give hope to those who look at it. The last and third work is “The mirror of the soul”. With this painting, the artist shows us a different kind of her artistic production: a figurative painting. A friendly and sweet girl comes from a blue background. She gives to the viewer a confident feeling, like we can trust her. We are enchanted by his big green eyes that look at us. Also here Catharina plays with color contrasts especially between the pink of the girl's hair and the blue of the background. The artist shows the ability of her technique and the familiarity in the use of colors, her strength shines through her work to get straight to the viewer who is dazzled by so much explosion of joy and hope. The artist herself, through the energy of the colors gives us the right key to her personal pictorial universe, gifted to our eyes.
“Painting is the representation of visible forms. ” (Gustave Courbet) Art Curator Federica Acciarino
Catharina Johansson Söderström
My inner voices
Catharina Johansson Söderström
The light will prevail
Catharina Johansson Söderström
The mirror of the soul
Cedric DUBBIOSI “Greatness is a road leading towards the unknown.” (Charles de Gaulle)
Cedric DUBBIOSI is a contemporary artist of French origin, whose artistic research revolves around a symbolic dimension, with the intention of narrating his own vision of the world, through the study of the mythology that comes from the different cultures that inhabit it. Linked in particular to the concept of dreams, his canvases are populated with colours and geometric shapes that dominate the centre of the work, like portals open onto new dimensions. In the three works ("L'Envol"; "The death and the rebirth of the Phoenix"; "The dream gate") exhibited at M.A.D.S. Art Gallery on the occasion of the VISCERAL exhibition, we see how swirls of colour with unpredictable movement, elegantly dialogue with rhombuses and circles. We witness what seems to be the description of a constantly changing universe, whose nebulae glide through the space traced by these geometric elements, making everything vibrant and dynamic. The interest in the unknown and the need to give it form becomes fundamental for the artist in his creative process. He wants to transport the observer into a spiritual dimension, enveloping him in bright colours surrounding dark voids. "The dream gate", in fact, is reminiscent of the iris of an eye with surreal, flamboyant colours in the centre of which a deep blue pupil dominates. The artist's intention is to tell the story of the dreamer's journey, that moment when the eyes close to reopen onto another dimension, where our mind flows irrationally. Cedric DUBBIOSI speaks to us of barriers, of boundaries between the real and the unreal, the known and the unknown. Of subtle and intangible barriers that can be crossed, simply by letting our minds flow.
Art Curator Francesca Brunello
Cedric DUBBIOSI
L’Envol
Cedric DUBBIOSI
The death and the rebirth of the Phoenix
Cedric DUBBIOSI
The Dream Gate
Celine A. Beader "[...]This, in fact, is time: the number of movement according to the before and after." (Aristotele)
Art shows the contemporary landscape of human nature and its biggest questions. The narrative that lives inside the art is the visual insight look people can have to the common souls. Huge and immortal concepts like love, hate and sorrow have always been investigated by art and its media. Celine A. Beader chooses a specific medium for her works of art and that is connected to what we are called to look better into. Digital collage has a close relationship with the passing of time, which is necessarily felt in the presence of movement, and in the proposed images coincides with the voids and solids of the composition, the feeling of forms that have been moved and dragged, cut and stitched. The passage of time to which we refer does not coincide with the change of things (intrinsic to things themselves) but rather represents the measure of becoming itself. In other words, time provides an idea of how much something has changed, precisely, in its becoming. In speaking of measurement, it seems that the role of the spirit, of the soul, is completely left out of the idea of time, but we all know this is far from the truth. ’If it is true that in the nature of things only the soul or the intellect, which is in the soul, has the capacity to number, the existence of time without that of the soul is impossible”. The soul therefore is the center of this investigation, it measures the present, being here and now. Consequently, we can say that Being itself is also Time, and since Being affirms itself every time, by the mere fact of existing in that moment, but not only that, also by its capacity to self-define itself with its own narrative, the production of images that tell experience erects the artist and author as contemporary guardian of time.
Art Curator Erika Gravante
Celine A. Beader
I Glared
Celine A. Beader
Unleashed Roars
Celine A. Beader
Stitch
Celine A. Beader
Inner Embrace
Celine A. Beader
Freedom of a Sigh
Céline Frericks “What I love about creating art is to hear and see how it affects people differently.” (Céline Frericks) The Swiss artist Céline Frericks has dabbled in painting for 12 years, in which she was able to range between various styles and inspirations. Just recently, the artist has approached abstract art obtaining excellent results. Céline Frericks manages to convey her thoughts and emotions through her creations. Painting thus becomes a means to detach from reality or a refuge for difficult moments. In fact, her artworks transmit above all calm and peacefulness not only for the artist but also for the beholder. Primary sources of inspiration are the natural and sumptuous landscapes of the Swiss mountains and marine glimpses of the ocean. Acrylics are mostly used, sometimes combined with other media such as wax crayons. For “Visceral” exhibition held by M.A.D.S. Art Gallery the artist exhibits three paintings that fully represent her abstracted style as well as the theme of the event. Cold color gradations are preferred. These chromatic traits represent the figures of the aforementioned landscapes, transporting the observer to these calm and solemn places. If on the chromatic aspect the artworks recall each other, as regards the traits of the two paintings "Consistency" and "Longing the sea" are mostly made up of soft lines, giving the latter elegance and sinuosity. In "Curves and edges" this pattern is broken: as anticipated by the name, the painting embodies the variety of the landscape represented through a play of alternating soft lines and angular broken lines. Nevertheless, the latter do not alter the balance of the work.
Art Curator Angela Papa
Céline Frericks
Consistency
Céline Frericks
Curves and edges
Céline Frericks
Longing for the sea
Chandra Källman
<<Art has always been my form of escapism; I enter a dimension where new realities can be drawn>>. To understand the personal language of the artist Chandra Källman, it could be very useful to start from this her consideration. As she says the art for her is an alternative dimension where all the elements she sees around her can be represented on a canvas. In fact if we consider the paintings she presents on the occasion of the international art exhibition Visceral we can see three different compositions that at the same time present a real content style. We can say that these drowns come from the same dimension. Starting from the first work titled ‘The animal of creativity’, on an abstract background we can see the image of a strong animal. The viewer seems to be involved in this abstract reality. In the same way the second work presents a similar background and in the center the image of a woman with an orange hat. This technique also reflects the intention of the artist to underline, with her composition, some element that she considers meaningfully. In fact also in the third work titled The woman we can see the same technique. In this case the element she wants to underline is a woman figure. Chandra Källman in this way took with her in this different dimension the viewer. As she says: <<The thought behind my artwork is to welcome the viewer into a space where imperfection is central to perfection. To start with a plain state of mind, without motive creates a clear palette for my vision>>. In this way the observer becomes involved in this playful word that is the reality of Chandra and her personal way to leave the artistic creation.
Art Curator Elisabetta Eliotropio
Chandra Källman
The animal of creativity
Chandra Källman
The orange hat
Chandra Källman
The woman
Cheryl-Ann Eamilao
Cheryl-Ann Eamilao (1986 Vienna, with Filipino roots) has studied fashion design and medical masseur. She has no art degree, so she is a self-thought abstract artist. At “Visceral” exhibition hosted by M.A.D.S. Art Gallery, Cheryl-Ann presents “You are enough”, a metallic acrylic on canvas.The painting is made up of dense and decisive painting knives between red, blue, gold and white. This play of colors, mixed with almost material painting knives, give the painting a certain three-dimensionality and depth, challenging the twodimensional image. This is also possible thanks to the use of layers of acrylic and metallic acrylic, using shiny colors and gold, that for her represents the preciousness of life and the worthiness of human beings. As Cheryl-Ann states, she paints intuitively, never planned. Her main source of inspiration are life events, emotions, people, culture, nature, books and everything she finds beauty in it and which she expertly transmutes into decisive painting knives that make up her beautiful paintings.
Art Curator Matilde Della Pina
Cheryl-Ann Eamilao
You are enough
Chris Collier “Creative scientists and saints expect revelation and do not fear it. Neither do children. But as we grow up and we are hurt, we learned not to trust.” (Madeleine L’Engle)
They are some of those children that we find at our children's parties, in the bus or on the train, in schools or on the street, who are constantly fidgeting, constantly moving, who cannot keep still, who are constantly fidgeting and whom parents find very difficult to keep quiet. When they then start attending school, they are those children whom teachers would never want to keep: they constantly get up from their seats, annoy their classmates, fail to do their assigned homework and often end up changing desks, classes and sometimes schools. Their ability to concentrate is low, too low, and they struggle to do well, as expected, to create lasting relationships that meet so-called normal expectations. Eventually these children grow and they start feeling like their failing, they feel they’re just not enough.
Chris Collier
Chris Collier was one of them and he tells us about two moments in his life as a boy and then a man with ADHD, before and after his diagnosis. A journey whose visual traces we enjoy ten years apart. With the unique style of his biro drawings, the artist's artwork contains his confused and highly concentrated world. Intense, chaotic words that seem to try to crush him first and thoughts, however numerous and varied, that remain in order afterwards. Fortunately, there is much talk of neurodivergence in these years, and artists, as always, have the role and power to accompany us to contemporary reflection through beauty. These works are about revelation, a long waited one and finally arrived to save.
Art Curator Erika Gravante
Chris Collier
Lost And Found
Chris Collier
STRESS!
Christiane Hümpfner "The aim of art is to represent not the outward appearance of things, but their inward significance". (Aristotle) German artist Christiane Hümpfner works with digital media to manipulate and create works of art. In particular, the work 'Moments of Happiness' was created from a photograph of an industrial car, taken in the industrial centre of North Westphalia. When the artist creates a photograph, she uses the machine at different angles to have as diverse a selection of images as possible. She then works with different types of editing including filters, mirrors, rotations and distortions to bring out certain features, especially small details that must remain recognisable. All of Christiane Hümpfner's work is described by the artist herself as experimental in that she is always trying out different effects to find the one that best suits the image. Each painting is unique, the result of a manipulation that starts directly from the image itself. The threedimensional effect is an immediate consequence; the use of colours and textures on the surfaces of the materials create plays of light and shadow, offering extremely realistic results. The digital touch stimulates the imagination beyond the logical boundaries of reality. Everything is studied down to the smallest detail, each work represents or echoes something real, all things are inadvertently linked with reality and manipulated through technological means.
Art Curator Giulia Fontanesi
Christiane Hümpfner
Moments of happiness
Christine Nightingale Christine Nightingale is an artist of Chilean origin who lives and works in Florida. Her artistic and graphic skills are evident, making her an extraordinary poly-material artist. Her artistic process is laborious and complex and leads her to come up with creative and original images with a mix of historical and artistic references that are perfectly integrated with each other. All the elements that Christine inserts into her images dialogue with each other, creating emotional connections that overwhelm the viewer and force him to interact with the work. The absent contours, colours and gently overlapping shapes give life to new works, creating parallel worlds. In the artwork 'Garden Lovers', there is a clear reference to ancient Greece, myths and classical sculptures. The way in which the artist manages to create relationships with different elements, creating a formal and sinuous balance, is impressive. The details are meticulously painted and the structure is thought out down to the smallest detail. The two lovers are enclosed in a permed and harmonious circle. The bodies are entangled and create a single unit, placed in the centre, where they capture the viewer's attention. Soul and spirituality meet, nature and man interact, becoming one. The contrast between the green leaves and vegetation is interrupted by delicate white flowers that recall the two protagonists. Ancient art meets surrealism, the contemporary connects with distant worlds and universes. The charm of antiquity echoes between the two marble statues, and nature contributes to the liveliness and brilliance of the work. Christine created her work from a Greek myth in which two lovers, every time they met, in order not to be discovered, turned into two marble statues. Every time they met, a white rose garden was born, but every time they parted, a rose died. A fascinating story that proves that love conquers all. This feeling makes the world go round, it is so overwhelming that it involves everything. Nature takes an active part. Christine paints with extreme skill. Every detail is rendered realistically and juxtaposed with a symbolist style. Communication is the basis of her creative process. Everything is balanced, harmonious and ethereal.
Art Curator Ilaria Falchetti
Christine Nightingale
Graden Lovers
Çise Özılgaz
Torments are not always and only negative, there are torments, sometimes, that are pleasant in a way. An example are the torments of love; the one pining for the lack of the loved one, that continuous sighing getting lost in thoughts, those involuntary palpitations, that state of excitement and euphoria. The Cypriot artist Çise Özılgaz refers to torments like these, in fact she titled her work "Pretty Torments". She has brought back on the canvas through livid and well-balanced colors, emotions so complex to feel on our skin, as complex, as a result, to represent. A dark spot splashes on lighter colors, making the viewer perceive the space in depth. We are witnessing a mixture of agitated colors, we are faced with a work not exactly dramatic, but certainly full of pathos. We do not see rigid and geometric brushstrokes, typical of the abstract art of the origins, but here the brushstrokes appear agitated, pasty, full of life. In a beautiful “melody” of blue and purple, Çise Özılgaz has created a wave of emotions that, impetuously, pours on us, just like a sea wave moved by the furious wind. The Cypriot artist lets creativity take over during her process of making a work and thus lets colors and layers overlap each other freely. She is still at the beginning of her artistic career and, wisely, does not put any brake on her artistic experimentation. So, the art of Çise Özılgaz that we can admire is only the beginning of what she is able to achieve with all the potential she owns. As a result, the expectation of every new work of Çise Özılgaz becomes, for us viewers, itself a pretty torment.
Art Curator Francesca Catarinicchia
Çise Özılgaz
Pretty Torments
Clemens J. Niewöhner Clemens Niewöhner is an artist strongly influenced by geometric combinations and colour combinations. His is digital art, an innovative technique that allows him to create a truly distinctive mark. Clemens makes the style of great artists such as Kandinsky and Paul Klee contemporary, mixing abstract elements with personal creative elements. The result is a harmonious chaos of lines, shapes, colours and movements. Clemens is the creator of a series of images called 'Sampling compositions' in which music plays a key role. The artist lets his instincts guide him and creates a tangle of defective shapes, dots, rectangles, polygons, circles and squares. Everything is balanced, harmonious and balanced. The elements are outlined by subtle contours and the colouring is never random. Each composition, although equal in the juxtaposition of elements, releases different sensations thanks to the use of different colour shades that arouse contrasting emotions in the viewer. Each work tells a story of its own, a new song that Clemens lets viewers explore. The artistic process is long and laborious. The artist researches, investigates and discovers new combinations, new shapes and abstract elements that he gradually adds to his images. He reworks and manipulates, rotates and twists shapes to create a new piece of music. Endless variations of colour can be achieved and determine the emotional states of those who observe them. In 'Sampling_composition_063_colour_05', the colours are soft, mellow and softly shaded. The prevailing colours are blue, green and yellow. Brown and blue give a stronger character, gradually blending in. The white of the outlines makes everything brighter and more rhythmic, creating line drawings that fit in with the main composition. This image immerses the viewer in an atmosphere of stillness, peace and order. In 'Sampling_composition_063_colour_08' the colour tones become darker and more intense. Red and violet gradually change in intensity until they almost reach the colour black. The shades revalue different layers of compositions, as if Clemens had created several overlapping tangles of shapes and the colour let the different planes shine through. Superimpositions and transparency play perfectly with the geometry. This image translates into more intense, passionate and overwhelming music. In 'Sampling_composition_063_colour_32' the artist returns to bright and cheerful colour tones. Warm, joyful colours prevail, taking the viewer back to childhood. The interplay tends towards strong, solid colours. Warm green forms a backdrop to disruptive red and cheerful orange. The contour lines become black and everything appears more outlined. Clemens proves to be a skilled artist capable of investigating the innermost feelings of the human soul and manifesting them through abstract digital art compositions. He creates a close contact between the public and art, using a language that is apparently simple, but all to be discovered.
Art Curator Ilaria Falchetti
Clemens J. Niewöhner
Sampling_composition_063_colour_32
Clemens J. Niewöhner
Sampling_composition_063_colour_08
Clemens J. Niewöhner
Sampling_composition_063_colour_05
Color Perfume_A Japanese artist Color Perfume_A creates digital works based on the use of bright colors. The artist creates conceptual works of art using fast and precise strokes that represent central shapes that emit light rays. An element that unites all the works of the artist is the representation of a central luminous nucleus around which the drawing is built. In the case of "#8 SUN" the artist decides to occupy the whole background with pink rays that start from a white core on a purple background. The shape of the design and the colors recall a summer flower, a large and full flower, whose thin petals create a design reminiscent of the sun’s rays. For "#23 UP" the artist uses colder colors, shades of white, blue and subtle strokes of yellow and green to represent a work that releases energy. In the central part is represented a circular shape with filaments reminiscent of those of cells, perhaps a unicellular organism that seems to float and move upwards. The background consists of bubbles of a very clear blue that evoke water and suggest that the cell is swimming. The very thin green and yellow strokes give dynamism to the work and indicate the movement of the cell. In the third work "#24 UNSTOPPABLE" the core is yellow, much smaller than the other two. The nucleus is surrounded by orange and green lines that recall the shape of the branches of climbing plants that form a sort of labyrinth from which the luminous nucleus must be able to get out. Color Perfume_A uses simple shapes and traits to paint works that release energy, dynamic and evocative works that stimulate the imagination of those who look at them, allowing you to give vent to the most visceral thoughts that each of us feels.
Art Curator Sara Giannini
Color Perfume_A
#8 SUN
Color Perfume_A
#23 UP
Color Perfume_A
#24 UNSTOPPABLE
Cordula Kaiser VISUAL DIALOGUE | ° "Earth: The same is here. So that I marvel how, being so different from me in other things, in this you conform to me." (Giacomo Leopardi) The first visual dialogue we witness first, and are then part of, is that between sky and earth. In Bolivia we find a magical and very strange place, where the horizon line is lost between heaven and earth: we discover together the Salar de Uyuni. the largest salt desert in the world at about 3,500 metres above sea level. During the rainy season, the salt desert turns into an immense silvery expanse that becomes a mirror, blurring the boundary between sky and earth: the horizon line blurs and everything around the Salar de Uyuny is reflected, creating an effect that is difficult to describe in words. Due to the extremely high concentration of salt, this place does not allow any form of life and yet manages to provide breathtaking views that not even the most teeming place of existence can provide. There, heaven and earth seem to converse so well that they build up a sound in unison, a song that starts out in different harmonizations that allow the voices to be recognized, leading to a moment of ecstasy and sublimation of creation. The visual images of which we witness the dialogue, seem to ask questions and at times, bounce back answers in a continuous flow of energies moving at a regular cadenced rhythm. It is no coincidence that Giacomo Leopardi put into prose a conversation between earth and moon, in search of happiness, so Cordula Kaiser with her artworks, invites the construction of profound dialogues based on visual and therefore profound stimulation to open imaginary windows that can connect the inner ground and moon.
Art Curator Federica D'Avanzo
Cordula Kaiser VISUAL DIALOGUE | °
Mysteries
Cordula Kaiser VISUAL DIALOGUE | °
Evolution and Passing
Cordula Kaiser VISUAL DIALOGUE | °
Lutum Sapientiae
Corina Irsik
There is some mysterious fascination for the uncertainty of open-ended narratives. Allowing the mind to wonder about the possibility of infinite scenarios is food for thought and for creativity. Everyone who engages in this process contributes to creating new, infinite stories based on their personal experiences and mental schemas. Thus, it is clear how grouping and working with all these infinite possibilities is a powerful tool to create and develop ideas together. In order to achieve impactful collective stories in the uncertainty, it is important to have a good director that is able to guide you through these countless scenarios. The Romanian artist Corina Irsik tries to take this role in her paintings.Her role in the narratives can be seen as a short movie painter, who is able to create unique stories also thanks to her ability to let uncertainty play a role in her paintings, allowing the audience to make conclusions about the stories she creates.
Corina Irsik
However, she goes beyond that. Not only does she create magnificent stories that make the observer reflect on what they are seeing, but also she aims at joining these unique stories together to create something even more intense and impactful. A sort of a collective unconscious, visceral need pushes her to create and transform her and others’ experiences to create new stories to be shared and continued by the audience, an ongoing process that flows in infinite storylines. Additionally, being an enthusiastic supporter of working and creating together, Corina manages and co-works with a collective of artists called 'The Yellow Mushroom'.
Art Curator Francesca Mamino
Corina Irsik
Adult Friend. Bubblegum.
Corina Irsik
Mother and Daughter
Corina Irsik
Mural
Corina Irsik
S(h)elf
Daria Pelekhai
When abstract art made its appearance, it was a complete distortion of what everyone had always been certain of. We no longer wanted to represent reality as we saw it, but we wanted to go deeper and find a tangible tool to be able to represent what was beyond sight, deeper: feelings, emotions, what that that surrounds us arouses in us. Similarly, digital art has completely upset common thinking, but it was the direct and inevitable consequence of the world we are creating, a photograph of our reality. The art of the artist Daria Pelekhai is precisely a combination of the magic of abstract art with the power of digital technology: art that does not want to literally represent reality thus meets the new digital reality we are creating. The artist, as she herself explains, applies the algorithms on which the physical world is based to an artificial space created using digital code. An example of what she manages to create is the work presented here "Turbulence". The title of the work itself identifies what we see in the work: a particular motion condition characterized by the lack of regularity in the trajectory of the particles, presenting fluctuations in speed and vortex motions. A physical condition is then transformed by the artist into abstract digital art. This whirling movement also creates turbulence on those who observe it: we are faced with a vortex that takes us and drags us towards it in the whirlwind, overwhelms us physically and emotionally, we feel almost hypnotized by its movement. We enter the work with our gaze and mind, we remove other thoughts and immerse ourselves in another world, in a new reality created by the artist.
Art Curator Silvia Grassi
Daria Pelekhai
Turbulence
Dilara Astam The artistic process, which leads to the genesis of the final work, is a path of fundamental importance for every artist. The case of the young Dutch multidisciplinary artist Dilara Astam, however, deserves particular attention. In fact, the artist works in different artistic disciplines: painting, sculpture and fashion. Everything is art. Her work is charged with a timeless lyricism thanks to his ability to pass from one discipline to another in a liquid way. Astam’s designs come from garments that ride the ages passing from the past to the future. The incessant curiosity of the artist, her energy, allow the creation of masterpieces that arise from experimentation in different spheres of creation: fashion, science and technology. Here the ripples of color on the canvas become inspiration for the new texture of fabric for a dress. All the drawings, the prints, are part of a process shared with the viewer and that reaches the final work. In "Medusa" you can see strands of hair floating under the water. The wise use of acrylic and spray paint gives the work this liquid, supernatural and divine aspect. The movement of the hair in the water is reminiscent of those of Medusa who, as the legend says:"Those who gazed into her eyes would turn to stone". The work "Primavera" is more experimental. It is observed how the geometric shapes and primary and secondary colors used by the artist are perfectly balanced in a movement that leads from the frame to the center of the canvas generating a sculptural aspect of great impact. "The broken space" also plays with geometric shapes. This time the structure of the colours suggests a contraction in the centre of the work that stretches out moving towards the frame. The spatiality of the work brings the viewer back to a primordial dimension in a contrast of lights and shadows typical of the sublime events that take place in space. Again, the two-dimensional nature of the canvas gives way to the three-dimensionality conferred by color.
Art Curator Eleonora Varotto
Dilara Astam
Medusa
Dilara Astam
Primavera
Dilara Astam
The broken space
Dorothea Van De Winkel “Perception is always interrogative and conditional and is invariably based (even if we do not realize it) on a bet.” (Umberto Eco)
In semiotics, a sign is defined as "something that stands for something else, to someone in some way". It is considered a discrete unit of meaning: a system, composed of a sign, a reference and a referent, that refers to a content. Semiotics studies the sign's ability to enable the interpreter to understand its content. We can read signs in different, perhaps opposite ways, but they exist simultaneously and on the same level. The attempt in art and in life, is always to grasp the meaning. the message, the intention. In the first place, meaning is already in itself embedded in things, and language constructed from signs, visible only fulfils the reflective function typical of a mirror, that is, it reflects the true meaning as it already exists in the world. On the other hand, there is the point of view of the one who imposes his unique meaning of the world through the sign, so there is something precise to be discovered. Ultimately, however, we also know that things do not mean, it is we who construct meaning, using systems of representation that we have learnt to use. Semiotics is the discipline that studies signs and the way that make sense, which is the science and philosophy most related to art and to our author’s beautiful work. Dorothea Van De Winkel and her pencil marks therefore contain a world in their existence, in their curves and depths. They contain the world of the history of matter, its history and ours. It is, to say the least, fascinating how many doors a work of art is able to open by the mere fact of its existence.
Art Curator Erika Gravante
Dorothea Van De Winkel
Pencil Drawing I
Dorothea Van De Winkel
Pencil Drawing I
Dorothea Van De Winkel
Pencil Drawing II
Dayanart For many years, colour theory has been of a central role for both artists and scientists to understand the relationship that different colours have on our brains. That’s when the two positions merged into one with the goal of understanding how these visual properties could induce such strong emotions, almost as if they would speak to you, but unconsciously. Like a magnet, they can be so strong that they could push you to travel to the other side of the world in order to get a new colour, a new feeling, as Kandinsky did in order to get Mirò’s “Blue of his dreams”. How can colours be this powerful? How can new combinations induce new emotions? That’s what the Costa Rican artist Dayanart tries to explore. She defines herself as 'colorista experimental' because through colouring she is able to experiment with new combinations of colours as well as new feelings, as if they were a one-to-one correspondence with each other. Painting allows her to stop thinking, disconnect from the outer world and connect to her inner world, her inner feelings and use it as an antidote to the stress of the mundane routine. The richness of details of her works and the vibrance of the colours remind a new, abstract world in which we can get lost by looking and the complexity of the particulars. With Exhausta, Dayanart invites us on a journey in her colourful inner world in which the bold contrasts and strong colours are a translation of the loudness of her emotions.
Art Curator Francesca Mamino
Dayanart
Exhausta
Dylan Wilson Dylan Wilson is an American artist who inserts deep and intense meanings into his works to investigate the deep soul of each of us. In his artistic process, he makes use of many different ideas and stimuli that are combined together to form an intricate final image. Art is therapeutic for him. It can help us find a way out of pain, get to know ourselves better and bring out feelings that we often keep hidden. Art is the mirror of the soul, an instrument of liberation and revelation. One must learn to let go, to be guided by one's own feelings, letting go of all that is superfluous and useless. His artwork 'The Cultural Shift/The Hierarchy Loop' represents his state as an artist and his creativity. A masterpiece in which horror vacui prevails. A tangle of colours, shapes and elements intertwining, confusing, overlapping. The work is organised as an itinerary but appears as a decorative motif, a sort of mandala enclosing the ideal understanding of the wonder of the world. So complicated to understand but evident to perceive, a harmonic chaos that generates balance but also overwhelm. Man in front of the mysterious wonder of the world remains bewildered, powerless and ecstatic. A mix of contrasting emotions that Dylan recreates in this image. The spectator is invited to interact and lose himself in the myriad of details that make up the artwork in all its facets. Several meanings could be attributed to this work. Infinite are the interpretations and visions it generates. A continuous cycle of elements reflecting the chaos of life. Every thing, plant, living being performs a continuous cycle that is reflected in everything around us. Everyone is born, grows and dies. The world renews itself, changes and never stops. A wonderful mystery that fascinates and whose secrets we do not know. At the centre, however, is life, the engine of everything. The artist invites the viewer to reflect, to dwell on the details and not just the first impact and the surface. It is necessary to get to the bottom of things, to research, to experiment, without ever stopping. The colours are vivid and bright. The elements are juxtaposed in a surreal way but at the same time there are pop, modern and contemporary features. There are also references to the world of street art and muralism, especially in the shapes and colours. Dylan uses art as a means of communication between man and the world. He paints by interacting with the human soul and the universe, creating new, imaginative interactions, all to be discovered.
Art Curator Ilaria Falchetti
Dylan Wilson
The Cultural Shift/The Hierarchy Loop
Edgar Moza "The world is in color, but reality is in black and white." (Wim Wenders)
Edgar Moza, originally from El Salvador, is an artist who has managed to give life to an articulated and complex artistic poetics, which explores the many facets of mental illness, generational trauma and identity. Not men, human figures, but extravagant, bizarre entities populate his works and impose themselves as real totems. Side by side, in stark contrast, these figures with unusual shapes convey the suffering, discomfort and loneliness of those afflicted with mental illness. The peculiarity that distinguishes the work of Edgar Moza from that of other artists lies in having created a very intuitive and communicative aesthetic language, thanks to the use mostly of primary colors, in reference to a palette of colors typical of childhood. Colors that recall the ease and sincerity of expression of children, colors that bring people, without fear, to observe the various painted creatures and to reflect on the difficulty of living with a mental illness. His works, however bizarre and extravagant, do not frighten, but open to dialogue and confrontation with what may be distant, different from us. They are inclusive artworks, which speak of suffering, discomfort, acceptance, strength.
Art Curator Federica Schneck
Edgar Moza
Of Colors and Aches I
Edgar Moza
Of Colors and Aches II
Edgar Moza
Of Colors and Aches III
Eduardo Álvarez
Art was born some fifty thousand years ago out of man's need to express his emotions. From the first cave paintings to the abstract works of today, it has accompanied the evolutionary process of man, changing with it. Art, through transposition onto canvas, gives us the opportunity to learn more about ourselves and the world around us, helping us to grow and improve. For artist Eduardo Álvarez, born in New Haven, Connecticut, art is a means of digging deep within him, bringing out his deepest fears and emotions. An important tool to free oneself from what blocks emotional growth when one cannot express one's suffering in words. Painting on a blank canvas, not paying attention to which colours to choose or a particular design, helps to release tensions and express what one really has inside. Eduardo Álvarez's works express a raw art that shows the artist's inner struggle, his pain to get to know himself. It is a true art in which the artist expresses all his feelings, without hiding them. Through the study of composition and colours, the artist manages to convey his emotional experience to the viewer, playing with overlapping lines and shapes to give the work a dynamic rhythm. Eduardo Álvarez's art is inclusive, because it prompts the viewer to dialogue with the work and consequently to dialogue with his inner self, leading him to grow and improve.
Art Curator Lucrezia Perropane
Eduardo Álvarez
Azure Samsara
Eduardo Álvarez
Espejos
Eduardo Álvarez
Ultra Magnetic
Eliana Dell'Olivo "What we know about us is only a part, and perhaps a very small part, of what we are without our knowledge." (Luigi Pirandello)
Thanks above all to her artistic studies, the artist Eliana Dell'Olivo has managed to make art not only a real passion, but above all an expressive necessity. What distinguishes her art lies in the ability to reflect on one's own interiority, on the personal vision of the world through the representation of natural scenarios or places dear to her. This ability allows the artist to open her artistic poetics to a wide audience, proposing a wide range of imagery within which anyone can recognize and get lost. Reflecting on one's emotions, perceptions and transforming them into colors: this is what prompted Eliana Dell'Olivo to create "Asia", an artwork that expresses all its strength and vitality thanks to the overlapping and contrasts of colors and shades. By exploiting the complexity of the human soul, the artist is able to extrapolate the essentiality from his own sensations and reflections, manifesting them through a conscious game of contrasts that transforms the entire artwork into an adventure, a harmonious path to the whole of its interiority.
Art Curator Federica Schneck
Eliana Dell'Olivo
Asia
Elisabeth López
Elisabeth Lopez is a professional artist living in London but born in Barcelona, Spain, in 1988. At “Visceral” exhibition hosted by M.A.D.S. Art Gallery, Elisabeth presents two paintings. ”Herself” depicts a woman figure in the center of the painting, dressed in a long white dress and placed between two wooden poles slightly higher than her. From the woman, whose facial features we do not see, depart large and deep brushstrokes, which develop throughout the surface of the canvas in a concentric and spiral manner, creating a kind of vortex of which the woman is the very center. At the top, the colors are soft, from lilac, to yellow, from blue to red in the left corner; at the bottom instead a midnight blue color wraps the feet of the figure, recalling the sea. In fact, she seems to float in the space of the painting and the abstraction with which the image is rendered transports us to a dreamlike and dreamy dimension. Elisabeth’s paintings are in fact an invitation to mystery. They all tell a story, but the story they tell will be different to every person who looks at them. In this way, the viewer is not a mere spectator but a fundamental part of the work itself.
Elisabeth López
Her works, therefore, are continuously transforming, much like the fantastical world of the subconscious is ever-evolving. The emphasis falls on the process, rather than the final result. In the second painting presented at the exhibition, “On the way”, a girl from behind is in a blue-toned path made up of the usual wide and sinuous brushstrokes very dear to Elisabeth. From this succession of waves, on the right we can see a path and at the bottom, almost like a mirage, stands a tree with beautiful pink leaves, in contrast with the blue that surrounds it. The girl, who sees it from afar, however, seems hesitant: she is firm, as if she were wondering about whether or not she wants to continue on her path. Who knows what she will do: like any Elisabeth painting in fact, the question remains open and the viewer is free to give the ending they want most.
Art Curator Matilde Della Pina
Elisabeth López
Herself
Elisabeth López
On the way
Ellyxia Castle
Ellyxia Castle is a Canadian artist whose artistic production finds maximum expression thanks to the Fluid Art technique, once again the guest of an exhibition organized by the M.A.D.S. Art Gallery, on the occasion of "VISCERAL" she exhibits five extremely brilliant and powerful works of art from a visual point of view. “LIGHTNING” looks like an abstract representation of lightning in a stormy sky. The bright white in contrast with the purple and black create extremely impactful chromatic variations. “NEBULA ”, on the other hand, thanks to the technique of Fluid Art and Pouring, it turns out to be like a portion of the universe, lights and shadows, create stars and galaxies that shine. In "SKY" Ellyxia is able to represent a piece of sky, the fil rouge that binds all the works on display, in fact, is that of the sky, the universe, and space, celebrated as something special that should be admired , "SKY" embodies a sense of peace and relaxation that you try to admire a sky that is sometimes clear but with some white clouds that cross it, it almost looks like a sea that comes to life thanks to the foam of the waves. "SPACE" is a work in which the chromatic contrast and the drops of color give movement to the work as a whole, from white to purple to black, with the use of glitter, Ellyxia Castle creates a work of great visual power and chromatic. Finally, “SUNSET” seems to portray the flames of the sun, its burning with power that leads to the wonderful golden hour. Ellyxia Castle's works of art are all very romantic and full of pathos, they are creations that celebrate a precise moment and leave it suspended in time.
Art Curator Martina Viesti
Ellyxia Castle
LIGHTNING
Ellyxia Castle
NEBULA
Ellyxia Castle
SKY
Ellyxia Castle
SPACE
Ellyxia Castle
SUNSET
Emma Brahas "Art for me is the quintessence of life. It ennobles us and makes us better. It makes us wise. It cleanses our soul." (Emma Brahas) Emma Brahas's art is subtle, it is elegant, it is refined. The photography of this talented artist has distinctive traits, there is no mistaking, it belongs to Emma and only Emma. Capturing the essence, capturing what is behind a look, what is behind an object, telling a story in a simple shot or in a series of shots. Emma's photography goes beyond the image, goes beyond the person, goes beyond his thoughts, digs down and reaches into the deepest of depths. What is not yet conscious Emma manages to capture with her extraordinary sensitivity. The photograph presented at the VISCERAL international art exhibition hosted by the M.A.D.S. international art gallery is Introducing soul and is part of the "Abyss of the Soul" project and is taken in a public garden in Bucharest. With the additional materials Emma captured many facets of the human soul when it is betrayed. The model of the project is Denisa, a student at the Faculty of Dramatic Arts in Bucharest - section: theater theory. Denisa was affected by the fact that her father told her as a child that she had "frog eyes". This was the reason for her inner suffering. Emma highlighted her eyes from the beginning and she managed to get rid of this torment through the multiple photo series. Today Denisa is more open than ever.
Art Curator Mara Cipriano
Emma Brahas
Introducing soul
Erica Bren Find ecstasy in life; the mere sense of living is joy enough. (Emily Dickinson) In the ancient world the artist was considered a privileged individual, inspired by the gods. He had the task of establishing a link between the earthly and the transcendent world, at the base of which there was a process of ecstasy (from the Greek ex + stasis, properly "going out of oneself"). By detaching himself from his mortal individuality, the artist was able to probe the most arcane folds of human passions, and to concretize them in a universal work. Phantom by Erica Bren recalls this concept for its unsettling compositional sobriety, and takes the mind to an indefinite dimension, suspended between the real and the unreal. From the soft darkness that fills the background, emerges the vigorous figure of a gray horse that pierces the shadows of an intelligible universe. The ghostly appearance of the animal seems to be a synonym for an abyss that is difficult to reach. An abyss that is both real, imaginary and interior. Erica Bren represents the link between these three elements, a herald of life and death at the same time, of visceral and instinctive inspiration, which reaches far from rationality. The horse, a recurring subject in the artist's works, therefore takes on a new conception, which differs considerably from the optimistic implication of the other representations. In Phantom it becomes the emblem of a real philosophy on canvas, the perfect symbol of the artist as a prophet of a remote and inaccessible world, yet close to those who have the privilege of "going out of themselves", to the point of touching an extraordinary truth, invisible to others like an evanescent ghost.
Art Curator Chiara Rizzatti
Erica Bren
Phantom
Esperansa Mozo-Hernandez Miracles happen to those who believe in them. (Bernhard Berenson) Esperansa Mozo-Hernandez amazes with an extremely personal approach to her artistic production. The young American artist conceives the creative experience as a dimension detached from the dictates of rationality and conventional canons usually associated with art. The canvases, in fact, become a unique opportunity to give free rein to a spontaneous inspiration and to rediscover a profound connection with one's own interiority. The artwork Pam and Gina - admired during the Visceral exhibition at the M.A.D.S. Art Gallery - presents itself as an authentic artistic manifesto by Esperansa. The choice of fluid painting is perfectly combined with a conception of art as a synonym of freedom, in which it is possible to express oneself without worrying about making mistakes. This ideal is strongly realized in the dense swirls of color, which float on the canvases in all their explosive strength and which drag the observer into a wonderful universe of brilliant shades and daring combinations. The very choice of two canvases on which the acrylics flow is emblematic, and almost seems to symbolize a desire to go beyond the imposed limits, to try something new, to venture towards unexplored horizons. Esperansa Mozo-Hernandes demonstrates an artistic foresight that goes far beyond her young age, setting fascinating prerequisites for a bright future as an artist. Believe you can and you’re halfway there. (Teddy Roosevelt)
Art Curator Chiara Rizzatti
Esperansa Mozo-Hernandez
Pam and Gina
Evan Plunkett " The path does not exist, but is built by walking." (Morin)
Mass culture is a new social model in the sphere of complexity, constituting a body of symbols, myths, images concerning practical life and imaginary life, a system of projections and specific identifications, which is added to popular culture and humanistic culture, competing with them. Contemporary society is the product of the countless interactions between individuals, who bring with them their own traits, as a language culture and interact as a whole. This whole is unthinkable if thought remains navigable in reduced sectors, but starts to make a journey if it embraces without limits the complexity in which we live. Complex thinking is important because reality is iridescent and always presenting something new. Evan Plunkett navigates this complexity, with his work inviting us to discern those ideas that disguise and disfigure the world. He fearlessly fishes out of the complexity of the matter in front of him, not a single separate and therefore easily recognisable element, but takes into account all the noises and moods that are now viscerally attached to it. The result of the collaboration and interaction between the rational and the imaginary, between emotion and reflection, leads to the creation of visual mirrors of society, whose artist's voice guides and highlights the most iridescent aspects. We are now asking ourselves how this complexity can become a point of view itself, we are now realising complexity is what we are made of, it is in our guts, in our bowels, therefore the only way to see the world.
Art Curator Erika Gravante
Evan Plunkett
Figure Turn
Evan Plunkett
Final Approach
Evan Plunkett
Color Step
Evelin Dogan No great artist ever sees things as they really are. If he did, he would cease to be an artist. (Oscar Wilde) Evelin Dogan is a self-taught artist from Slovenia. She sees painting as a safe and comfortable place and she believes that art can unite for a more serene world. Evelin has developed a very personal style to express her inner impulses and feelings that the surrounding world transmits to her: she does not paint what she sees but what she perceives from the vision. Her inspirational force is nature, of which she captures the darkest and deepest aspects with a somewhat symbolist attitude. The transposition on canvas of her emotions takes place through a great strength and energy of color, mainly dark but bright and bright tones, which is applied with very fluid brushstrokes. In particular, we can analyze the painting that she decided to bring in the Visceral exhibition of M.A.D.S "The dragon in me" (2021), a painting on canvas made with mixed tecnique (pouring and painting) with acrylic paints and colored varnish. The canvas is defined solely by the color, bright and saturated on green tones with red streaks going to form the texture of the skin of the dragon. At the center of the painting stands a large yellow eye and richly detailed and very expressive. It is a symbolic image: the dragon is a state of mind of the artisti, an inner way of being. He is energy and source of vitality, of color for the soul..it is the release of the Ego. Eveling Dogan sees behind the materiality and objectivity of things, sees with the soul and reverberates towards us what she intuits from nature.
Art Curator Giulia Dellavalle
Evelin Dogan
The dragon in me
g.f.
Analog art is being created with a digital graphic composition. g.f. presents “Fine Lines IV” for the “Visceral” Mixed Reality art exhibition at M.A.D.S. Art gallery. A painting with a digital force in order to shape an organic composition. Colors are being presented as horizontal lines evolving between each other, where none of them has been repeated. Each line presents a unique color. Some of the lines present cracks as digital glitches would create. A disruption, intentionally painted to advert a possible solution: to generate rhythm. “Where does the rainbow end, in your soul or on the horizon?"-Pablo Neruda, The Book of Questions. The rhythm has been created with colors. The color sequence recalls a glitched rainbow one, due to the intensity and uniqueness of the tones. “The rhythm of relations of color and size makes the absolute appear in the relativity of time and space.“-Piet Mondrian. We witness a closer look into a disrupted rhythm with a visceral use of spaces determined by strong hues in the horizon.
Art Curator Karla Peralta Málaga
g.f.
Fine Lines IV
Georgeta
Three abstract paintings, each of them with some symbolic elements realized with acrylic colors and deep in their restitution, are the artworks presented by the artist Georgeta. ‘Le fil blanc’ and ‘Magic butterfly circle’ are similar in their elements and in the restitution of the subjects. A sort of voyage from a corner of the canvas to another, and so a voyage into the viewers’ mind, is what the scene represents. A linear travel guided by some red flowers or some blue butterflies, symbols of lightness and pureness that highlight the dark atmosphere of the scenes in their black backgrounds. Not well defined in their details, the flowers and the butterflies too, are what the artist considers as the ‘guides’ for the viewers, the elements that exhort to live freely and to feel free to be yourself. This sensation transpires also into ‘Paths’, a more abstract scene in which some white lines, the ‘paths’, create a dynamic and fluid piece into which the viewer can walk with his thoughts. The choice of colors is not accidental but each one symbolizes a perfect sensation, to which the artist herself yearns for: red for passion; green for hope; white for purity and innocence and black for strength.
Art Curator Martina Stagi
Georgeta
Le fil blanc
Georgeta
Magic butterfly circle
Georgeta
Paths
Gereon Sommer
Is there a parallel between art and science? According to artist Gereon Sommer, a PhD in chemistry and researcher, there is a correspondence between laboratory experiments and working on canvas, especially in the dynamics that lead a scientist and an artist to complete their work. The first instinct that drives an artist to paint is the desire to represent beauty. For the Athenian sculptor Phidias, a body was considered beautiful when every part of it was proportionate to the whole figure; in the Renaissance, beauty was a symbol of grace and elegance. Davide Fiscaletti, author of 'Quantum Frescoes. Parallelisms between science and art', argues that order, harmony and symmetry are not only crucial elements in art, but represent specific characteristics that are important for formulating a scientific theory. Moreover, according to Jacques Hadamard, many scientists rely on intuition to elaborate their theories, playing with the imagination. When an artist brings a work of art to life from an empty canvas, what he is doing is giving vent to his imagination. The same behaviour Albert Einstein adopted to realise his theories: imagining what he wanted to describe. Every experiment and every work of art requires attention to detail and an awareness of how to handle the dynamics of events. In his paintings, artist Gereon Sommer wants to represent this process, recreating details and dynamics with quick brush strokes and splashes of colour. His hands move faster so as not to miss a single second of the creative process. The viewer is confronted with paintings of strong expressive energy despite their simplicity. The artist's skill in the use of brushstrokes and colour results in vital works that seem to move in front of the viewer. They are works that not only reflect a subjective beauty, but also represent the processes and dynamics of a laboratory experiment in artistic terms. His works represent the union of art and science that are nothing but a means for man to understand and represent the complexity of the world.
Art Curator Lucrezia Perropane
Gereon Sommer
Purple condensation
Gereon Sommer
Trinity
Gereon Sommer
Out of the box
Gina-Marie Cincinnati "Without the lived experience of opposites, there can be no experience of totality." (Ernst Jùnger)
American by birth but resident in Tokyo, the art of Gina-Marie Cincinnati has always focused on mixed techniques and collage, preferring subjects with a difficult and profound existential experience. Her passion for photography, screen printing and paper making led her to appreciate the Japanese papers Chiyogami and Yuzen, used in the current collage series. The artwork "Rage" contains the particular relationship between the use of these Japanese papers and the ultimate meaning sought by the artist. In the artwork the elements are juxtaposed, sometimes superimposed, and at first glance the observer might feel disoriented by such a bold and decomposed composition. But, by observing better, the human eye is able to see the small details that then recall the title of the work, to re-elaborate them and to reflect on the various associations and symbols present. The artist manages to represent the feeling of anger in all its tenacity and power, and to connect it to a higher, deeper reflection, that is the relationship between the permanent and the fleeting, between the temporary and the immortal. As anger arises, manifests itself, explodes, and then vanishes, the same happens for life, for the reality we live, so fleeting.
Art Curator Federica Schneck
Gina-Marie Cincinnati
Rage
Giovanna Arancibia Marquez
The artist Giovanna Arancibia Marquez presents two digital paintings that differ from each other but that can be considered complementary between them. ‘Earth Goddess’ as the title itself says, represents a female figure composing the three’s body. Her head is replaced by a big and white rose, symbol of purity. This element has been chosen to represent the Goddess’ head in order to highlight the pureness of the Earth, our World, to preserve.
Giovanna Arancibia Marquez
The dark atmosphere in which the artist has decided to insert her subjects is the representation of the contemporary state of the Earth, almost at its collapse and it is just for this reason that the elegant Goddess stands in front of the tree, to defend it. As a sort of connection piece, ‘Tunnel Visions’ presents a face covered with flowered wallpaper exposing only the eyes. This choice is significant for the meaning of the two pieces, if read together: ‘Tunnel Vision’ represents the reason, the eyes of the Earth Goddess looking at the viewers in a sort of dialogue, asking for recognition for what it offers.
Art Curator Martina Stagi
Giovanna Arancibia Marquez
Earth Goddess
Giovanna Arancibia Marquez
Tunnel Vision
Grazia Moroni "A work of art which did not begin in emotion is not art". (Paul Cezanne)
Italian artist Grazia Moroni, born and raised in the province of Varese, began her studies in Florence in the field of restoration, then moved to Milan where she worked as an illustrator. She later dedicated herself to the art of glass and mosaic, discovering her true passion. She creates mosaics where processuality is both the method of investigation and the subject of her research. The various pieces guide the eye and mind of the observer to enter the unseen plots of our history. This gives the material a sense of intimacy, the artist's mind has entered the material by guiding the hand through the different pieces. The large openness of the central eye invites the viewer to enter into the luminosities and surfaces of the tesserae with circumspection. Indeed, this is an apparently fragile mosaic, but one that is made strong both by its history and by the artist's intervention. A metaphor for human relationships, where in union one loses something of oneself in order to open up to the other, gently. Grazia Moroni calls herself a visionary artist, as her works represent her double soul, the gothic and the psychedelic. Her musical inspiration translates into the mosaic as a synthetic instrument capable of leading the viewer to distant worlds. Time is celebrated, without preconceptions and above all freedom. The sculpture work investigates the same emotional field, but with a mystical yet simple manner. It expresses life force in a figurative sense. It tells how her research aims at the conquest of a vital archetype that exists in matter. Grazia works on the shape of the eye, placed in the centre of the composition, where the life force of the stones she uses resides in a pure and complete form. It is a mosaic with a strong linear and geometric consistency, based on a play of solids and voids that recalls the consistent power and reflection. A new way of exploring creativity, of trying to capture one's essence and instincts in the history of working with matter, its forms, its nuances.
Art Curator Giulia Fontanesi
Grazia Moroni
INSIDE
Gregory Logan Dunn “The world breaks everyone, and afterward, some are strong at the broken places.” (Ernest Hemingway)
The layering of colour is not only the hallmark of Gregory Logan Dunn, a contemporary American artist, but also an expressive necessity to give form to his feelings. An unpredictable form wrapped in a language that abandons figuration to leave space entirely to colour, here distributed following vertical lines in search of a new spirituality. More or less precise lines delimiting the space like mountain ridges rising above the plains, giving the vision an intense three-dimensionality and incessant movement. Like sheets of rough paper shifted by the wind and coloured clouds that cross the sky dissolving in the air, Gregory Logan Dunn's works tell of a deep and restless inner experience. The artist's noble soul is often at odds with the hypocrisy and incoherence of the contemporary society that surrounds him and therefore art becomes a fundamental means for him to give vent to his vision and emotions. In 'Number One with a Bullet', one of the five works ('Calvary'; 'American Satori'; 'The Milk of Human Animus'; 'Century Days'; 'Number One With A Bullet') exhibited at M.A.D.S. Art Gallery during the VISCERAL exhibition, he tells us about an increasingly persistent problem in schools, namely mass shootings. The main colour used is in fact red, which stands out violently against the blue-violet background. A colour often present in Gregory Logan Dunn's work, red becomes a symbol of the blood spilled for no reason in the world and injustice takes a central role in his expressiveness. Dense stretches across his canvases, dominating over other colours and creeping in between layers, it forever marks reality.
Art Curator Francesca Brunello
Gregory Logan Dunn
American Satori
Gregory Logan Dunn
Calvary
Gregory Logan Dunn
Century Days
Gregory Logan Dunn
Number One With a Bullet
Gregory Logan Dunn
The Milk of Human Animus
Guilmette Baghdadi “One morning, since one of us was without black, he used blue: Impressionism was born” (PierreAuguste Renoir)
The artist Guilmette creates works full of energy and positivity, a work that embodies the great power of gold and blue. The blue that covers the background of her works is a color that emanates positivity, it is the color that brings to mind the sky, while gold is more tangible, it brings to mind the planets. Undoubtedly, the two contrasting colors have a great impact on the sight of each person, one mellow and material and the other more ethereal, almost intangible. The artist manages to condense an infinite series of emotions in her work, color is the main element, it is the real protagonist, it is on the canvas and comes out of it as if to invade the surrounding space and to get in touch with the observer. . Guilmette's painting is clearly abstract, even if there are drawings and elements that refer to real things like planets, in fact it is extremely true, pasty and tangible, it is full of expressive force. The color that layer after layer becomes pure matter, it is alive even if immobile. The work of the artist Guilmette tells a journey, a journey characterized by reflections, thoughts and experiences to treasure, secure foundations, true and solid thoughts. Although she does not tell us everything, the artist gives us the gift of reflection, her work can be a starting point for each of us to understand and investigate existence. Without a doubt, the viewer is pervaded by a strong feeling, in fact Guilmette's work is able to impact the soul of the beholder, it is suggestive and full of power. The works almost seem to want to talk to us and tell us something, the viewer can do nothing but listen and be pervaded by this strong wave of emotions. The colors, in some way, become the element through which the artist expresses herself without doubts and without fear, she puts all her thoughts on canvas. Guilmette gives us the gift of reflection, her work becomes the starting point for the observer to reflect and to know ourselves. If on the one hand the artist's work appears strongly linked to the material since it is pasty and tangible, but it aspires to something transcendental, the work becomes a means, a bridge that can connect reality with thoughts and emotions, in it both the real and the abstraction of emotions coexist perfectly.
Art Curator Vanessa Viti
Guilmette Baghdadi
Meteorit
Guilmette Baghdadi
Golden drops
Guilmette Baghdadi
Galaxy
Hagemaru
Hegemaru is a particular artist that in his compositions is able to use a lot of different shapes and colours. In the work presented on the occasion of the international art exhibition VISCERAL we can see a figure put in the foreground drowned in profile position. We can see a lot of meaningful elements. At the same time what emerges from this composition is the necessity of the artists to communicate with these particular shapes as if the canvas was his opportunitiìy to make a speech and talk with someone. In fact we can also see some pherpes like on the hand of this figure we can read: “it is hand”. As if the artist wants to label the elements of the figure and in this way give them an exact meaning.
Art Curator Elisabetta Eliotropio
Hagemaru
Human
Halcyon Clay Wisdom is the oneness of mind that guides and permeates all things. (Heraclitus)
Halcyon Clay conceives artistic creation as the prodigious union of shapes and colors, which bind to each other to form a marvelous cosmos built on multiple levels, capable of being welcomed in an equally stratified way first by thought, then by emotionality and finally from instinct. It is difficult, in fact, to give a single interpretation key to Halcyon's works, who takes advantage of each work to make his inner world visible through daring and extraordinary compositions, caskets of exciting metaphors. On Fire With The Heat Of Love - the work presented on the occasion of Visceral - expresses in an exemplary way the semantic multiplicity of Halcyon's art, and transports the observer into a dimension that is both personal and universal, literal and figurative. The complexity behind the artist's creativity is summarized in the digital collage technique, in a set of great visual impact. The composition revolves around a seductive female figure, and everything seems to gravitate around her. Like a shining sun, the life-bearing woman is the center of a balanced universe, in which the elements interact in harmony with each other. Halfway between reality and symbolism, Halcyon approaches vitality with fire, in a Heraclitean echo that recognizes fire as a cosmic principle that shapes the world, and which is also evoked by purple flowers linked to the element of the earth. But there is much more to it than that. There is an aura of spirituality, which spreads from the mouths around the woman, emblematic representations of an irrepressible energy, which move the rules of creation. With this extraordinary work, Halcyon Clay manages to elaborate a real philosophical thought through powerful and electrifying images, which cannot leave the observer absorbed in stupefied admiration.
Art Curator Chiara Rizzatti
Halcyon Clay
On Fire With The Heat Of Love
HEIKO “I paint objects as I think them, not as I see them.” (Pablo Picasso)
Representing the world through colors, symbols, and shapes: the goal is to go back to reality by understanding what hides behind those colors, symbols, and shapes. Abstraction allows you to fly far away, changes the perception of everything and reveals facets that otherwise could not be known. HEIKO is a contemporary artist, who creates each of his works inspired by the concept he developed of ©OPPRESSIONISM which - using his words - expresses the contemporary bond on individuals, be they social, political, or technological. Art is synonymous with freedom and for this reason the artist must feel completely free to be himself when he has the brush in his hands. "Objets oniriques en rouge" was created in 2020 with the technique of ink and acrylic oil on paper. The work is an original representation of the artist's complex and magical world; it is a map that contains thoughts and emotions that if explained verbally would lose their true essence. Among the different sentences that are read, we will focus on one: “Wish I could dream”. These few but intense words enclose the spirit with which HEIKO lives his existence: a continuous struggle between reality and fantasy, between what is possible and what sometimes unfortunately remains only a dream. Each of us wants a world custom-made for himself: the key to solution is to have the courage, determination, and willpower to make it happen. HEIKO invites viewers to enter his world, to understand it while giving a personal interpretation of what they see.
Art Curator Camilla Gilardi
HEIKO
Objets oniriques en rouge
Hisayuki Doi "To be fully alive is to have an aesthetic perception of life because a major part of the world's goodness lies in its often unspeakable beauty.” (Yukitaka Yamamoto) "Take the ladle with your right hand and scoop water from the tub (or even from the fountains if present). Rinse the left hand using a small part of the water. Move the ladle to the left hand and rinse the right hand with another portion of water. Move the ladle back to your right hand and pour some water into your left hand to rinse your mouth (absolutely do not drink the water directly from the ladle and do not spit the water out of your mouth into the tub, of course). With the remaining water, wet your left hand again and tilt the ladle vertically, with the cup upwards, so that the last part of the water runs down the handle, cleaning it. Place the ladle back on the chōzuya, positioning the cup upwards and upside down." When entering a Shinto shrine, it is necessary to perform a purification ritual before being allowed to continue. This purification serves to remove evil and impurities from one's person. Shintoism is the main religion of the Japanese people and is native to Japan itself, originating practically over 2000 years ago. The word Shinto means 'Way of the Gods' and derives from the Chinese words 'shin' and 'tō' meaning 'kami' and 'philosophical study' respectively; it has no sacred scriptures to refer to and no real founder. A shinto shrine identifies an entire area, consisting of multiple buildings and different components, within which the deity (the kami) worshipped at that shrine is kept, not visible to the faithful. In Hisayuki Doi's oil pastels lies the magical power of the sublime representation of recollection, rule and construction.
Art Curator Federica D'Avanzo
Hisayuki Doi
silence
Hisayuki Doi
pure sunshine
Hisayuki Doi
adoration
Hristina Angelova
Hristina Angelova is from Bulgaria. The artist in her is excited by the duality of the visible and the invisible, the material and the immaterial. In this way, she wants to make everyone think, to provoke an introspection on what we show from ourselves, what we try to hide, and what we really are. On the occasion of the exhibition "Visceral" proposed by M.A.D.S. Art Gallery, the artist decides to show her work called Vulnerable. The title emanates a dynamic work, created by instinct. The colors of the work transmit a sense of energy and power, a strong feeling. The pigment is dense and overlapping. The colorful background highlights two animal figures. They are screaming, they could seem tormented by pain, we witness an almost cruel scene, with the sensation of hearing their laments and screams. We can see two frightening figures but in reality they themselves represent a great fragility. The main characters confound into the chaotic background, in warm shades of red and yellow. Hristina in this painting conveys a desire to get out of the canons, the feeling of wanting to release what is imprisoned within us, the strength and courage to show what we really are, both our strengths and weaknesses. Not everything is as it seems. By judging the looks we often forget that one can be fragile and vulnerable from the inside.
Art Curator Maria De Marco
Hristina Angelova
Vulnerable
Ildikó Cseh-Rigó Instinct is a marvelous thing. It can neither be explained nor ignored. (Agatha Christie)
Sight has always played a crucial role in the imagination of the Western world. In ancient times it was considered the privileged organ for knowledge, in medieval literature the eyes were the instrument considered the means through which the most passionate love flared up, and in modernity they have become synonymous with the personality of the individual and his psychology. With Wildness, Ildikó Cseh-Rigó makes her own contribution to define the multiform essence of the organ of sight, and she does so with a bewitching artwork of extraordinary intensity. The painting portrays the splendid face of a young woman, executed with quick brushstrokes of acrylic in shades of gray, and framed by a blond hair. Everything in her perfect features reveals a seductive and strong personality, from the pronounced cheekbones to the wavy locks, from the shape of the face to the slightly parted full lips. But what attracts attention and becomes the focal point of the picture is the girl's magnetic gaze. Her double-layered eyes are the caskets of two precious emerald irises, marvelous outposts of the soul. The artist concentrates in the young woman's eyes the essence of the deepest instinct, which leads to an unexpected wildness. The intent is to connect the immediacy of sight to the most unattainable part of being, which thus expresses itself without the filters of normal social attitudes, which push one to repress one's most authentic nature.
There is something bigger than fact: the underlying spirit, all it stands for, the mood, the vastness, the wildness. (Emily Carr)
Art Curator Chiara Rizzatti
Ildikó Cseh-Rigó
Wildness
Ines Mercedes Fernandez Estevez The work of the Venezuelan artist Ines Mercedes Fernandez Estevez is an invitation to flourish, inside and outside of us. Observing the beauty that surrounds us is essential to make it our own and reflect it outside, amplified. Our eyes are mirrors that reflect the real customizing it depending on what we are. Today more than ever the world needs peace and kindness, the hand extended to the other as a sign of help. All our forces should be concentrated and projected towards each other to teach them in turn to flourish. The artist, now living in Italy has always been attracted by the color and the joy that this can convey. In this sense her work becomes almost a therapy for the observer, an invitation to look deep inside, to cast out the black that is in us to leave room for color, the only true driving force of the soul. An example is the work "Connection" where we can observe a whole apparatus of human internal organs. Normally this vision would have horrified us or made a certain impression, but not in the case of Ines' work. Her apparatus is full of life, of beauty, of generating force. Positive emotions are the protagonists and play a purifying and beneficial action for the soul. In "Joyous intention", on the other hand, we notice how the organ of the large intestine, where the most intimate intention is born, is impregnated with emotions and joyful colors. In turn when these come out, they inevitably affect the universe creating perfect harmony. Another way that man has to influence the surrounding world is the word, the voice. The work "Joyful woman" reminds us that kindness can change the perception we have of ourselves. The voice that starts from deep echoes in the world with serenity and calm, freshness and love, creating a wonderful harmony for all those who listen. Hatred is put aside; the most visceral aspects of ourselves change to become generators of love and joy, words of comfort and beauty. Nowadays we forget too often, but beauty, everywhere present, is the only aspect that really deserves our attention.
Art Curator Eleonora Varotto
Ines Mercedes Fernandez Estevez
Connection
Ines Mercedes Fernandez Estevez
Joyous intention
Ines Mercedes Fernandez Estevez
Joyful woman
Ivy Jian - Roseraietadore Mountain “I am a minimalist. I like saying the most with the least.” (Bob Newhart)
A very contemporary trend is brought to light in Ivy Jian's works, a minimalist drive that in this case is transposed into visual signs and fields that touch the visceral depths of the viewer. Minimalism as we know it, we can say has become a tool for survival. We speak of existential minimalism, of thus eliminating distractions in one's life to focus on the things that give it meaning. Eliminate what does not add value. Apply default choices that come from defining one's values and one's list of no's. These are decisions you make regardless and without any more listening or arguing. The only way to avoid ultimate failure is to focus on the things that really matter to you. The artist seems to follow these dictates for her choices of subject matter and composition, a succession of fixed points that result from a path of subtraction that inevitably arrives at the essence of things. To get to the essence, however, there is only one way: slow down. Slow down, in the gesture, in the gaze, in the noise that is produced. The author's mixed-media paintings, seem to wink at Mumblecore, an American independent film movement that arose in the early 2000s and has been very popular in recent years. It is characterized primarily by the production of very low-budget films (often using digital cameras), focused primarily on personal relationships between 30-somethings, with improvised scripts and nonprofessional actors. Cozy Blossom in particular harkens back to that flavor, minimalist in the existential sense, of choosing to show the importance of relationship, as in Mumblecore, dissolving ancillary noises, thus getting straight to the existential point.
Art Curator Erika Gravante
Ivy Jian - Roseraietadore Mountain
Nostalgic Shimmer
Ivy Jian - Roseraietadore Mountain
Luminosity Ahead
Ivy Jian - Roseraietadore Mountain
Cozy Blossom
Jaeyong Kim I am finding my way with God's help. Time passes quickly because of my lack of ability. My life is short. Guide me to have the will in a short life. A sad story that happens to humans on earth (Jaeyong Kim) Jaeyong Kim brings at the international art exhibition VISCERAL into the international art gallery M.A.D.S very important themes and introduces them with unique figurative patterns. These are human figures but they have supernatural, human beings who let stories of explicit or implicit evidence shine through. Figures that are simple but extremely communicative. Figures who remain in the shadows to conceal truths that belong to the dark side of humankind. Three paintings of a depth and honesty that goes beyond simple artistry and outlines extreme humanity. Ambition (dictator) presents a red figure, from behind, the artist states that the work represents the "Tyranny of a dictator who wants to dominate everything as a predator with power, status and money," Racism (mixed race) presents the issue of discrimination based on skin color that justifies violence. Globalization brings with it the paradox of a society that is completely mixed but still uses the pretext of race to create distance based on the concept of inferiority. Finally, Sexual assault denounces sexual violence against those who are weaker: the artist states "Prosecution of reality against minors sexual assault(rape) for teen as a victim using power, money and strength". Jaeyong Kim has wanted to draw since I was 20 years old, and he’s been painting for 43 years. At the beginning, God appeared in a dream and wanted him to do this. He was tired of confusion and illness and couldn't find a way for a long time and asked God for help. He hoped that many of God's thoughts would reappear in his dreams. He drew a picture of time and expressed it. And he tried to understand what God said to him.
Art Curator Mara Cipriano
Jaeyong Kim
Ambition (dictator)
Jaeyong Kim
Racism (mixed race)
Jaeyong Kim
Sexual assault
Jasper Wang Video art was born as an instrument of protest with the well-defined intent to spread in people’s homes to transmit messages that otherwise, spread by other means would not have achieved the same results. We are in the mid-sixties and video art, in some cases, just wants to stir consciences on important and sensitive issues. Even today, although in a different way, the video is configured as a practical and immediate support to launch messages. Currently, the development of technology, which is linked to this form of expression, makes particularly lively production in the field of video art, which makes extensive use of every type of platform and support available. Jasper Wang is a generative artist currently active in San Francisco, USA. Her works are inspired by the projects of her longtime model Zaha Hadid. Having a past as an established architectural designer, Jasper has a strong sense of space, color, semiotics, aspects that find concreteness in the interest of computer graphics and generative art. The works of the artist are of great impact, almost hypnotic in order to show silent connections between gigantic masses. "Line Segment Series_Silence (BDO)_1" is a work on the line, a reflection on how it can interpret objects, gravity and physical laws. Various segments move to create and connect two planets. The lightness of the line has created two heavy masses that now attract more and more strongly. "Line Segment Series_Silence (BDO)_2" instead proposes a solar in all its magnitude at the center of space. Two external light sources feed it and make it grow and brighter. In her works the artist informs us of the presence of BDOs in space (Big Dumb Object). These objects are like black holes that absorb all our curiosity. The artist realizes an awareness and communicates through her art the discomfort that these objects involve, reminding us that they exist and we must face them out of our daily apathy. With "Line Segment Series_25 Shapes of Moon" the artist is inspired by the legendary set of stamps printed in 2019 in honor of the 50th anniversary of Apollo 11 and the landing of the first man on the moon. The moons in this case become 25, like 25 small stamps. They are different vision of the star, represented by different angles. The subjects vibrate, shine and connect to create new combinations.
Art Curator Eleonora Varotto
Jasper Wang
Line Segment Series_Silence (BDO)_1
Jasper Wang
Line Segment Series_Silence (BDO)_2
Jasper Wang
Line Segment Series_25 Shapes of Moon
Jen Gilroy "Our wealth is made up of our diversity: the other is precious to us to the extent that it is different from us." (Albert Jacquard)
Jen Gilroy, born and raised in New York, is an artist who seeks her main source of inspiration in the city and, above all, in people. But his subsequent creative development doesn't take into account the traditional rules of representation of reality, as the artist exploits the personal reworking and use of strong and vibrant colors to generate artworks that are positioned between the authentic and the imaginary. Colors and small details are the key to understanding the artist's entire poetics, centered on the treatment of social issues through the use of strong contrasts, to generate tension, disorientation and instill doubts and reflections in the observer. Rebellion against homogeneity, against the non-diversity that is rampant in society today. Jen Gilroy's art is a scream, an invitation to reflect on social and economic inequalities, on the reality that surrounds us. Her art is pure rebellion, it's the vivacity of colors and the vibrant force of contrasts. It's an invitation to grasp the beauty of diversity, to notice the small but important signs around us and to reflect on the thought developed.
Art Curator Federica Schneck
Jen Gilroy
Judge Not
Jen Marie The work of the artist Jen Marie takes us back to visions of lost landscapes, enchanted and dreamy atmospheres. Idyllic visions that blur between indefinite horizons. An uncontaminated nature or vision without the ugliness and invasive attitude of man. The observer’s gaze can range between the thin line of the sea, the sky or the immaterial on the basis of the sensations that the artist’s works evoke in him. The painter proposes here a series of works that evoke landscapes and vibrations where it is possible to recognize the main characteristics of her artistic research. Jen Marie’s works make use of real emotions that present themselves as silent witnesses of an uncontaminated nature. The various facets of the artist’s work acquire spaciousness and distance only by virtue of the harmonious contrast of the chromatic masses. In "Along the shore" 3 different color levels rise towards the top right corner of the canvas. The movement is punctuated by the contrast between the blue, white and brown colors that suggest an earthly matter such as the sea, or the mountains. The work "Prism" instead presents a sparkling effervescence, the colors multiply and with them also the casting. The layers follow one another in an incessant movement, like that of the reflections of light on the water. They are none other than one of the many infinite compositional possibilities that form and color can structure, even unconsciously. The color poured directly on the canvas and the absence of contour lines make each profile embedded on the next, with the result that the depth is canceled making emerge an accumulation, now dynamic now immovable, of constituents. The chromatic element, in all this, is always the starting point to deepen a personal creative world in abstract compositions. These characteristics are found in the work "Big Bang". Here color is the real protagonist. The color palette is inspired by the colors of our known universe and that imagined by the artist in a unique combination of its kind. The shapes expand from the center outwards in an explosion of creativity.
Art Curator Eleonora Varotto
Jen Marie
Along the Shore
Jen Marie
Prism
Jen Marie
Big Bang
Jennifer Jane For the nature of a women is closely allied to art. (Johann Wolfgang Von Goethe) Jennifer Jane is a French self-taught painter, teacher by profession. She is a young woman, who since she was a child has lived in an artistic environment thanks to her mother. However, only as an adult she immersed herself in a world of deep artistic activity and feels ready to express who she is through her sublime creations. Her mission is to involve us, through her artworks, in her being highly intellectual, emotional, sensitive, modest and sensual. Her inner passions, sensations and her subtle and emotional conception of the world come to life and reach us in the form of images, colors, textures, materials with a very personal and impactful style. The subjects are mainly female figures, because the basis of Jennifer’s work is the concept of sublimation of the woman: with her feminine sensitivity captures eroticism and sensual aspects exalting them in a mature and elevated key. In the three artworks shown in Visceral exhibition in M.A.D.S. Art Gallery, titled "Divine", "Jerusalema" and "Sensuelle" (2022), we see this very well. Three female figures, in different attitudes that exhibit their sensuality and modesty, stand out on a golden background with textures almost like sacred icons. The background is in sharp contrast to the hardness of the play of chiaroscuro (black figures and marked light) that enhances the shapes and intensity of the message you want to convey. Jennifer Jane is a very interesting artist because she manages to convey intrinsic aspects to women in a nonvulgar way, exalting and almost deifying the female body and soul. Her intellectual and classy style reflects her way of being a woman.
Art Curator Giulia Dellavalle
Jennifer Jane
Divine
Jennifer Jane
Jerusalema
Jennifer Jane
Sensuelle
Jens Peter Sinding Jørgensen
On the occasion of the international art exhibition Visceral the artist Jens Peter Sinding Jørgensen presents three works. In each painting we can see that the artist presents a very content style. With abstract language he doesn’t want to represent reality but he wants to represent on the canvas what he feels and in which ways he watches the world around him. Starting from the first work titled Model, we can see the representation of a woman’s face. At the same time the figurative description is not detailed but the figure seems to be just sketched. This communicates the idea that the artist wants to tell us just a few elements that he considers important. In the same way the second work titled Out of the frame, seems to represent a figure that wants to come out from the drown and goes towards the viewer. What is important for the artist is to represent and underline just this mouvement of the figure. As if he wants to create with this action an encounter between the figure and the observer. The third painting is titled Roman despot and the composition wants to represent the image of the half body of a Roman despt. Also on this occasion the artist creates hints at the representation of the elements. The particular artistic technique of Peter Sinding Jørgensen is very interesting and fascinating because in this way he is able to create real communication with the viewer and leave him the possibility to freely interpret the composition in front of him.
Art Curator Elisabetta Eliotropio
Jens Peter Sinding Jørgensen
Model
Jens Peter Sinding Jørgensen
Out of the frame
Jens Peter Sinding Jørgensen
Roman despot
Jerod
Jerod, presents three paintings “Lithium”, “Toxic” and “Sedona” for the “Visceral” Mixed Reality art exhibition at M.A.D.S. Art gallery. The first artwork presents a disrupted stillness. There has been harmony between reds and blues, ended by the contrast created with white and black thick strokes over them. A visceral disruption is carried by yellow bright tones between two strong horizontal blocks of white. Black tones at the bottom of the painting, create balance as passing glitches. “Toxic” becomes visceral due to the contrast, which has been enhanced by red tones. White, red and black discuss a narrative waiting to be discovered by the intensity of how colors were added, where each layer breaks the tranquility of the tone below it. “Sedona”, a place were the light stands still to portray warmness in its surroundings. Orange tones, the tones you perceive when you close your eyes while staring at the sun, those orange tones have been painted to discover the truth while you witness the stillness of light. Jerod, has disclosed a visceral truth through each layer of color. To build upon layers of color determines a bold decision in order to create rhythm with a disrupted stillness.
Art Curator Karla Peralta Málaga
Jerod
Lithium
Jerod
Toxic
Jerod
Sedona
Jihun Ju
THE SENSUALITY OF FLOWERS In Jihun Ju's photos there are no titles or captions, the only reference is the flower, which makes the photographs a sort of portraits, portraits rather than still lifes. The artist captures lilies, peonies and other species, both common and rare, but transforms the vision of these classic subjects according to his aesthetic wing of him: plays of light and shadow, together with the delicacy of black and white create a soft and timeless. For Jihun Ju, flowers become, in their classicism, a symbol of sensuality and this is precisely the revolution. The majestic brightness creates powerful shadows that increase its uncanny feeling. Everything is whispered and suggested and the end result is absolutely extraordinary work. The artist places the flowers as if they were women, some rare, others common; that is, he seeks to express character, be it dramatic or domestic, flashy or reserved, erotic or conventional: magnetism is undeniable. Floral still lifes are perhaps the most intense distillation of the artist's duplicity, his unique brand of formal refinement and discipline, combined with his conceptual swagger, permeates all of his photographs.
Art Curator Chiara Lezzi
Jihun Ju
Inner Gravity
Jihun Ju
Farewell
Jihun Ju
Arabesque (Tribute to Debussy)
Joel Douek
Joel Douek is a multidisciplinary artist whose artistic expression ranges from music to abstract art and sculpture. Douek's artistic vision is emblematic and brings to mind the art of Kintsugi, according to which the breakage and imperfection of an object make it even more precious and give it new life. Douek works mainly with raw metals, recycled wood, using different oxidation techniques, favoring the natural colors and textures of these materials. Douek is once again the guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "VISCERAL" he exhibits five incredibly impactful works of art from a communicative and visual point of view. "BLOSSOM" is a work that consists of three panels and immediately brings to mind Jackson Pollock for the technique used to create the central patterns.“BLOSSOM” abstractly represents flowering, represented as precious, in fact it refers to birth, to the cycle of life. "GREAT RISING" brings to mind the wake of a comet, in this case we have the idea of travel and change. The cycle, the transition, the change are central themes in the artist's works, as well as in "MEANDER" in which the course, the journey of the water in the river is made with gold in order to underline its importance. To create "OCEANS" the artist used copper, the oxidation of copper, in fact, makes the material blue and teal, demonstrating the artist's great mastery in the use of materials in order to achieve exactly what he wants. Finally, "PORTAL" is an extremely iconic and powerful work. Also in this case the technique of action painting comes to mind despite the artist not having made the work with painting but with materials that make it sculptural.
Art Curator Martina Viesti
Joel Douek
BLOSSOM
Joel Douek
GREAT RISING
Joel Douek
MEANDER
Joel Douek
OCEANS
Joel Douek
PORTAL
Jolanda Walther I have always knocked at the door of that wonderful and terrible enigma which is life. (Eugenio Montale) The philosophy that drives Jolanda Walther's creative sensibility can be understood as the need to tell a story with a single glance. A story that - however silent and not described by simple words - has more efficacy and emotion than any rethoric. The artist thus becomes able not only to give shape and color to the deepest layers of her imagination, but above all to share them with others through a universal language, which knows no boundaries. The artwork presented on the occasion of Visceral - entitled Alex is a model - seems to be the beginning of a story of which the artist photographs a particular moment. She is a young woman depicted sitting, intent on posing. The representation - apparently easy to read - strikes the viewer the delicate face of the girl, whose diaphanous complexion is even more accentuated by the black veil that wraps her head. The fragility of her tiny figure is emphasized by the chromatic contrast between the dark and gloomy backdrop and by the blood red of the skirt, on which she rests in an almost nervous attitude. It almost seems to be able to capture some element of his personality, ardent and passionate like vermilion red and at the same time mysterious and fascinating, poised between darkness and light. The artist creates an enigmatic work, which it fascinates and involves, allowing the observer the freedom to fantasize his own truth.
Art Curator Chiara Rizzatti
Jolanda Walther
Alex is a model
Josephine Mall Color is a means of exerting a direct influence on the soul. The color is the keyboard, the eyes are the hammer, the soul is a piano with many strings. The artist is the hand that plays, touching one key or the other, to cause vibrations in the soul. (Vassily Kandinsky)
On the occasion of the sixth International Exhibition organized by M.A.D.S. Art Gallery in 2022, and entitled "Visceral", our dear artist Josephine Mall, for her second participation, presents a selection of four works, mainly made with oil and mixed media on canvas, in an abstract form. "Forward Momentum", "Profound Superficialities" and "Takeoff Momentum" create images that do not belong to our visual experience and try to express their own contents in the free composition of lines, shapes, and colours, without imitating reality. In fact, the term "abstraction" means the search for pure form through colours and geometric shapes. This triptych particularly bears the emotional intensity of yellow as a common denominator, which is not only a symbol of light "concretely understood", but also of that "of the soul". This colour, ndicates good humour and lightheartedness, and combined with shades of blue, light blue, and purple as the artist does, it further emphasizes its energy and liveliness.
Josephine Mall
As we have already had the opportunity to read and know, the artist states that through his abstract works, he prefers to focus on the communication of an emotion which, depending on who is the interlocutor approaches the work, can change, and take on nuances of different meaning from time to time. "Axiomatic Perfidy", on the other hand, is a particularly interesting work, as it unifies the two styles, figurative and abstract, that Josephine has presented to us so far. Also in this case, just like in the work of the previous exhibition, it is a "large closeup" of photographic style, with refined details that are close to reality, as in a real-life copy. The whole is clouded by dark brushstrokes and spatula strokes, which reveal the features only and exclusively with light and dark. This time, in fact, we are only accompanied by the artist, through lost a world of free emotions, which only we can outline.
Art Curator Carola Antonioli
Josephine Mall
Axiomatic Perfidy
Josephine Mall
Foward Momentum
Josephine Mall
Profound Superficialities
Josephine Mall
Takeoff Momentum
JudithAnne “I create because I have to, it keeps me grounded”. (JudithAnne)
Everything that surrounds British artist JudithAnne inspires her to create something new on the canvas, from landscapes and seascapes to woodlands and urban scenes. In her paintings, the artist’s realistic inspiration becomes the ground to create imaginary worlds or fantasised representations of reality, where the conjunction of nature, history and human beings is prefigured as the protagonist of her artworks. Brushstroke after brushstroke, JudithAnne understands something more about her subjects, while also discovering something new about herself. Painting allows her to stop, free her mind and dedicate time to herself and to her connection with the world. For JudithAnne, her paintings are “meditations on moments in a fragile universe easily missed by a fast-paced world”. It is like the act of painting becomes an act of meditation where the artist focuses on the simple gestures, limiting her attention to the canvas, while her hands seem to move between the colour palette and the canvas. What strikes in JudithAnne’s paintings is her use of colours and light, which are beautifully expressed in the paintings “Connections”, “Halcyon Talisman” and “The Spirit of Healey Dell”. Here, nature reigns supreme: the image of land, with British landscapes and woodlands are the common thread. Through her paintings, in fact, JudithAnne tells about the connection between water, the ground and the quiet endurance of architectural structures such as a bridge. The composition of the paintings is perfectly balanced and harmonious thanks to the choice of colours. The warm orange, green and earthy tones communicate a friendly and benign nature, a nature that kindly embraces and does not overwhelm, a nature that becomes a place of imagination and tranquillity, dreams and joy. As an artist, JudithAnne reflects her surrounding world on canvas, something that is foreign and external. However, while painting, she also defines herself, thus communicating her own experiences and sensations. From this perspective, she does not limit herself to reporting the outside world but she also reveals her persona. That is why she paints: art is a sanctuary where she can be herself and, by trying to capture the joy and beauty of a moment in her paintings, she wants to create a connection with whoever looks at them.
Art Curator Martina Lattuca
JudithAnne
Connections
JudithAnne
Halcyon Talisman
JudithAnne
The Spirit of Healey Dell
Karim Abd El Aal “In the end we shall have had enough of cynicism, skepticism and humbug, and we shall want to live more musically.” (Vincent Van Gogh) Thinking about the word harmony, a first meaning is evident, known to all, which refers to the universal possibility of ascertaining directly through one's instruments of perception a condition of order that, starting from listening, can be extended to multiple spheres of experience, defined just as if it were a matter of assessing acoustically, through the ear, whether voices work, whether sound is in unison, whether it is pleasing. Harmony is not only a positive judgment of what we are witnessing but is also a very lofty goal, it is the prerequisite for a peaceful and constructive life, it is what we would all like: a concordance of feelings, opinions and aspirations that allows everyone to live, pinned together, in harmony, in other words it is something to which we all aspire as a right, an ideal condition that we might describe as one of peace. But it is good to remove from our thinking the common image of harmony and its attainment: it is not a condition of ecstatic stillness, it is nothing of the sort; on the contrary, it is a dynamic and changing reality in which we must learn to be and move. Harmony arises from the dialogue between pauses and silences, between noise and sound. The extraordinary paintings of Karim Abd El Aal, clearly tell us about his journey in search of harmony, he does not spare us the struggle of it, nor the various scales necessary for the fulfillment of it. Acrylics like voices, desperately trying not to lose themselves while actually losing a little bit of themselves to tune in to the group, to the grand design that is life. Art that tells of a path as ruthless as it is delightful.
Art Curator Erika Gravante
Karim Abd El Aal
RAPSODIA
Karim Abd El Aal
PANDEMONIUM
Karim Abd El Aal
CURSED
Karim Abd El Aal
IN THE MIDDLE OF NOWHERE
Karim Abd El Aal
CLEOPATRA'S RESOLUTION
Ken Hunter "I feel as though art is inspired by feelings" (Ken Hunter)
Ken Hunter's art is as sincere, as primitive, as decisive as his personality. It binds to a strand of art that gives expression to primitivism, as the word says, in fact, the artist to the origins, to the purity of feelings and the work of art and before that to the environment itself. Ken embraces the beauty of the most fluid forms, the purest colors, simple people, and traditional communication. In doing so he follows in the wake of a great master, who is Gauguin. Ken uses firm lines to mark the figures, a kind of cloisonnisme, spreads the colors on the painting in vast homogeneous backgrounds and encloses them within the limits of sharp outlines. The characters in Ken Hunter's works are emblematic, confident, communicative: Sweet pecan penny evokes passionality through the attitude of the woman in the foreground, her confidence and swagger making the depiction captivating. Diva SISTERS OF SOUL, on the other hand, are three divas, three self-made women who grew up in a modern world. Finally, the artist states that Roots are blessed "Is light on dark layered painting with lots of bright colors. The aim was to salute the Greatness of the spirit where from by I derive my creativity and inspiration."
Art Curator Mara Cipriano
Ken Hunter
Diva SISTERS OF SOUL
Ken Hunter
Roots are blessed
Ken Hunter
Sweet pecan penny
Kim Soo Yeun
Kim Soo Yeun is a Korean artist, graduated at Duksung Women's University majoring in Oriental painting and at school of Oriental painting Duksung Women's University and she’s the Director of the Korea ink painting Association. On the occasion of the International Art Exhibition “Visceral” at M.A.D.S Art Gallery, she exhibits three beautiful works, created on Korean traditional paper with oriental paint. The first one is “Smelling the scent of lotus flowers” where we see painted beautiful and delicate flowers with a small bird resting on a branch. Also in the second work titled “When Autumn comes” there is a little bird on a branch of fruit. The title suggests that they are autumn fruits. In fact there is a prevalence of typically autumnal colors such as brown, dark green and orange. The third and last painting is titled “Freedom”. In this work Kim Soo Yeun represents some magnificent fish with a shot from above, showing us their beautiful tails. Among others, a goldfish stands out which gives us the feeling of freedom suggested by the title. In all the paintings the artist plays with colors, always delicate and soft but which help to give the meaning that Kim Soo Yeun wants. Her works convey a sense of peace but are also an opportunity to get closer to the wonderful world of oriental art.
The aim of art is to represent not the outward appearance of things, but their inward significance. (Aristotle) Art Curator Federica Acciarino
Kim Soo Yeun
Smelling the scent of lotus flowers
Kim Soo Yeun
When Autumn comes
Kim Soo Yeun
Freedom
Kiriko Abe “What moves men of genius, or rather what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough." (Eugène Delacroix)
Look around and try to understand what was there before what we see now. A continuous search for the origins of everything, but especially of art, is carried out by Kiriko Abe. The contemporary Japanese artist explores the different facets of the past and present and during the creative process takes inspiration from her surroundings such as nature and people, but obviously also from her thoughts, instincts, and emotions. "Popopo-pigeon" was created in 2022 with the sumi ink technique on watercolour paper. The protagonist of the work, as the title itself says, is a pigeon: the artist has painted the animal in detail, from the face to its thick plumage. White is the color of the background, but sometimes also the pigeon's body. Black and grey in different shades alternate creating a pleasant chromatic contrast. According to the symbolism, the pigeon connects to home and safety. It - like the dove - is a messenger who spreads love and peace. Kiriko observes things, captures their essence, and represents them by combining reality as everyone sees it with her own personal interpretation. Painting is a way to immortalize a special moment of each day so that it can live forever. Her works become a diary that tells a story: the Kiriko Abe’s story.
Art Curator Camilla Gilardi
Kiriko Abe
popopo-pigeon
Kunthi
Since antiquity, man has always wondered about the concept of space. Phenomenological thinking sees the spatial dimension as an active dimension, based on each man's personal experience and perception of things. A dynamic activity based on subjective connections. In this way, the idea of a world existing in itself is demolished; each dimension is perceived on the basis of each individual's experiences and vicissitudes, which also includes his or her imagination. The artist Kunthi captures, through digital collages, her imaginary world of spaces and architecture, transforming it into surreal images to arouse different emotions for each viewer, depending on their experiences. In her works, she uses the theory of the phenomenology of space to recreate abstract worlds that go beyond tangibility. The artist analyses and represents ordinary spaces, overturning their meaning. The viewer is transported into a surreal world where things are not what they seem.
Kunthi
Skeletons sprout from the grass like wild flowers, while grazing cows sleep peacefully. A Roman bust is suspended in the void above a green field, all bathed in the warm light of a large moon. The images and photographs are carefully placed to evoke a different emotional response for each viewer. The way each individual sees things is directly influenced by their life experience. Through her works, the artist pushes the viewer to rely on their own experience to understand the meaning of the work, distorting the meaning of things and eradicating the very concept of beauty. There is no single interpretation, each viewer will read the work according to his own life experiences. Each image used in the collage will arouse a different emotion, bringing back past memories. Kunthi's works in their complexity, with an often cryptic meaning, are able to awaken even the most hidden emotions.
Art Curator Lucrezia Perropane
Kunthi
Light
Kunthi
Moon struck
L. Dolphin Brown “The thing about meditation is you become more and more you.” (David Lynch)
L. Dolphin Brown is a contemporary American artist whose artistic research revolves around video art, leaving room for a non-narrative to give priority to sensations. Her short films open up to the observer like veritable emotional channels, where light and colour, rotating in circles, overwhelm our gaze, transporting us inside a space-time tunnel. A true journey into the unknown of the universe and contemplation of the dazzling beauty of silence. In the three videos ("PORTALS TO PEACE: ANGELIC STARGATE"; "PORTALS TO PEACE: ORIANIAN STARGATE"; "PORTALS TO PEACE: PLEIADIAN STARGATE") displayed at M.A.D.S. Art Gallery during the VISCERAL exhibition, celestial imagery accompanied by calm and profound music tell us of the artist's need to recreate the beauty of the meditative state. She invites the viewer to transcend reality in order to reconnect with the origin, leaving space for new worlds, where one can experience new magic. "PORTALS TO PEACE: PLEIADIAN STARGATE", envelops us in a beam of blue-violet light, while in the centre, a passage opens up to the infinity of the cosmos, allowing us to see stars and nebulae in motion. L. Dolphin Brown creates wide-open portals to unknown dimensions that, hypnotizing us, draw us into a state of calm and inner peace. Suddenly everything stops, leaving room only for an uninterrupted flow of dancing, luminous thoughts.
Art Curator Francesca Brunello
L. Dolphin Brown
Portal to Peace Angelic Stargate
L. Dolphin Brown
Portal to Peace Orianian Stargate
L. Dolphin Brown
Portal to Peace Plieadian Stargate
Lanna Ariel “It is not more surprising to be born twice than once; everything in nature is resurrection.“ (Voltaire)
Lanna Ariel is a contemporary artist of Brazilian origin. Her move to Ireland has profoundly influenced her expressive choices and her artistic research, which is now strongly linked to surrealism, nature, symbolism, fairy tales and witchcraft. Her works, in fact, are containers of enchanted, sometimes disturbing and dark worlds. The figurative language adopted, however, is detached from reality, allowing tales of mysterious imagery to emerge. In the work 'Me & My Friends' exhibited at M.A.D.S. Art Gallery during the VISCERAL exhibition, we see an elf-girl whose naked body is enveloped by a snake. Her face is shown calmly as she smokes a cigarette, the smoke of which covers the entire upper part of the work. Every detail contributes to the narration of a distant world, intimately linked to nature and dreams. The snake, being represented in various cultures, is one of the oldest and most widespread mythological symbols. Its venom is associated not only with death, but also with the power to heal or bestow immortality, and its changing skin makes it a symbol of renewal and rebirth. Here associated with the naked and vulnerable female body, it seems to communicate protection. The semi-human body completely immersed with nature, without barriers and limits is at the same time vulnerable and protected by its own procreator: Mother Earth. The unknown and the darkness surrounding this painting symbolize the fragility of life. A fragility surrounded by beauty to be inhaled deeply, spreading in the air the smoke of an experience of continuous renewal and rebirth.
Art Curator Francesca Brunello
Lanna Ariel
Me & My Friends
LeenFineArt A brave man acknowledges the strength of others. (Veronica Roth) Proximity to the art world is not always immediately revealed in the artist's disposition. Sometimes the "vocation" to the creative world remains dormant in the soul, and emerges almost accidentally, as in the case of LeenFineArt. During her medical studies, she was struck by the discipline of abstract art, which - at least on the surface - diverged entirely with her field of interest. The analogy, in fact, lay in observational skills, prompting the artist to explore abstractionism not only as an observer, but also as a painter. LeenFineArt's extraordinary verve thus had a chance to express itself in all its disruptive power, which is able to engage the viewer in an extraordinary universe of vibrant colors. An example of the artist's expressive power is the work Ukranian SuperNova, which can be seen in the exhibition Visceral. The viewer cannot help but be enchanted by the propulsive force that blazes from the explosion depicted, and which almost seems to extend outside the canvas. The impressive energy - grounded in the warm tones of yellow, orange and red - is even more evident from the contrast with the blue background, veined by the golden straws that spread frantically to the edges of the composition. The artwork, however, acquires its full dimension on the metaphorical level, symbolizing the arduous struggle of a pride offended, trampled upon and vilified by the injustice of war, which is nevertheless able to make its way through adversity with extraordinary power, equal to that of a celestial explosion. The artist seems to lead each of us through a reflection that is both personal and universal, to stir up consciences numbed by vacuities to emphasize what is truly essential.
Art Curator Chiara Rizzatti
LeenFineArt
Ukranian SuperNova
Leigh Witherell In some instances, art and love can be the same concept: they allow you to see yourself in other things that are not directly you. Love can push you to achieve extraordinary things that you thought you could never do. It’s like an external, invisible force that is able to make you see the best version of yourself and motivates you to share it with the rest of the world. In this sense, love is creativity, a creative act that can transform you into something greater. For the artist Leigh Witherell, love is the engine that pushes her to create and share her vision with the world. Every brushstroke, every pouring is a tribute and a manifestation of the love for her daughter, a strong supporter of Leigh’s truth and vision, who sadly passed away. But Leigh made her grief into something greater, she bravely stepped up and showed her artistic view to the world, sharing her truth on the canvas through her daughter’s eyes. Painting is for her a cathartic moment to release what’s in her head, in her heart and to let free her visceral feelings. Leigh’s art ranges from soft and subtle colours to more impactful and strong ones, depending on what her instincts and emotions manifest on that day. It is possible to recognise her feelings also through the wonderful blendings of colours, which create dynamic movements on the canvas.
Art Curator Francesca Mamino
Leigh Witherell
Divide
Leigh Witherell
Silent Lucidity
Leigh Witherell
Wave Interpretation
Lennie Marie “Surreal is the reality that has not been separated from its mystery” (René Magritte)
Lennie Marie's art is extremely mysterious, the artist manages to transport us to a world of magic and tranquility. At times her art is dreamlike, as if we were witnessing a dream, as if looking at his works meant being spectators of an intimate and magical moment like that of the dream. Figures that refer to a magical world are the protagonists of Lennie's works, elements that fit into the works in total harmony with the soft and pastel colors that the artist uses make the artistic work very suggestive. Lennie Marie's works refer with the mind to distant and imaginary places, perhaps places that never existed where only the mind and creativity of man can reach. Although loaded with many elements that could create confusion, Lennie's works appear instead balanced and in harmony. Distorted images, which sometimes seem not to be real, move well within the works, harmony is created between various elements, colors, well-marked and decisive lines, and all this creates artistic works of great emotional impact. The artist Lennie gives us the gift of traveling through time, through unknown places, giving us the opportunity to become part of an enchanted story and to be fascinated by shapes and colors. The encounter with the artist's works is an exchange for the viewer, where the ideas and sensations of Lennie Marie meet those of the observer, there is a bridge between us and the artist and is represented by the emotions that the works arouse. If on the one hand the artist allows us to embark on a journey through surreal worlds and allows us to meet colorful figures and animals, at the same time she gives us the gift of meeting ourselves, or rather the part of us that we least know and that comes out only through the dream. The artist's artistic work allows us to enter the depths of our soul, to rediscover sensations and emotions, to bring dormant memories to the surface. The artist's works are characterized by freedom of expression and imagination, nothing is stronger than fantasy, there is no limit to it and it prevails over logic, and through this freedom of expression, everything finds a meaning and a place. Ultimately, Lennie Marie's artistic work represents the escape from contingent reality to get in touch with the soul and feelings.
Art Curator Vanessa Viti
Lennie Marie
A day in my life
Lennie Marie
Passing down wisdom
Lennie Marie
Right this way
Lika Ramati "The role of art is to raise questions about ourselves and our mirrors" The visual artist, photographer and designer Lika Ramati joins in the MADS Exhibition VISCERAL with five masterpieces of digital art. In every single artwork the protagonist is a female figure usually inserted in an indefinite space. Each of these women is different and unique and tells their own story filling the foreground of the scene. The color palettes are intense and vibrant, it seems externally express the strong feelings felt by women. The strength that the artist wants to express through her creations is evident from the pictorial signs which are not static, but give movement, as if pure energy and intensity were released in each work. "Avatar Princess in Pink" is rich of particulars, the female figure in the center, and all the details that enrich it, is hypnotic, she looks straight at the viewer and creates a direct contact with him. "Calliope the muse of poetry" it is a work that conveys tranquility, no detail is left to chance and some elements, such as the lace on the woman's face, seem tangible and real. This work plays a lot on the contrasts, with green in the background and red and black in the foreground. "Emotions" it's a very overwhelming creation. It features the whirlwind of emotions and sensations that invest people in the most intense moments of their life, when they experience those visceral sensations in such a strong way that they make them faint. The heart is central but the presence of the two faces is as if they represent the two organs that coexist but at the same time oppose each other creating even more confusion within ourselves: the brain, therefore the reason, and the heart, therefore the emotion. The protagonist in "Hot Pink" transmits strength and determination, thanks her pose. from the one of the figure and creates a sort of frame that enhances the woman. The viewer has the opportunity to make eye contact with the woman as he sees her gaze behind the sunglasses. "Arthemis", the last work presented at the exhibition, is a real explosion of colors and sensations. The beautiful portrait represents a fearless woman with a proud gaze. The colors are part of her and it feels like they represent all the feelings she is experiencing. The composition is very rich and embellished by the presence of the gold sun, almost like a jewel, which surrounds the bandaged eye it also gives the sensation of a visceral, internal force that is being released. With these works Lika Ramati has given proof of being an extraordinary artist, she manages to give her works a life of its own and all are different. She manages to trap and capture the viewer's gaze, enchanting him and making him fall in love with every detail, allowing him to experience the same sensations as the protagonists of her works.
Art Curator Maddalena Conti
Lika Ramati
Avatar Princess in Pink
Lika Ramati
Calliope the muse of poetry
Lika Ramati
Emotions
Lika Ramati
Hot Pink
Lika Ramati
Arthemis
Lisa Mee “Light is therefore color.” (J. M. W. Turner)
Lisa Mee is an Irish-Korean-American contemporary artist who lives and works in New York City. Her artistic research encompasses different styles ranging from figurative to abstract to landscape, with a language of strong visual impact. The intensity of the colours and the absence of nuances, especially in landscapes, cancels the depth that is instead only conveyed through the curvature of the elements, with a reference to the ancient art of Japanese prints. Her works, though, despite echoing this link with history, are also extremely contemporary. In fact, the collage of textiles, paper and metals with the addition of metallic gold paint, allows her to develop a unique style, which also gives everything a sculptural effect. Many of her works are inspired by European landscapes, which the artist constantly visits and in particular the work 'LUMINOUS TUSCAN VISTA', exhibited at M.A.D.S. Art Gallery on the occasion of the VISCERAL exhibition, sees Italy as its muse. A wonderful Tuscan landscape takes shape before our eyes. An expanse of coloured fields in red, yellow, green and blue, carefully separated by lines of gold paint, fill the space with light. The whole is reminiscent of stained glass windows, so much so that the technique adopted by the artist allows her to depict light with intensity. Lisa Mee, just like the young aristocrats of the 18th and 19th centuries, travels on her Grand Tour, visiting Europe and being inspired by its landscapes. Fundamental to her is the need to imprint light in her paintings, allowing us to enjoy it too.
Art Curator Francesca Brunello
Lisa Mee
LUMINOUS TUSCAN VISTA
Loranda Fourie When I first started painting, I fell in love with it. It is a way for me to create and to feed my soul, and hopefully the souls of others who sees beauty in it. (Loranda Fourie) Loranda Fourie is a South African artist. Her art, presented the international art exhibition VISCERAL at the international art gallery M.A.D.S belongs to a strand of abstract art that touches the chords of elegance of colors and refinement of forms. Loranda has a delicate soul, and her works reflect her complex yet sensitive interiority. This artist works with acrylic paint and marking mediums such as charcoal, pastels and pencils on canvas. Curiosity, experimentation and the unknown are the basis of an art that finds its reason in layering. In this way, her works appear as a dialogue between the will of the artist and the will of the material. The result of the work is the fruit of the artist's idea, of what her soul suggests, combined with the unexpected surprises of the pictorial matter. Her art is avowedly the result of the emotions of the moment: Falling brings to the surface, in the mind of the artist and those who8re looking, a truth with which we must come to terms: we cannot have control over everything, sometimes it is necessary to let go. The vertical lines and paint drops represent an involuntary plunge into a state where trust in the unknown outcome soothes the mind and soul. The large white rectangle represents a safety net that resembles hope and peace for what can be, will be. Square Peg, Round Hole reminds us that for each of us there is a space in the world, in life most of us come across an experience where we feel out of place. Round shapes are purposefully drawn larger than squares to represent a different perspective of fitting in Rocky Mountain Climbing is the path of a lifetime. Like hikes in nature, life's hikes involve ascents and descents. Overcoming some challenges leads to rewards, such as a breathtaking view or simply a feeling of accomplishment.
Art Curator Mara Cipriano
Loranda Fourie
Falling
Loranda Fourie
Rocky Mountain Climbing
Loranda Fourie
Square Peg, Round Hole
Lore Gardelle Art reflects a way of expression that goes beyond what the eyes can physically see, it is powerful enough to perceive what is happening in the human mind and the human world, comprehending personal experiences, memories and feelings. For this reason, art can be seen as a safe place that helps to escape the reality of the moment. The harshness of the lockdown has faced us with ways of dealing with ourselves and our way to express ourselves with others, and the artist Lore Gardelle found in colour her way to break free from the darkness of the pandemic. From that moment on, her way of communicating shifted from black and white geometric shapes to coloured and abstract pictures, just as if there was a sort of unconscious need to share with the world her inner world and her inner feelings. Her impulse to share her story with the world is reflected in the bold colours and contrasts of her photographs, which allow the audience to initiate a dialogue with the artist, internalise it and find themselves in the pictures. With the current collection 'Woven from Dreams', the artist wants us to reflect on the collection of moments that altogether make up the present. Just as a thread in a piece of fabric, our storyline is composed of interwoven instants with what the past was, what the future will be and the interaction with the others, composing the experience of our life as a whole.
Art Curator Francesca Mamino
Lore Gardelle
The first glimmers
Lore Gardelle
The Journey
Lore Gardelle
Wise settlements
Lucie Balaguer Hidden harmony is better than the obvious. (Pablo Picasso)
Lucie Balaguer is a great Spanish artist from the Balearic Islands. She has developed a very expressive and communicative creative style, starting from simple compositions in itself. Her art is particular in that she produces abstract textures and armonic composition, starting from a reasoned approach and then letting go of creativity on canvases, with various techniques. Many of her works are material, created with the use, together with the color always very delicate and soft, of real natural elements (stones, sand, gravel, shells) applied on the painting that create a unique texture in relief. She then uses the technique of pointillism, more schematic and neat creating forms of great impact.This is the case of the artwork she realizes for "Visceral" exhibition of M.A.D.S. Art Gallery: "Touch", a picture made with dot technique. It is a large surface divided into thick undulating bands very soft and fluid, horizontally punctuated by more thin and defined lines: the entire surface is modulated by a very intense play chiaroscuro. Alternate areas of shade, black, very dark to clearly white areas of light.. a visual depth is created that seems to make the painting move like waves of the sea. Every dot, meticulously made but at the same time in a random and fast way is the transposition of the artist’s instinct to the work, of his sensations and inspirations: she lets herself be carried away by the movement created by her own painting. In the same way the spectator also seems lulled by these great waves and is really let into the work.
Art Curator Giulia Dellavalle
Lucie Balaguer
Touch
Lydia Arcos
A work of art does not simply have an aesthetic value, but has a much higher purpose: that of reflection, of stopping for a second, of giving oneself time to reflect on what arouses us, on feelings, on profound issues of our soul. The artist Lydia Arcos goes far beyond: her works aim to become a meditation tool in order to elevate the spirit of the observer and thus be a tool to initiate change in one's life. Lydia's hands, in the act of creating the work, are thus transformed into the tool for transforming ideas and spreading a message. In her works, Lydia faces several important issues in the life of each of us, which mark and determine it. In doing this, as we also see in the works exhibited here, she captures the different names of God in Hebrew, according to Kabbalah, which guide her in giving meaning to what she is expressing. For example, in the work "La Clave", Lydia tackles the subject of the relationship between man and woman, their carnal attraction: lovers, two opposites, overwhelmed by passion, by a visceral instinct. One should be able to fully share the pleasure with each other. In fact, the name of God present here helps to draw closer to each other and to soften the negative sides of each one, to make room for love and the best part of us. Lydia's works, as we also see from the others exhibited in this exhibition, attract the eye thanks to the movement and energy that she manages to infuse color. One is completely overwhelmed by the work for its energy, but above all for the meditative power they bring with them, the point for thought they offer to those who observe them with an open mind and heart and are ready to question themselves.
Art Curator Silvia Grassi
Lydia Arcos
La Clave
Lydia Arcos
La Grulla
Lydia Arcos
Zoom Correo
Lylas Zola Lylas Zola is a talented artist. Her graphic sign is original and recognisable, making it a trademark of the artist. The creations she makes with Indian ink are true artworks, not just illustrations. Few but fluid and incisive marks elegantly outline the figure. Her drawings convey lightness and ethereal beauty. They seem suspended on the sheet of paper, waiting to be transformed into real characters. Lylas Zola is a pseudonym in which the artist has sought to combine the beautiful lilac flower and her favourite French writer. Already the choice of this pseudonym is an indication of creativity and personality, characteristics that are reflected in her creations. Evident is the reference to the world of fashion, especially French fashion of refined elegance. Her subjects are often taken from the Belle Epoque and the style refers to Art Nouveau, with its sinuous and floral forms. Garlands, bows, ladies with voluminous hairstyles populate her drawings and she often enriches everything with a little colour with which she fills the spaces and gives three-dimensionality. Lylas mainly paints ladies, each with different features, hairstyles and expressions. The lady, placed in the centre, dominates the scene while a richly decorated frame or mirror frames her. The ink is applied in a fluid and decisive manner. The artist knows how to move in space and how to master the medium of painting. Every detail is studied, as is the composition, which always appears well balanced and harmonious, as in her work ''Dame accoudée''. Here the lady is reflected in a mirror richly decorated with floral and Art Nouveau motifs. She gazes into the void, absorbed. The balance of the black of the Indian ink and the white of the paper creates a contrast that lends order and elegance to the composition. The body becomes one with the decoration of the frame, making the two elements indistinguishable and thus creating an almost musical continuity. In "Dame aux froufrous" the woman has a more decisive expression, wearing a sumptuous headdress that echoes her dress. The frame is fine, precious and blends in with the character, making her part of the decoration. In "Madame au noeud papillon couleurs", Lylas Zola inserts colour. Yellow and purple fit in, without weighing down the graphic design. It is reminiscent of the works of Klimt, for the reference to the colour gold, the stylisation and the woman's face. The graphic line becomes even more slender and soft. Lylas is an artist with taste and refinement, qualities evident in her creations.
Art Curator Ilaria Falchetti
Lylas Zola
Dame accoudée
Lylas Zola
Dame aux froufrous
Lylas Zola
Madame au noeud papillon couleurs
Mai Ragab “If you want to find the secrets of the universe, think in terms of energy, frequency and vibration.” (Nikola Tesla)
Archetypes are primary symbols that reflect primordial concepts and instincts, forms of thought and imagination present in the unconscious like a genetic imprint, an inheritance handed down from generation to generation since the dawn of time. Archetypes, as innate patterns of behaviour, manifest themselves as dominant patterns in human life. They have their place in myths, fables, and legends; they are the symbolic manifestation of the same primary energies that originate and animate human behaviour. Archetypal energy expresses itself in every human experience, evolves from an innate and unconscious matrix, manifests itself as symbol and later as feeling and emotion. The emotions that emerge from contact with the archetype are the most conscious level of the archetypal energy, they are what surfaces and is recognised as pain, love, etc.
Mai Ragab
In the practice of Mai Ragab, we identify the energetic force of the archetype. Curved lines that repeat, meet, intersect Lines that form basic elements of natural life, circles and ellipses that swirl in the air of the initial void. Everything seems known because it presses on keys that are genetically and culturally present in all of us. The artist, in her intention to spread joy and love, finds herself a participant in a collective consciousness, where she adds her energy to the archetypal ones of the world. Suddenly we feel what she was feeling, we find ourselves floating in her imaginary and intellectual uterus, fed by her abundance.
Art Curator Erika Gravante
Mai Ragab
ランダムライン - random lines
Mai Ragab
I Tropica!
Maksymilian Skiba " Don't think, look." (Ludwig Wittgenstein)
Something that is already before our eyes is something we do not understand. And even if we want to understand that which is already before our eyes and we are not able to say it fully, with a concept or with an adequate word. There is something before our eyes that we do not understand and would like to understand, something that we do not understand as such, in that it is something in general, a "this" to which no conclusive word corresponds. A "this" that is "here," but cannot be grasped with a concept. If anything, seen, that is; a seeing that cannot be reduced to perception of the eye, but to a seeing that calls to mind , a seeing that sees clearly, finally, what is before our eyes, that we already know, but do not have the word to say, to pose it in a determinate and exhaustive way.
Maksymilian Skiba
Art, as a looking through, describes meaning, looks at it as such, moves from the wonder and amazement that the world is, that this is. Looking then becomes the first act of artist, Maksymilian Skiba concentrates all his practice in this action. The most important aspects of things are hidden, not in the sense that they are underneath or outside, but that they are in their simplicity and everydayness; in turn simplicity and everydayness conceal these aspects: the obvious and the most seen do not strike us, and this is where art must intervene by casting light, thus allowing the work to change the gaze. An epic change, the goes deep into the guts.
Art Curator Erika Gravante
Maksymilian Skiba
DEATH HALLUCINATION
Maksymilian Skiba
WAVY MIND
Manjula Soundararajan Joy is the serious business of heaven. (C. S. Lewis) The artistic production of Manjula Soundararajan is characterized by a unique creative will, dictated first of all by the need to fully express her inner universe. Despite his studies as an engineer, Manjula has kept his propensity towards painting alive more than ever, an expressive medium in which she found her privileged dimension. The artist, in fact, perceives the process of making a artwork as a unique opportunity for meditation, an awareness of one's own emotions. The work IN THE ZEN ZONE perfectly reflects this assumption, and admirably summarizes the artistic, stylistic and semantic maturity of Manjula's artistic language. The composition is based on a strong chromatic contrast between a vibrant red and a bright yellow, and is made with a set of different techniques, to symbolize the meeting point between East and West. The intent is to demonstrate an emotional closeness of all humanity that manages to reconcile in a single and universal feeling, despite the apparent differences. Manjula pours her deepest and most intimate suggestions onto the canvas, and seems to invite the observer to do the same. In this way, she outlines an amazing cross-section of the human soul, perpetually divided between darkness and light. The artist does not want to deny or hide the negativity that lurks in the heart, but to observe and accept it and then turn to positivity with a new awareness. With this the artist makes an extraordinary demonstration of wisdom, hypothesizing that serenity (cherished by the image of Buddha) is not a way of being given a priori, but is the result of an inner journey that pushes towards a constant improvement of oneself.
Art Curator Chiara Rizzatti
Manjula Soundararajan
IN THE ZEN ZONE
Marek Herde "Fantasy is the thing that some people can't even imagine." (Gabriel Laub)
Marek Herde is a Polish artist who dedicates a fundamental role to the imagination within his artistic poetics. The instinct, the feeling of letting go of the joy of painting push the artist to give life to artworks with a strong aesthetic composition, centered on the desire to evoke in people's minds a multitude of visions, of different realities. Parallel realities created by the simple gesture of observing his artworks which activate different perceptions. Through a process of analysis and introspection, the artist faces his own inner demons, makes positive sensations and emotions re-emerge and mixes them with negative ones. Create strong contrasts to seek balance and all sides of this inner journey are, infinitely, released on the canvas. Marek Herde's art is an invitation to let go, to use his works as a gateway to an irrational, almost magical world, with bizarre and apocalyptic scenarios and populated by images and apparitions that are the fruit of one's own imagination.
Art Curator Federica Schneck
Marek Herde
Smily concept of religion
Marek Herde
Meditative chaos (house) in Gabrielnia
Marek Herde
Levitating light mandala
Margíria Mercia "Art is not a handicraft, it is the transmission of feeling the artist has experienced". (Leo Tolstoy) Artist Margíria Mercia began exploring the world of watercolours in 2020, amidst the pandemic, social isolation, socio-economic inequality and a particular personal situation, breast cancer when hospitals could not accept and treat her. In response to this particular situation, Margíria put her feelings, emotions and moods, between fear, hope, insecurity and faith, into art and the creation of watercolours. The result is art full of positive energy, hope, with personal traits of resilience, born from the heart, transmitted to the hand and landed on the canvas. Thick, light touches of colour define warm chromatic surfaces, where the artist recounts the joy of living and its benefits. At times, this vitality expands into well-tuned colour fields that call the observer to relax and surrender to the painting. Margíria Mercia narrates, selects emotions and conveys them. Large colour fields meet the layers of human emotions both guided by the artist's direction. By encapsulating universal feelings of compassion and motivation in natural forms, the artist seeks to heighten what sense of power and appearance is inherent in each of us, breaking down all statuses. In search of calm and protection, or a way to connect with the universe, the artist began to explore the various facets of this painting medium, delving into this world and all that lies behind it. His artistic landscape has thus become an expressive engine of emotion and feeling. If art helps us rediscover our innermost and most intimate feelings, Margíria Mercia also manages to convey something to people through the nuances of her watercolours.
Art Curator Giulia Fontanesi
Margíria Mercia
Explosion
María Inés Viana “I never paint dreams or nightmares. I paint my own reality.” (Frida Kahlo)
Art as a tool to express reflections and feelings; art as a refuge from the chaos of everyday life; art like a flight in the sky towards an unexplored world and dreams that must be realized. For the Argentine contemporary artist María Inés Viana, painting means this and much more. After experimenting with different techniques, from 2022 she is focusing on watercolour and abstract art. Instinct, thoughts and emotions come together to give life to works with bright colors and deep meanings. In "Composition # 5" (2022, watercolour on paper) a labyrinth of alternating thin and broad brushstrokes gives the work great dynamism. A charge of energy and enthusiasm are given off by summer colors such as fuchsia and orange. In “Flowing 2” (2022, watercolour on paper) spirals of different sizes indicate the flow of everything: life goes on even though at times everything seems motionless to us, we grow even if sometimes we think we always remain still at the same point. The protagonist of the work is the yellow, a symbol of light, heat, and intellect. "Game dynamics #5" (2022, watercolour on paper), as the title itself says, wants to be a game in which the harmonic movement of the brushstrokes is perceived: curved and soft strokes, dotted and continuous lines create an emotional map. The María Inés Viana’s works seem apparently simple, but they hide a curious and unique world: immerse yourself in them and begin a journey towards infinity.
Art Curator Camilla Gilardi
María Inés Viana
Composition #5
María Inés Viana
Flowing 2
María Inés Viana
Game dynamics #5
Marie Pierre Hogret “Painting is poetry which is seen and not heard, and poetry is a painting which is heard but not seen.” (Leonardo da Vinci) Curious chromatic effects and alternating textures: a game of contrasts that gives life to unique works with a strong communicative power. Marie Pierre Hogret is a French contemporary artist whose abstract paintings are the mirror of her thoughts, emotions, and experiences. Light and dark colors, broad and thin brushstrokes meet and overlap, representing the magical world of the artist. “Imagine” (2022, Acrylic on canvas, gluing of recycled materials and pastels) is a tribute to the imagination. The gift of it is one of the most incredible powers that each of us possesses. This painting with soft hues conveys feelings of harmony and absolute peace. In front of it, our mind travels to unexplored and magical paradises in which the chaos of reality is only a distant memory: art is powerful because it allows us to explore worlds that otherwise we would not be able to know. “Renaissance” (2021, acrylic on canvas, gluing of paper and cardboard), as the title suggests, is meant to be an abstract representation of rebirth, of a flourishing after a dark moment. Yellow, the color of light, illuminates cold colors such as blue, white, and black with its power. A ray of sunshine warms the Earth after a thunderstorm, the sea becomes calm after a storm. “Virevolte (Twirl)” (2020, acrylic on canvas, gluing, and pastels) is a symphony of sweet and engaging notes. In a blue sky, fluttering leaves twirl and are carried away by the wind, like our deepest thoughts that fly and chase each other. For Marie Pierre, art represents a special tool to talk about oneself and with her words - a colorful means of communication.
Art Curator Camilla Gilardi
Marie Pierre Hogret
Imagine
Marie Pierre Hogret
Renaissance
Marie Pierre Hogret
Virevolte (Twirl)
MARIIA EREMINA An invitation to abandon not so much and not only dry land, but that infinite set of true or false certainties that all from birth accompany us in our lives, abandoning one's illusions and presumed certainties is perhaps no less simple than facing the open sea, or rather the emptiness that it metaphorically represents. The ocean as the primordial flow from which everything originates and which envelops everything like an enormous womb. In water we seek the first answers. From the evaporation of the oceans come clouds, rain, winds, and it is no coincidence that Aphrodite, the Greek goddess of beauty, love and fertility, was born from the sea foam, her genesis representing the essence of life itself. The sea has also been a metaphor for the losses of reason. Returning to the field of aesthetics, through the history of art, we witness an interesting transformation of the meanings of the element water, which becomes a mirror of identity values. In ancient iconography, water is always associated with a divinity, to then assume in Christian art a mainly symbolic value, identifying itself with the act of baptism and thus becoming an element par excellence of purity. As individual consciousness evolved within society, its symbolism became more complex, until the transition to modernity, in which the individual becomes the protagonist, where fluidity is therefore presented as an element descriptive of the human soul and its opposing tensions. In these resin paintings on wood, we can immerse ourselves in the result of a soluble self in seawater, the liquefaction of being, also as a pleasurable enjoyment of nature's solutions, a sensation that is easy to experience when we contemplate the great expanses of water, and listen to the hypnotic rhythm of the waves.
Art Curator Federica D'Avanzo
MARIIA EREMINA
SATISFACTION
MARIIA EREMINA
CONFIDENCE
MARIIA EREMINA
PLEASURE
Marisa Contreras Marulanda
Intense streaks that blend with each other while maintaining their shape: the brushstrokes of Marisa Contreras Marulanda, Colombian artist who participates for the first time in an exhibition organized by M.A.D.S. Art Gallery on the occasion of "Visceral" seem to have their own personality. As the artist herself stated, "Awaken" - the work on display - is spontaneous and direct, without a predefined scheme. And it is precisely this that makes it such a visceral picture: we spectators are placed in front of our world, our spiriturality, understood as a natural inner search. Warm shades that remind us of flames, streaks, sunsets, or feelings of anger and struggle: but, silhouettes or not silhouettes, the intent of the picture is not to force us to see something defined, to necessarily recognize something inside. In front of "Awaken", we are genuine and free, even to see nothing, and to let go of our most intimate thoughts. The artist manages to give this work a fitting title: we wake up in front of it, but not in a sudden and abrupt way that would leave us upset and shaken throughout the day, but with that delicacy and kindness that we would use to wake up a child. Brushstrokes defined and, at the same time, changeable, as if they could transform and change even if they are on canvas. Marisa Contreras Marulanda, with her talent, manages to give her abstract painting the appearance of an ideal, powerful and essential, which will not be easy to forget.
“Art is for me, a vital necessity, a universal language that everyone understands; a mindfield in which energy flows and connects us beyond borders and everything makes sense.” (Marisa Contreras Marulanda) Art Curator Sara Grasso
Marisa Contreras Marulanda
Awaken
Mark Acornley “In nature, light creates color. In painting, color creates light "(Hans Hofmann)
Mark's artistic work is a continuous research, it is an expression of inner growth and discovery, it is the way to observe the outside and peer inside himself. For Mark, art becomes the means to express himself and to feel free, in particular the freedom to experience emotions and fully savor life. Mark's abstract art is completely free of lines, shapes and figures, it totally escapes reality, it is purity of color and exaltation of it. In fact, color plays a fundamental role, it is the only protagonist of the work and is the means through which the artist intends to express himself. Mark's artistic work possesses great strength and evokes strong emotions. The main color is black together with blue, they are intense, strong, they combine with each other creating a strong contrast. The color is mellow, it seems to represent a storm and at the same time the work appears strongly balanced, the center of it is characterized by the blue color that gives calm to the whole work. In fact, Mark's work has a great visual and emotional impact, the viewer is captivated by the colors and emotions it transmits. Mark's artistic work is a condensation of energy and vitality. The encounter with the work of the artist Mark represents for the viewer a sort of exchange of emotions, those of the artist and those of the observer himself. Abstract art has the great task of escaping reality to go and creep into the most hidden corners, Mark succeeds in this purpose and brings out moods, memories and emotions. In the same way, however, it manages to make people reflect on current issues, so Mark's work becomes the starting point for food for thought. Through his art, the artist brings out his great skills, that is, his great pictorial ability and knowing how to use colors well, and that of being sensitive, of moving the observer. Ultimately, Mark's art represents a concentrate of energy, it is a true explosion of emotions and strength that finds a perfect balance between colors and sensations, between reality and abstraction, between good and evil.
Art Curator Vanessa Viti
Mark Acornley
Turquoise abyss
Martha de la Vega Martha de la Vega is a Mexican artist with almost ten years dedicated to create and looking for give experiences to the people with her artwork. Adept in acrylic techniques with a fauvist inclination, as well as experienced in performing artworks with the use of watercolour, pastels and charcoal, her artistic solutions are from time to time different and multifaceted. At “Visceral” exhibition hosted by M.A.D.S. Art Gallery, Martha presents five paintings. “Alegrìa” represents in the foreground a dense bouquet of flowers all on the totality of red, pink and fuchsia, laid on an equally pink background. The flowers, very colorful, are rendered with thick brushstrokes that give them abstract and poorly defined shapes, without however restoring the beauty and grace of the subjects. "Collapse" instead portrays yellow taxis, one overlapping the other, inserted within the hectic and evermoving city of New York, as suggested by the writing at the top left. The city that never sleeps is in fact well represented by this stacking of taxis, as if Martha were pasting frames of what happens every day in the Big Apple: chaos, noise pollution, frenzy and the constant coming and going of men and taxis, but also the 'happenings of situations and events, are well represented by the artist who gives a glimpse of daily life in New York. "Introspección" depicts the Mexican artist par excellence, the great Frida Kahlo. Here she is caught in a moment of reflection and indeed of introspection, thoughtful and meditative. The woman, represented in her fragility, is surrounded by splendid colored flowers, some rendered in a more realistic form, others more abstract, to seal her delicacy and grace. "Own your dreams", totally on another line, represents the pink panther surrounded by cartoon characters, in a pop style. Sitting on a throne with gorgeous stones and surrounded by fantastic characters and colorful writings reminiscent of comics, the message of the picture is made clear by the inscription on the throne itself "Be the King of your own dreams". An invitation therefore to look beyond and to be ambitious, stubborn and sure of what we want to achieve from life. If we thought that the different styles that Martha uses for her paintings had already been widely presented, here in “Tranquility” a new strongly abstract style emerges, as had not yet been seen. On a blue background with strong brushstrokes that turn white, Martha places gold paper leaves that enrich the canvas, making it not only brighter, but enhancing its depth and threedimensionality. The painting, which therefore does not follow a narrative line, looks like an image of a distant memory, perhaps a dim sky or a crystalline sea. Free interpretation by the viewer, however, we know that, as the title suggests, the emotion that comes to us is precisely that of tranquility, thanks not only to the use of soft and pastel colors, but also to Martha's skilful ability to place on the canvas elements that create harmony and balance between them.
Art Curator Matilde Della Pina
Martha de la Vega
Alegría
Martha de la Vega
Collapse
Martha de la Vega
Introspección
Martha de la Vega
Own your dreams
Martha de la Vega
Tranquility
Martha Madrigal
Martha Madrigal is a Mexican artist, whose maximum artistic expression finds free rein in visual art. Madrigal's works of art lead to associations with artists belonging to the movement of expressionism such as Ernst Ludwig Kirchner, but also surrealists. Madrigal is again the guest of an exhibition organized by M.A.D.S. Art Gallery on the occasion of "VISCERAL" in which she exhibits two very different but incredibly powerful works of art. "Entities IV" is the artist's vision of the preciousness of creation: "The product is a woman and a pearl, at the same time, it has been carefully crafted by the mother oyster, who delivers it to the world to spend in it , it is a living being, not an object, it is a treasure like any descendant for the parent.
Martha Madrigal
"Topographies" is a true metaphor for the journey of life and death and how individuals are all connected to each other. In these works of art the academic foundations of Madrigal are evident, who after taking a degree in architecture, then deepened the philosophical theme. The same artist, of "Topographies" writes:“The topographic curves are drawn by human chains, which suggest that the individual is sustained by the union, while in his spiritual retreat, the world continues to be sustained thanks to the people who perform the common functions in the small human drama..”
Art Curator Martina Viesti
Martha Madrigal
Entities IV
Martha Madrigal
Topographies
Mary Toledo
The artist Mary Toledo presents on the occasion of the international art exhibition Visceral the painting titled Colour explosion. Watching this work we can see that what is important in the composition is not the representation of something belonging to reality but the intention of the artist is to communicate what she feels in an exact moment of her life. The technique used is the action paintings, in which the abstractism is used to communicate the gesture beyond the canvas made by the artist. In fact the artwork is composed of different spots of colour. In this way the artist expresses the power of the artistic creation and the work becomes the results of the emotions felt during this colour explosion.
Art Curator Elisabetta Eliotropio
Mary Toledo
Color Explosion
Masahikohigashi What do we really see when we observe the world around us? A collection of objects, three-dimensional entities with their shapes, colors, possible uses? Or rather a two-dimensional snapshot formed by light hitting our retina, which only with further effort our brain is able to give shape to, constructing the world of objects that represents our conscious experience? In short: do we see the world objectively, or as a set of subjective perceptions to be put in order by further cognitive effort? Open question, a question with multiple answers, a scientific-philosophical problem that to this day still has no solution. What lies at this moment in front of us? Let us look around, we are probably in a known space of which we know even the smallest features. Yet, are we sure that the wall in front of me is straight? That the desk has four legs resting on the ground? Are we sure that that building we look at from the window has a sloping roof? Questions begin to fill our minds. Are we sure that the reality we see is really reality? The vision of the triptych "Oblivion“ greatly accentuates our doubts. At the sight of the three works, the brain-or what determines consciousness-accustomed to observing things the latter deems "normal and everyday" goes into blackout. It shuts down, in the most literal sense of the word. What it has always seen, and what has always looked the same no matter where in the world it is looked at since it was born, is now different. The horizon, the line that divides the sky and the sea, in Masahiko Higashi's works does not respond to the laws of nature. Our eye is used to looking at a nearly straight horizon line, which bends slightly downward due to the natural curvature of the earth. In these works, the boundary between the sky and the sea curves upward, smiling at the viewer. The sea as well as the sky seem to be moved by the same currents, the same motions that ripple the surface of the water and turn the clouds in the sky into a mirror reflecting what lies beneath. Here is the blackout. What is going on? How is it possible that something so assimilated by our minds-such as the horizon-is causing a short circuit in our consciousness? Masahiko Higashi takes reality and manipulates it, transforms it, mutates it, creating new scenarios through the study of phenomenal but also ontological reality. The artist creates doubts, poses questions by using photographs that have as their subjects things at first glance "normal," "common," "assimilated," and twists their connotations by totally nullifying the laws of physics on which the entire worldview is based. What if reality is really like that? Is it likely that our brain implements a process of simplifying what it sees? What about the weight of memories? How much do past experiences weigh in the recognition of an image? What do others see? Is the reality that others see different from what I see? A myriad of questions pile up kicking around in our minds, and yet, one thing is certain: in “Oblivion”, the sea moves upward touching the sky.
Art Curator Lisa Galletti
Masahikohigashi
Oblivion 001
Masahikohigashi
Oblivion 002
Masahikohigashi
Oblivion 003
masako.san
The artist’s name behind masako.san is Masako Yamamoto, born and raised in Japan. She starts to paint very young learning as self-taught and continuing to do it for all these years. Masako wants to bring peace and happiness with her artworks. On the occasion of the “Visceral” exhibition at M.A.D.S. Art Gallery, she exhibits three beautiful digital works that we could call the “Love” series. Masako presents us three paintings which are the personification of three types of love: “Dancing Love”, “Singing Love” and “Spreading Love”. This feeling is represented in the form of a woman with a smiling and serene face and gentle gestures. What these three paintings have in common is the use of soft colors, above all warm, which flood the viewer's gaze with light. Masako always chooses to represent this feeling as positive and joyful. Dancing, singing and spreading, as only love can be. The artist's mastery consists in being able to perfectly render what this feeling arouses. Looking at these paintings, gives a feeling of peace and well-being as if we were at peace with ourselves and others. Having the opportunity to admire Masako's works means being able to be invaded by the real feeling of love. Masako expresses the uniqueness of mankind through this powerful feeling present in our lives.
"Colour is a power which directly influences the soul." (Wassily Kandinsky)
Art Curator Federica Acciarino
masako.san
Dancing Love
masako.san
Singing Love
masako.san
Spreading Love
Matt Reex Matt Reex is a graphic and industrial designer who worked for important and international events such as the Olympic Games and the Eurovision Song Contest. He’s also won many awards in design’s field. In his production as an artist, his art is based on abstraction. On occasion of the "Visceral" exhibition at the M.A.D.S. Art Gallery, the artist presents three silkscreens titled “Amplified aftertouch”, “Auxiliary sensitivity” and “Orbital eccentricity”, in limited to 20 copies. This series of works was born from his experiments with sound which inspired him to create unique works in the artistic panorama which express the phenomenon of interaction between a person's inner emotionality with sound waves. The result of Matt’s studies are these works characterized by geometrical forms. The artist chooses to use only four colors: white, gray, black and orange. The primary colors are nothing more than a shade of each other. Matt experiments how white can fade to black and vice versa with various shades of color. All this always through geometric shapes. This tranquility of basic colors is interrupted by the sudden appearance of a strong color like orange that attracts the viewer's attention. We can imagine that orange represents a person and its personality, made up of emotions and memories, in contact with sound, in this case sound waves. Filtering each shape with his strong personality, Matt doesn’t limit himself to description, but makes each compositional element an opportunity to trigger new reflections and to give to the viewer an experience. With his works, the artist allows us to observe reality through his eyes and, thanks to these, to dwell on the variety and uniqueness that distinguishes the human being.
“Creativity is intelligence having fun,” (Albert Einstein)
Art Curator Federica Acciarino
Matt Reex
Amplified aftertouch
Matt Reex
Auxiliary sensitivity
Matt Reex
Orbital eccentricity
Matteo Rizzetto The human figure has always been a fascinating and inscrutable subject for artists of all times. The portrait in particular has evolved and has changed meanings and symbols in a path of continuous change in time and in the history of art. It has never been a matter of simple representations of human physiognomy, but of testimonies beyond the documentation able to always show an interpretative look of the artist on the subject. Over the centuries the artist’s gaze has changed coming to new and unexpected solutions, passing through the representative, realistic and abstract painting. The painting always focuses on a fundamental aspect, a message to be communicated that can range from the psychological perception of the subject, to the social context of the time to the sacred, the aulic or the emblematic. Matteo Rizzetto is an Italian artist able to make his own the exemplary traits of the models of the past to return a contemporary and direct image. The artistic training of the artist begins with a passion for illustration and matures with a love for taste and traditional art, in particular for oil portraiture. One of the most difficult painting techniques to master. In one of his works, "Bored", the artist proposes a portrait of a young woman represented in a poetic saturated of her time. The discomfort caused by the long lockdown due to the Covid and the mental disorder achieved, causes a wound on the young woman’s forehead. The wound is a writing that reaffirms the apathy suffered, the boredom that has gripped us for almost two years and from which we still have to recover. The insight on the social situation that the artist proposes is also found in his work "Ashamed". In this case the protagonist is shame. A feeling capable of destroying us, of making us sick: "What was once a beautiful and blossoming creatureis now just a dirty body asking for redemption", says the artist. "La linea trazada" instead is a tribute to the path to which each of us is destined. Our steps are already marked, we do not have too much freedom of choice if not the one that slightly departs from the road already planned for each of us. Matteo’s subjects are young and beautiful women masterfully represented with digital technology. They are bearers of hermetic messages as simple as they are prophetic.
Art Curator Eleonora Varotto
Matteo Rizzetto
Bored
Matteo Rizzetto
Ashamed
Matteo Rizzetto
La linea trazada
Matthias Eitner “There is no such thing as a German, French, or Anglo-American Expressionism! There are only young people trying to find their bearings in the world.” (Oskar Kokoschka) Matthias Eitner is a contemporary German artist whose imagery is rooted in street life. His paintings are, in fact, testimonies of experiences that the artist lives, or has lived, in the first person, often told with a crude and coarse technique, precisely in order to imprint on canvas the precariousness and difficulty of life in the big cities. Strong are the influences from the German Expressionism of the first decades of the 20th century, in particular from Oskar Kokoschka, whose style, characterized by vibrant brushstrokes, is also fundamental for Matthias Eitner. The dark colours describing the settings and the visual rhythm marked by a strong sign, contribute to creating a sense of instability and unease in the observer, transporting him into a dense and twisted reality. In the work 'Springtime in Harlem', exhibited at M.A.D.S. Art Gallery on the occasion of the VISCERAL exhibition, we see three young boys strutting around seeking recognition within their gang. The freshness of the youth is conveyed to us by the artist in an unusual, darker guise, emphasizing the first difficulties encountered in forging one's own identity. The choice of using acid and fluorescent colours to describe the clothing, contributes to communicating that energy and ferment typical of adolescence, while remaining linked to an underground imagery and completely abandoning the rosy vision linked to the innocence of that age. The choice of representing the scene with a photographic pose, stems from the artist's need to give life to spontaneous, quick and improvised images, to eventually become icons of everyday life.
Art Curator Francesca Brunello
Matthias Eitner
Springtime in Harlem
Mattia Branchesi "For me, colors are living beings, highly evolved individuals who integrate with us and with the whole world. Colors are the true inhabitants of space." (Yves Klein)
Mattia Branchesi is a self-taught artist who began to approach the world of art through the drawing of animals, portraits and nudes. Although, over time, his artistic poetics has approached abstractionism, in the work "Me, inside" it's possible to see the artist's persistent and deep-rooted passion for portraiture that has always accompanied him since his first experiments. The work looks like a real self-portrait and the colors help to give dynamism and materiality to the creative composition. It's precisely the colors, strong and vibrant, that suggest to the observer the multitude of facets of the artist's character, to help him see the deepest and most intimate sides of his being. Mattia Branchesi, through a self-portrait, lays bare not only his art, but also who he really is, and the colors, with a strong pop appeal, are a key element useful for the observer to be able to establish a truthful and curious dialogue with the whole self-portrait. Branchesi's mastery lies in the use of color as a revealing source of truth, in line with abstract poetics, and of the human figure, to also seek harmony with those in front of him and encourage him to undertake an emotional journey within himself.
Art Curator Federica Schneck
Mattia Branchesi
Me, inside
Maya Varon
Art for Maya is a continuous discovery, investigating, questioning the universe, questioning herself. This is evident in the artistic experience that led to the creation of Longing, which the artist wanted to share in the international art exhibition VISCERAL hosted by the international art gallery M.A.D.S. Maya expresses herself in a direct and bold, purely Fauvist manner. Color is at the center of her works and is used freely and in an emotional as well as a constructive function. Maya simplifies forms, abolishes perspective and concentrates on the use of bright, unnatural colors, exploiting them to make his message incisive, immediate. Starting from different suggestions and stimuli, she sought a new mode of expression based on the autonomy of the painting from reality. She herself states about her work "When COVID seemed to last forever, and we couldn't even think of visiting our families, I painted this and called it longing. This painting loosely portrays the view from our last home in Israel before moving to Portland. After I finished it, I took a course on Lea Goldberg's poetry and had a chance to re-read her poem “Pine”. I really relate to her experience of immigration and all the beauty and growth as well as the longing and pain it brings”. Maya, born and raised in Israel, now resides in Portland Oregon, USA. She spent decades exploring different creative forms before falling in love with intuitive and abstract painting. She loves to play with textures and colors, allowing the process to bypass the conscious self and to find the freedom within.
Art Curator Mara Cipriano
Maya Varon
Longing
Maya Colorful anemones float in the space of the composition. They are silent, ethereal and at times evanescent. There is a feeling that the chromatic blanket moves at the slightest shift of air, at the slightest perceived vibration in the atmosphere. The eye is in rapture before these flaps of silk moved by the wind and quickly shifts its attention first to one detail, then to another, searching for an incipit, the beginning of this chromatic deflagration. Maya's universe is fickle, multicolored and never still. One gets the impression that the works move, literally, within the competitive space. Yet, in the midst of this tumult, there is one point of representation that remains stable. The cornerstone and pillar of the entire cluster of colors, that point is present in all three of the artist's works. It does not move and its physiognomy does not change with the slightest shift of air. It is there, impassive and immovable while everything else in the world is constantly changing. A portion of space, rosy and almost transparent catches our attention in "Strong and Beautiful." It is placed almost in the center of the composition, and its physiognomy, so clear compared to the surrounding color intensity, immediately catches our eye. She seems to shine with a light of her own. It seems as if, behind that rosy veil is a source of light, rays of sunlight filtering into the water and through the ethereal, evanescent bodies of sea anemones. Our point of view is from top to bottom and, that clear spot, invites us to go toward her as if she had cast a spell on us. And so it is that, making space between the soft and insubstantial chromatic patches we catapult ourselves into another scenario. In front of us is a slit. No, it looks like a half-closed mouth from which fiery tongues of pigment emerge. In "Colorful Heart" the color is extremely saturated. A guttural, vivid red catches our attention. Just below him, an extremely intense brown tongue invites us to linger on its golden hues. All around, the colors of the aurora: purple, blue, mint green enrich this chromatic vortex. Patches of color seem to spill out, like flooding rivers from that semi-closed cut in the center of the composition. That cut, as was the ethereal, pinkish stain earlier, is our center, the starting point from which the entire composition is generated. If in the latter work the center takes the form of a dark cut, in "Gosh Out" the origin is a golden stain that shines with its own light. Like a star, it infuses its energies into the chromatic veils near it. Gradually ultramarine blue, azure, reddish and even black give up their darkness to be embraced and contaminated by the preciousness of gold. The center this time is pure light. Maya creates unprecedented scenarios, with evanescent and changing physiognomy, with uncertain and overlapping forms, and yet, there is a fixed point in her art, that of a generative center, the heart - in a literal sense - of the work.
Art Curator Lisa Galletti
Maya
Colorful Heart
Maya
Gosh Out
Maya
Strong and Beautiful
Megha Jain Megha Jain is an Indian artist who now lives and works in America. The reference to her homeland is evident, both in the shapes and in the bright, vivid colours. The natural beauty of the land and atmosphere of India are disruptive and give vitality to each of her creations. By experimenting with new painting techniques and new materials, Megha Jain creates imaginative, innovative and contemporary works that take the viewer into other worlds, away from the everyday, to discover something unknown and curious. In 'Paantalam', nature takes centre stage. Using mixed media, the artist depicts a strong contrast that lives in each of us and dominates the laws of the world: goodness and cruelty. Goodness and beauty are recognisable in the beautiful rose in bloom. The dew caresses the petals and gives intensity to the flower. The colours are bright and saturated. The rose is the flower that best represents contrast. Although it is magnificent and fragrant, its stem is full of spiky thorns. Beauty and rawness are revealed in a single element, showing us the two sides of the coin. The viewer is invited to reflection, to recollection. In 'Ganesha', oil painting creates soft shades and colours blended to perfection. Geometric shapes intersect each other like an abstract, cubist composition. Within the tangle of elements one recognises an eye, a mouth and a hand. Other objects are intersected in the coloured labyrinth that the artist creates in contrast to the black background. The painting represents the Indian god Ganesha in a playful manner. The yellows, oranges and reds symbolise vitality and energy. In the painting 'The Shell' Megha Jain uses tones of pink and magenta. The technique is mixed and the different textures contribute movement and dynamism. The forms of nature become decorative and sinuous. The artwork appears elegant and the silhouette of the shell blends with the coloured threads, the fabric, the decorative motifs. Everything expresses harmony, joy. Megha Jain is very adept at taking elements from the floral and natural world and placing them in different artistic contexts, strongly influenced by Indian culture, religion and the playful atmospheres of her homeland.
Art Curator Ilaria Falchetti
Megha Jain
Ganesha
Megha Jain
The Shell
Megha Jain
Paantalam
Meow
Visceral youth has been depicted. Meow, presents “Anxious heart”, “Refreshing heart” and “Distorted heart” for the “Visceral” Mixed Reality art exhibition at M.A.D.S. Art gallery. The first artwork presents bold blue tones with intense brush strokes of white tones. “Refreshing heart” is a pause before the third artwork, which has been created with a light hand with organic strokes. Light cool tones were needed to portray the stillness before turmoil. “Distorted heart” portrays an imperative conclusion: after a needed pause, turmoil takes over to reclaim balance. Bright cool tones depict the transition between turmoil and balance. Visceral youth is needed to undertake the task of understanding without any external thoughts. Visceral youth is imperative to acknowledge what is being needed in a particular moment. Meow has decided to depict truth through each step of creation: a disruption, a pause and the balance obtained after turmoil. “The creation of the world did not take place once and for all time, but takes place every day.”Samuel Beckett, Proust. We must never forget we can always start over. Youth never forgets. Remember that creation is a visceral constant.
Art Curator Karla Peralta Málaga
Meow
Anxious heart
Meow
Refreshing heart
Meow
Distorted heart
Michéle Kleez
Michéle Kleez, presents “My Way” for the “Visceral” Mixed Reality art exhibition at M.A.D.S. Art gallery. A painting depicting an entrance to the unknown ready to be discovered if you choose to follow a new path. Dare to be bold and witness how reality could easily change with a visceral approach. Blue tones and yellow tones carry the responsibility to undertake the task of creating a pause before a discovery. A secret gate a hidden path, is it only curiosity? Or is it a well thought decision to change our reality? “Stepping onto a brand-new path is difficult, but not more difficult than remaining in a situation, which is not nurturing to the whole woman.”-Maya Angelou. “My Way” presents a decision. It has been already taken to create a new reality. Blue tones represent the strength while yellow creates harmonies to make easier the steps to follow. “Our wretched species is so made that those who walk on the welltrodden path always throw stones at those who are showing a new road.”-Voltaire, Philosophical Dictionary. We can also build with thrown stones. We could build an entrance to a new reality. Michéle Kleez has built an entrance with blue stones. We can imagine a new visceral path, a real path.
Art Curator Karla Peralta Málaga
Michéle Kleez
My Way
Mieko Nakamura
Mieko Nakamura is a Japanese artist, whose artistic expression finds free rein in aesthetic taste and in drawing inspiration from life and everyday life. Nakamura is the guest, for the first time, of an exhibition organized by M.A.D.S. Art Gallery on the occasion of "VISCERAL" in which she exhibits three works of art that are perfectly aligned with the artistic production typical of abstract art. “Heart Flower 66” almost looks like a frame, like a wreath of flowers, the colors are almost all with a cold undertone, but still very vivid and bright. Abstract art is autonomous and does not faithfully refer to the reality that surrounds the artist. "Heart Flower 191" particularly recalls Malevich's work "Suprematism", in the case of Nakamura, however, it looks like the abstract decomposition of a flower, connected to the sky and the earth, the theme of decomposition is also taken into consideration regarding the technique used, in fact, the artist used collage. The latest work on display, "Heart Flower Sumi 228", brings to mind Kandinsky's "Farbstudie". It seems to be a real investigation into the emotional content of the chromatic expression. The circle has always been a symbol of perfection and harmony, in the history of art the circle has an extremely relevant position, just think of "Circular shapes" and "Solar discs" by Delaunay, but also "Le faux miroir ”By Renè Magritte. Nakamura's works of art express a profound aesthetic taste and great mastery in the choice of colors and chromatic variations.
Art Curator Martina Viesti
Mieko Nakamura
Heart Flower 66
Mieko Nakamura
Heart Flower 191
Mieko Nakamura
Heart Flower Sumi 228
Mikel Eizmendi Zabala “I consider myself a sculptor, practically all my work is based on volumes, emptiness, space, depth, textures” (Mikel Eizmendi Zabala)
Mikel Eizmendi Zabala gives us a new series of structures, drawn on dinA3 250g/m2 sheets. The four illustrations that the artist decides to exhibit, at the VISCERAL international exhibition hosted by the M.A.D.S international art gallery, show great work that is based on reconciling patterns of isometric, axonometric structures with the artist's freedom. His works for VISCERAL are Estrukturak B 123, Estrukturak B 128, Estrukturak B 134, and Estrukturak B 146. After drawing the structures well, the artist tries to create visual confusion by painting the part of the structure that faces one of the faces or one side looking. Mikel plays, interacts with the viewer and also puts in himself, the artist creates confusion even to small mistakes in painting some faces and creating the structure itself.
Mikel Eizmendi Zabala
We got to know different facets of the work of this artist, dear to the gallery M.A.D.S. Hinge of his art is to create questions, to leave doubts, to create confusion. It is the artist's way of dialoguing with the world. The revolution of his art lies in the provocation that is his original trait, it makes him recognizable. Another characteristic element is the dialogue, again: the dialogue he makes with his creative vein and the dialogue he establishes with those who look at his works. The reason is very simple and obvious, Mikel's goal is to open minds, stimulate them, provoke them, bring out the uniqueness of the individual's thinking and thus create an infinity of possible dialogues with the viewer that lead to infinite possibilities of observing things in the world.
Art Curator Mara Cipriano
Mikel Eizmendi Zabala
Estrukturak B 123
Mikel Eizmendi Zabala
Estrukturak B 128
Mikel Eizmendi Zabala
Estrukturak B 134
Mikel Eizmendi Zabala
Estrukturak B 146
Minami Paint color is usually composed of pigment and a fluid part, a binder that has the utility of firmly uniting the pigment particles making them, in the case of acrylics, soluble and inseparable. This colored paste has always held a strong attraction for the human eyes and soul. Completely saturated with color, the compound beguiles us with its soft texture, with its inherent glossiness when wet, with its plasticity when it has just been spread with a palette knife. Yet, all too often, we feel the duty to tame this intoxicating temperament of color. Is the expressive force of pure chromatic matter too intense for our sensibilities? In the blink of an eye, what used to be a soft, enveloping cloud of color is now nothing more than a faint, faded stain on the canvas. Often times the expressive quality of pigment is stifled and we want to make it flat, defenseless, devoid of the life force that once sprang forth. Yet, in Minami's works, the opposite happens. In his artistic production, color lives, pulsing like an organism on the canvas. We can sense its breath in the layers of color that hint at the rough and wild texture of the canvas, we can sense its expressive quality when it creates hollows and encrustations here and there within the competitive space of the work. Minami respects the inherent creative force of color with the intention of giving it an interpretation that brings out all the expressiveness contained between that mixture of pigment and binder. "Sparkling" is scarring, it is chromatic mass that does not bend before the drafting tool. This work is literally a complex agglomeration of color that layers shade upon shade until it forms a totally solid chromatic blanket. Encrustations peep out in different parts of the work, looking like mountainous reliefs observed from an aerial viewpoint. White is superimposed on gold, the gold pigment is smeared with whitish color surrendering some of its brightness. The work sparkles, not so much because there is gold pigment within it, but because of its expressive force. "Sparkling" is chromatic deflagration that has left the scars of its explosion on the ground, it is creative impetus inherent in color and respected by the artist. It is Minami's acknowledgement of respect for the material that she uses with mastery and great creative impetus. The material is free to behave as it wishes, to create hollows and inlets, to originate dark, opaque dots that overlap with extremely bright areas. Minami's works are a hymn to corporeality, to the creative matter of works that are nothing more than the creative spark of the artist's mind. The color is free to do as it pleases, even allowing glimpses of pieces of raw canvas as in "Heart."
Art Curator Lisa Galletti
Minami
Heart
Minami
Inside
Minami
Sparkling
Minco "If no one asks me, I know; if I try to explain it to those who ask me, I do not know." (Saint Augustine) The continuity of our identity is intertwined with the perception of the passage of time, in the very idea of a stream of consciousness that runs through the entire fabric of experience, accompanied by a sense of past, present and future. From psychoanalysis, all artistic activities borrow tools for analysis and selfexpression. The inner monologue and the stream of consciousness can be said to be the most widely used and spontaneously loved. The former, conceived essentially as self-analysis, is based on the more or less conscious association of ideas; the latter, on the other hand, sees the conscience as an articulated and contradictory aggregate, rhetorically rendered through an unconscious and uncontrolled emergence of the deepest layers of the psyche, with the continuous association of images and thoughts.stream of consciousness is the narrative technique that allows for the free expression of what, free of superstructures, is the language of the mind. It presses on the capacity of the inner self to communicate in moments of immediacy and crystal-clear sincerity its entirety, including inconsistencies and contradictions. This is why works of art like Minco's find us eager to let this visceral flow happen and know more and more. All the shapes that have been used, the colours, the choices of composition are fest as true and honest the very first moment we see them. This flow has to be protected in its genuine and naiveness, and it has to be banned all form of questions that may interrupt it. Go with the flow, they say.
Art Curator Erika Gravante
Minco
endurance
Minco
blood flow
Minco
visceral fear
Minco
irritation
Minco
anxiety and joy
Miyuki Umezawa
Miyuki Umezawa, a Japanese mixed media artist, represents Serendipity in a completely innovative way. Drawing on her studies of flower composition, she paints with flowers of all shapes - stylised, stabilised or artificial - the themes of coincidence and encounter. The concept of Serendipity concerns fortuitous and unexpected discoveries or random events that happen without our control. For the artist, these events are important because they make a person who he or she is. Coming across a fortuitous event generates a pleasant feeling of happiness and excitement that pushes one to open up to new experiences, without falling into routine. Through the use of bright colours and delicate floral designs, together with the use of real and stabilised flowers, the artist creates works that incorporate the emotions provoked by these fortuitous events. These are high-impact works in which the free drawing, combined with the use of different colours in the background, creates a strong dynamism. Real flower petals are glued onto the canvas together with stylised flower drawings, pencil drawings are flanked by acrylic drawings. The artist, following the example of creating a flower arrangement, is careful to place each figure following a sense of harmony and taste. Just like a bouquet of flowers, we can look at the work from several viewpoints without losing its meaning. The viewer is enraptured by the composition of the work and by seeing a different element wherever they look. The colours convey a strong energy and a pleasant feeling of joy. Thanks to her skill, the artist is able to convey, through her works, the profound sense of completeness and satisfaction that Serendipity brings, leading the viewer to open up to the world to experience the same emotions.
Art Curator Lucrezia Perropane
Miyuki Umezawa
Cheerful_umbrella_leaf
Miyuki Umezawa
Clocks
Miyuki Umezawa
STAR
Monika Ratuszyńska Out of suffering have emerged the strongest souls; the most massive characters are seared with scars. (Khalil Gibran) It is not easy to develop a representation that focuses on essentiality. Art often dwells on stylistic mannerisms, as amazing to see as they are synonymous of a creativity that struggles to emerge. Can it still be defined as art if the initial inspiration is hidden under layers of technical virtuosity so as to make it barely visible? Yet there can be no art without an inspired feeling to guide its progress, and this is exactly what one feels when faced with the work of the talented Monika Ratuszyńska. Fire Woman is a real explosion of color, vitality and bursting beauty, which captivates the eye with its magnetic catalyst force. The swirling fiery strands of hair spread around the face in sinuous serpentine coils, and radiate into every corner of the painting like warm rays of the sun. The magnificent and luxuriant locks, executed with rapid brushstrokes, are the frame that encloses the beautiful face of the young woman, the focal point of the entire work. The delicate features of the face capture the beauty of the woman in an essential and pure way, placing themselves on the one hand in a balanced contrast with the complexity of the hair, and on the other enhancing the large blue eyes and the seductive line of the mouth to the utmost. Monika seems to symbolically represent the ideal personification of a strong and strong-willed identity, but at the same time extremely feminine and sensual. These assumptions are realized in a fascinating work, the more effective the more it manages to be communicative in its elegant, substantial charm, decisively detaching itself from what is only appearance.
Art Curator Chiara Rizzatti
Monika Ratuszyńska
Fire Woman
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. At “Visceral” exhibition hosted by M.A.D.S. Art Gallery, Moniqqques presents five works, all related to intimacy of relationships. The first one, “Face” has a face as its subject, which occupies the entire surface of the painting. The strokes are rendered with precise and thin pencil strokes that allow you to enhance the chiaroscuro and give the image an intense depth. To make this three-dimensionality even stronger, there are red brushstrokes, a symbol of passion, which start from the hair to the left of the face, go down to the ear, reach the cheek and end in the chin. As the artist says, this face does not want to accept and allow the passion to flow naturally. She became sceptical and she no longer believes in her natural sexy strenght. She no longer believes in a better tomorrow that instincts could provide. She rejects the state of visceral. Moniqqques then presents a series consisting of three works, entitled “The woman”. The series shows a state of surrender and deep passion: all having as subject a woman, perhaps the same, they let their subconscious flow and give way to their emotions and instincts. All naked, the first is sitting on an armchair in a lascivious way, showing her genitals and all her passion. Red, a symbol of this sexual drive, also recurs in the other two works, which also have two women as their subject, this time portrayed lying down in all their sensuality. The latest work presented in the exhibition, "Who should I be?" It depicts a woman in the foreground, of which we can only glimpse her bust, flanked by a doe on her left and a bull on her right: as the artist says, here we can see an archetypal connection with nature, when a woman connects with her animal instinct and natural softness, even obedience. At this very moment we see a woman wondering whether she will follow the path of rationality (left side – clothed and decent doe) or use her deep predatory and instincts, which are represented by the naked bull. Simply said, she is choosing between turning into a decent doe or a sexy naked visceral bull. We are being shown the dilemma and the choice of whether to go right or left.
Art Curator Matilde Della Pina
Moniqqques
Face
Moniqqques
The Woman
Moniqqques
The Woman
Moniqqques
The Woman
Moniqqques
Who should I be?
Nancy Jo Ward “For the nature of a women is closely allied to art.” (Johann Wolfgang von Goethe)
The artist Nancy Jo Ward lets herself be inspired by feminine figures and by women themselves. What she’s focusing on is how female characters could be discomposed, unstructured, wrinkled and lived. Nancy Jo Ward recreates and reconstructs their bodies, giving back an abstract image. In doing so, the viewer is placed in front of a personal but at the same time authentic representation of the feminine world – the same from which the artist comes. To succeed in her intention and to convey her personal meaning, the artist relies on technology and on digital tools; thanks to algorithms, digital artifacts and multimedia devices she is able to create a powerful combination, harnessing and mixing colours, shades, nuances, shadow and shapes. The artworks of Nancy Jo Ward have therefore a double meaning hidden inside. First of all, she wishes to convey the power and the expressive impact of the modern technological instrument and tools - the way that she herself considers the best in order to experience the world that surrounds her. In the second place, Nancy Jo Ward – through her artworks – wishes to celebrate the important role of women in contemporary society, underlining how the ones became fiercer and stronger, able to look at life and collective activities with a sharp gaze. Nancy Jo Ward aims to propose endless and infinite manners to interpret her creations, leaving those who are looking at them free to create their own personal story of them.
Art Curator Manuela Fratar
Nancy Jo Ward
Abigayle
Nancy Jo Ward
Gaslighting
Nancy Jo Ward
Jennie
Narika Sato “It’s not what you look at that matters, it’s what you see.” (Henry David Thoreau) Look at reality not only with the eyes, but also with the soul; only in this way will you be able to discover a version of the world that will amaze you and enrich your mind and heart. During the creative process, the Japanese contemporary artist Narika Sato travels in what she herself defines as the "invisible world": thoughts, instincts and emotions come together, giving rise to a magic, something unique. "Bloom" (2022, acrylic, crayon, charcoal pencil) represents a moment of rebirth. Its colors remind spring: the green of the leaves growing on the trees, the pink of the peach blossoms, and the blue of the clear sky. The painting is intended to be a hymn to positivity, an invitation to always believe in yourself despite adversity because following an apparent death, there is always a rebirth. In “Cheer up” (2022, oil colors, pencil) among the broad orange and red brushstrokes we see a nice smiling face. It is she who suggests the interpretation of this work to us: smile and go ahead whatever happens; stumble but be ready to get up to face all the good things the future has in store for you. In “Moment” (2022, acrylic, charcoal pencil) light colors such as grey and white are contrasted by brighter shades such as red and pink. This chromatic contrast is not accidental: in the life of each of us there are strong moments that upset our mood and moments of calm where everything seems to be in its place. Behind every work by Narika there is a story: the artist invites us to read it between the brushstrokes, understand it and give our own personal interpretation.
Art Curator Camilla Gilardi
Narika Sato
Bloom
Narika Sato
Cheer up
Narika Sato
Moment
Natalie Smith
On the occasion of the international art exhibition VISCERAL the artist Natalie Smith presents the work titled Ouroboros. The technique used is the abstatism and with circular shapes the artist creates a vortex where the observer loses his gaze in this particular game of shapes. As she says: <<The use of 24k gold leaf speaks to me because it is both strong and fragile, fleeting and yet eternal. It serves as an element of illumination and asks questions about our unlived potential: How can we shine brighter in our lives? And, whose lives do we illuminate?>>. This is the question that the viewer makes instinctively while watching the work made by the artist. This means that the composition of Natalie is not just the drow of something but the elements wants to create a deepest contact with the observer and goes in the visceral part of the perception. In this way her art becomes the pretext to investigate also in our life, ask ourselves questions and try to give us the right answer.
Art Curator Elisabetta Eliotropio
Natalie Smith
Ouroboros
Neha Kukreja The vibrant colours of India are a key component and characterised the Indian culture so deeply that it is hard to forget the liveliness that these colours bring to those who are lucky enough to experience them. Having grown up in this environment, the artist Neha Kukreja wanted to bring her experience back to her studio in Toronto, where she’s now based. With a background in computer science, she felt that she had to create a safe space in which she could share her passion for fluid art and colour to the world. In fact, for Neha colour is a synonym for happiness and tranquillity of the soul. In her daily practice, she experiments with colours, resulting in unique blends in her fluid works and bold combinations in her mandalas. However, her art comprehends various techniques. Besides mandalas, she also operates with fluid acrylic abstract art, alcohol ink and resin art. The full collection can be found on Creative Mantras by Neha Kukreja. Throughout her all collection, it is noticeable to see how colour is so central to her. The eye is immediately captured by her artworks, the details and the colours. She is able to create astonishing contrasts of colour, characterised by movement and depth due to the blending. It is clear how the patience and attention to the details and colours on her canvases are for her like a meditative act, a mantra against the stress that she wants to translate into joy for the others.
Art Curator Francesca Mamino
Neha Kukreja
Floral burst in 3D
Neha Kukreja
Spring Florals
Neha Kukreja
Textured Florals
Nicholas P. Kozis “Beauty alone is enough to persuade men's eyes, without the need for speakers.” (William Shakespeare)
For the “Visceral” event at M.A.D.S. Art Gallery, Nicholas P. Kozis exhibits six artworks (“Amanda Wild 1”, “Amanda Wild 2”, “Amanda Wild 3”, “Joanne 12”, “Joanne Dark 1”, “Joanne Dark 2”). Both the artist and the viewer become completely immersed in them, in those immense expanses of colors and details studied in every detail. One of the key aspects of Nicholas’ artistic practice is undoubtedly the desire to convey positive feelings, managing to capture the observe’s attention through the accuracy of the characters depicted and the feelings they wish to highlight. Each image contains passion, love and beauty, and it is up to the viewer to discover and follow step by step the dynamic but at the same time graceful movements of the women depicted. The works spread a sense of harmony: emphasizing great femininity and charm, the artist enchants anyone who admires his artworks.
Nicholas P. Kozis
Like forces of nature, each woman radiates a vital and magical energy, and between illusion and mystery stands out an ambivalent personality, between imagination and embodiment of humanity's desires. The nonchalance of the poses and the carefree youthfulness of the girls succeed in bringing out the viewer's emotions, capturing his/her interiority. These works instill a sense of perfection through the careful composition of every part of the painting, from the faces to the perfect bodies to the backgrounds. By harmonizing the juxtaposition of lines and the audacious symphony of colors, the artist makes the beauty of each young person surreal and elegant, best expressing his aesthetic conception and facilitating the understanding of his artistic images.
“Beauty has as many meanings as moods humans have; it is the symbol of symbols. Beauty reveals everything” (Oscar Wilde)
Art Curator Alessia Perone
Nicholas P. Kozis
Amanda Wild 1
Nicholas P. Kozis
Amanda Wild 2
Nicholas P. Kozis
Amanda Wild 3
Nicholas P. Kozis
Joanne 12
Nicholas P. Kozis
Joanne Dark 1
Nicholas P. Kozis
Joanne Dark 2
Nile Delta "There are hidden spaces in a city, hidden life and hidden emptiness, and darker windows where people's shadows pass fleetingly out of sight." (Kate Milford)
Nile Delta, a sales engineer in an electronic component Manufacturing company, has always approached art from an early age, dedicating himself with passion and dedication to the creation of mostly oil paintings. His artistic poetics, very realistic and rational, are based on what surrounds him, on what is visible to our eyes and what populates our lives. What emerges from his artworks are colors, visions, emotions in stark contrast to his work. Almost like an impressionist, what matters most to Nile Delta is the ability to portray a moment, a detail, a glimpse of everyday life outside of work. Staticity and rationality of his mind, dedicated to a purely logical work, collide with the incessant need to give life to artworks where lights and colors are the main protagonists, those who give vitality and strength to the whole composition. Not dream scenarios, unreal representations, but the pure and simple everyday life, to make the observer aware of the beauty of what you are around us, of what we can find in small moments.
Art Curator Federica Schneck
Nile Delta
City light you can see
Nolan Hirsley "Going to the moon is not that far away. The farthest journey is the one within ourselves." (Anaïs Nin)
Nolan Hirsley's artistic poetics is based on the conviction that art must spring directly from the artist's unconscious, representing all the rational impulses and facets of the human soul. But all this must not find a justification, a reason for existing, as for Nolan Hirsley art, like life, existence, doesn't need explanations. Nothing has to mean anything except what is depicted. And the absence of colors in his artworks further amplifies this concept of neutrality, of wanting to go beyond the forced search for a solution, for a reason. What is represented, as well as in life, exists as a creation by the artist, focusing more on an aesthetic impact of one's art and on the representation of one's inner self. The human and animal figures that populate his works mix with abstract forms to give life to an aesthetic flow of consciousness that plays with the observer, invites him to focus on the artist's thought and to relate it with his own being, with its irrationality. Aesthetic research and interior analysis are the two key components of the artist's entire production.
Art Curator Federica Schneck
Nolan Hirsley
Interpretation of Kandinsky's Cannons
Nolan Hirsley
The Death of Love
Nolan Hirsley
Baby boom-boom
Norika Nimura It was 1929 when historian Alfred Hamilton Barr coined the term "Abstract Expressionism" to comment on a painting by Wassily Kandinsky. Later, this term was revived by the 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. The materials used are no longer those of the pictorial tradition but are borrowed from industrial production: paints, acrylic etc. This type of colors then become a means to express on the canvas all the energies and impulses that belong to the artist. This need to attack the canvas to externalize the inner motions is called action painting. The painting techniques also include spraying and dripping the colors on the canvas without any direct manual intervention on the pictorial surface: the so-called dripping. The images obtained are presented as a chaotic interweaving of colored stratified signs, in which it is not possible to recognize any shape. These characteristics are found in the work of the Japanese artist Norika Nimura. On the artworks we see a vibration that has lost its violent connotation to give way to a slow succession and overlap of liquids and colors. In "Life-1" and "Life-2" the flow of color takes on an almost meditative action that at the same time expresses the artist’s purest poetics. The diagonal movement of the two works generates in the observer a sense of fall, of melting with what surrounds us becoming a single pure and perfect entity. "Life-rhythm" instead, as the title suggests, has a more rhythmic cadence. This time the colors move vertically cadenced by yellow lines that break the overall unit. The sign in this case becomes the protagonist, as if to contain the flow of color behind him. The sign can come from an instinctive impulse, almost automatic, or be the result of a more calculated work; in both cases it is an independent sign from any normal expressive code, but for this reason it has new allusive and evocative values.
Art Curator Eleonora Varotto
Norika Nimura
Life-1
Norika Nimura
Life-2
Norika Nimura
Life-rhythm
Ouisam Melhem The work of the Lebanese artist Ouim Salem is characterized by its distinctive features, which investigate the real and the most intimate part of the human being: thought and dreams. Each work contains a story, an intertwining of thoughts, signs and life. Ouisam says: "Art is a fantasy, a poetic consilience, a chance to realize a utopian vision for the future". In this sense art becomes almost a prophecy; the artist’s eye is able to analyze the real by creating a dialogue with it. The result is an evocative and lyrical work, a message for the listeners or, in this case, for the spectators. Ouim Salem gives us keys to reading the works that help us to better understand the messages mentioned in his works. The keys are recurring and extremely important signs for the artist’s poetics: The Crown representing power. The same power that makes us stronger and allows us to overcome the challenges of our lives. The bird, as a symbol of freedom and mobility beyond the boundaries of taboos and routine. The Cloud instead represents dreams. We all need dreams to achieve a successful future and free ourselves from our past. The city as a sense of belonging, our roots, our identity. Finally, the human being. Without the latter the other 4 elements are meaningless. The human being is the "catalyst" of all existence, the algorithm of life. In the work "Confession" we can see two figures that confront each other; one composed of men, the other instead of houses, cities. Dialogue is intimate and silent as a meditation between our ego and the circumstances of life. In "Me, They, And All" the artist comes into contact with his thoughts. Dialogue with them need a reflection on communication, so as to convert thoughts from memorabilia to active conceptions. Finally "Whispers" tells us a moment suspended almost a still image of the present to ensure that it is based in harmony with reality. Painting becomes a narrative gesture that focuses attention on the details of everyday life to create a subjective story; an "artistic whisper of reality".
Art Curator Eleonora Varotto
Ouisam Melhem
Confession
Ouisam Melhem
Me, They, And All
Ouisam Melhem
Whispers
Panchone "Art shows that which exists only in our mind" (Panchone) Panchone's artistic universe is unique and belongs to dreamlike and fantastic figurativeness. Colorful creatures are his trademark and his figurative but imaginary style belongs to him uniquely and exclusively. Exactly like the use of vivid and variegated colors. Looking at one of his works is comparable to watching a fantasy movie. Panchone, at the VISCERAL international exhibition hosted by M.A.D.S international art gallery, makes us travel to parallel universes filled with inimitable creatures. Panchone is an artist based in northern Spain with a special interest in the fantasy world and nature. Through surrealism and abstraction, he creates compositions, filled with elements found in nature and laden with symbolism. The way to generate these compositions is to flow with the environment, listening to the suggestions of the work itself as it is being made. The use of bright colors brings out the light in the compositions, giving them greater mysticism. In Wet Summer Panchone develops his surrealist streak, he experiments with his language in a context that makes dreamlike and metaphysical, the artist expresses his deepest personality and makes his unconscious work, the creatures that inhabit him belong to his imagination to his dreams but universal.
Art Curator Mara Cipriano
Panchone
Wet summer
Patrick Lange Reality does not appear in the same way to anyone who observes it: every eye, every mind and every heart sees its surroundings differently. A landscape, a situation, an object can arouse a different emotion depending on the person who is observing it. If we change perspective, physically, but also mentally, and if we change the conditions of observation, what we see changes completely. Even a work of art, if I change the conditions around it, can appear differently. This is what happens with the works of artist Patrick Lange who works with neon colors which, with black light, completely change the appearance of the work. The reality in which we are immersed is also unpredictable, it is impossible for us to be sure of what will happen, the unexpected is always around the corner and Patrick carries all this into his works. Patrick lets himself be carried away by instinct and emotion in the creation of his works and the color sketch technique that he uses in the works exhibited here ensures that he can control the final result up to a certain point. The colors, thanks to his creative and emotional drive, come to life in the work of art. Creating a work of art is precisely an uncontrollable energy that spreads from the artist's hands until it explodes on the canvas. An explosion is in fact the propagation of matter, a move away from the core, from a center towards the outside, the unknown, to give life to something new. In the works exhibited here we have three examples of the artist's creations. The materiality of the paint creates a sense of fluidity of the material, which explodes and expands. The material seems to move on the canvas and come out of them, creating an image that seems three-dimensional. The energy that these works transmit, even at first glance, is amazing and overwhelms anyone who observes it. Patrick transports us to a universe where stars explode, multi-colored nebulae expand and the energy of creation spreads.
Art Curator Silvia Grassi
Patrick Lange
Core
Patrick Lange
Expansion
Patrick Lange
Pulsar
Paula Gallego Paula Gallego is an extremely skilled and original Argentinian artist. Her love for art began as a child and has never left her. Besides being an artist, Paula is also a teacher who is able to transmit her love for this discipline to her pupils. Evident is the passion she conveys through her works, often inspired by animals and the natural world. Fascinated by her surroundings and the sinuous forms of nature, she creates striking and overwhelming works. It is impossible not to get caught up in her subjects that are able to capture the viewer's attention in an enigmatic and captivating manner. Among the subjects she represents most are animals, as in the case of 'Looks Four' where she dwells on the close-up of a cheetah with eyes as cold as ice. The blue of the iris contrasts with the body with its black and brown spots. Paula depicts every detail and creates a naturalistic, almost photographic painting. She captures an instant and traps it with her acrylics and brushes. The animal is confident, on guard. It observes its surroundings, ready to seize its next prey or to warn of danger. The background is neutral and the viewer's eye then focuses on the cheetah, majestic when intriguing. Same subject matter in 'Looks Eight' but the perspective and position of the character changes. A hint of the setting is given by the tree in the foreground against which the animal is leaning. Its eyes blend in with the vegetation, almost blending in with the environment. The gaze is mysterious, captivating but at the same time gentle. A curious contrast. Every tiny detail of the muzzle and body studied, the proportions are right and the perspective is perfect. An evocative portrait, trapped in time like a photograph. In 'Looks Seven', on the other hand, Paula represents ferocity. The animal opens its jaws wide, ready to pounce on its prey and attack it. The painting technique used, with diluted pigment, allows the creation of various overlapping states that give three-dimensionality and contribute to the liveliness of the character. The tones are monochromatic, on grey. Small strokes of white give light and dynamism, while black emphasises the contours and gives strength to the image. In 'Final Point', the artist captures the cheetah in a frontal position. It is advancing while its body blends into the background. The black is enveloping and co-stars the animal, which is represented majestically. Paula plays with the contrasts between black and white, between darkness and gloom. The cheetah seems to eire towards us, emerging from the image. The viewer is thus able to establish a direct relationship with the artwork. The use of white to create three-dimensionality is also interesting. In 'Just One Look', Paula captures another facet of this beautiful creature. The mother looks at the puppy with love and protection. The two form a balanced and well thought-out composition. Once again the artist uses few colours but creates a striking artwork, revealing another aspect of the cheetah's personality, which is not only predator but also parent. Paula proves to be a creative artist who is deeply attached to nature and the wonders it offers us. She succeeds in giving the viewer experiences rich in pathos and emotion.
Art Curator Ilaria Falchetti
Paula Gallego
Final Point
Paula Gallego
Just One Look
Paula Gallego
Looks Eight
Paula Gallego
Looks Seven
Paula Gallego
Looks Four
Pietro Castaldo
The artist Pietro Catsldo presents on the occasion of the international art exhibition VISCERAL three pieces. We can see that the artist in each work uses the same technique that is abstractism but at the same time what is important to underline is that the compositions are created with different materials that create an effect of bas-relief. In this way the action of watching with the art of Pietro Cataldo becomes also a tactile experience, where the surface can be touched. In this way the artist activates a game of perception that not only affects sight but also the other senses in the observer. This particular technique create a connections with the sculpture technique in which the work has three dimensions. The viewers become attracted by this visions and seems to be involved into the compositions becouse the artist Pietro Castaldo seems to invite him to leave the traditional way to intend the artistic fruition and abandoning himself in this game of perceptions.
Art Curator Elisabetta Eliotropio
Pietro Castaldo
Dreams
Pietro Castaldo
Hi!look, is your life
Pietro Castaldo
Sirene
PILAR VIVIENTE “The wheel is come full circle.” (William Shakespeare)
Pilar Viviente is a contemporary Spanish artist whose artistic research revolves around the theme of the wheel in all its symbolic meanings. Her multimedia project "Rodete", in fact, is entirely focused on narrating its role in the historical process, from its invention to the present day, with particular emphasis on the female figure. An important source of inspiration for the artist is the headdress worn by Iberian women in pre-Roman times, an example of which is still preserved today in the National Archaeological Museum of Spain: the Lady of Elche. This stone bust is a reminder of the culture of the time, in which women wore this headdress with two large wheels at the ears. The wheel symbolizes the sky, the eternity and the immovable and immutable principle from which universal movement and transformation begins. The entire project consists of digitally realized works, which depict the wheel in different colours and sizes. In the work 'Green Rodete', exhibited at M.A.D.S. Art Gallery on the occasion of the VISCERAL exhibition, greens, oranges, yellows and reds are arranged in colour fields that fade into each other, describing the subject in a language reminiscent of screen printing. The result is an image that appears as if it came from an archaeological excavation, imprinted on rock and faded by time, while also managing to retain a profoundly contemporary feel. In this way, the artist manages to draw a line from the past to the present, accompanying the observer on a cyclical journey where time condenses into a single moment. Where everything that is born from the womb of Mother Earth is then destined to return to its origin.
Art Curator Francesca Brunello
PILAR VIVIENTE
Green Rodete
Poorvi Shaktawat “The only time I feel alive is when I’m painting.” (Vincent van Gogh)
Sometimes no words are needed to explain. Art is a magical language that tells thoughts and emotions through the power of color. The world is her greatest source of inspiration: nature that changes from season to season, objects for which she surprisingly discovers new uses, faces of people who capture her attention for their particularities. Poorvi Shaktawat is a contemporary visual artist, who during the creative process of each of her works is fascinated by the way in which color and canvas come together to become one. "Warm Dawn" was created 2021 with the acrylic on canvas technique. Blue, yellow, and pink alternate in a painting that conveys feelings of peace and harmony. On a hot summer morning the sun rises and warms the waters of the sea; the flowers turn their petals to the blue sky and everyone's life sets off on its journey. The dawn is a metaphor for a new beginning: after the night comes the light to illuminate the darkness, after a difficult moment a rainbow will appear to paint our mood. Among the many uncertainties of life, the artist always finds confirmation in art. Using the words of the famous artist Vincent van Gogh, art makes Poorvi feel alive: it flows inside her body, lights up the flame of her soul. Art is an incredible source of energy that makes her strong and invincible. Dive into Poorvi's works and set out on a journey that will leave a mark on your heart.
Art Curator Camilla Gilardi
Poorvi Shaktawat
Warm Dawn
Ric Conn
Ric Conn is an internationally recognized American artist, with numerous exhibitions around the world to his credit. His paintings reflect and denounce social problems of great importance, such as equality, empowerment and psychological conditions that increase awareness and understanding. Conn's figurative art expresses the condition of the world expressionistically. Ric Conn is a permanent guest at the exhibitions organized by M.A.D.S. Art Gallery and on the occasion of "VISCERAL" exhibits five works of art that perfectly express his intention to denounce and shout at injustices. “HANDS OFF” highlights how many men believe they can behave as they like, even towards women.
Ric Conn
What Conn wants to tell us is that it's never correct to think that you can take any kind of liberty, it's definitely inappropriate."Out of the wilderness" is a work at times disturbing, the girl in the foreground is surrounded by men who do not have facial features, here too, the theme of the denial of identity, typical of Ric Conn's artistic production, returns . Conn's works of art investigate the experience of the people that the artist represents, it is not a simple stylistic exercise, but on the contrary for Conn the emotions that a face, a body transmit are extremely important. Ultimately, it is possible to define Ric Conn as a storyteller artist who does not just represent, but makes a real story of reality.
Art Curator Martina Viesti
Ric Conn
HANDS OFF
Ric Conn
out of the wilderness
Ric Conn
portrait of a girl in blue
Ric Conn
the red lady
Rika Maja Duevel "Paintings have a life of their own that derives from the painter's soul". (Vincent van Gogh)
In her works, artist Rika Maja Duevel narrates, selects emotions and conveys them. Large colour fields meet the layers of human emotionality, both guided by the artist's direction. The artist creates paintings where the aesthetic component is fundamental and where her language is able to unite the rational and irrational dimensions. So it is no longer a gesture that becomes a metaphor for emotions on canvas, but a gesture that becomes a sign on the surface. A sign that has both emotional and aesthetic value. Her painting has a strong emotional component; it refers to women, fertility, fragility, to what a simple question can trigger; 'When will you have children'. Rika Maja Duevel expresses herself with personality and delicacy, hers is an entropic and subjective painting, where each painting tells us a story. She uses acrylic paint skilfully, creating a static and geometric image to represent a certain monumental archaicness. The woman in the centre of the work has a very strong static charge, immediately capturing the viewer's attention and enveloping him. The woman seems at the same time unreachable but also close, close to us, to every woman who every day has to cope with her own weaknesses, her own needs and what others would expect of her. The subject seems to be inspired by the great paintings but interpreted in a completely personal way, herein lies all the narrative capacity of Rika Maja Duevel who tells us a contemporary story, an internal story that takes place at the centre of the painting, which she is living, together with us and the arista at the same time as we observe the painting. It is an entropic and experiential painting, which characterises the artist's unique painting activity.
Art Curator Giulia Fontanesi
Rika Maja Duevel
Be True to Yourself
Rio's Utopia Memories are the center of our individuality. What each of us remembers is different from what anyone else remembers, even in the case of shared experiences. Each of us, in our own way, remembers events, facts, emotions and feelings, sometimes for a short period of time, sometimes for a lifetime. When we learn something, even as simple as someone's name, we form connections, called synapses, between neurons in the brain. These become stronger or weaker depending on how often we are exposed to an event. The more we are exposed to an activity the stronger the connections; the less exposure, the weaker the connection. Memory processes are possible because of the concept of brain plasticity. Every event in our lives produces changes in the structure or function of neurons, either temporarily or permanently. Events create new synapses between neurons, essentially remapping the brain. Yet, the mechanisms that control the formation of memories are not perfect. It happens, at times, that our own mind tricks us into remembering things we have not actually experienced. What we remember may be accurate, but not necessarily exact; it may be truthful, but completely false. In this case we speak of false memories. A false memory is defined as a distorted recollection of a preexisting memory or even an event that never actually happened. The false memory thus formed is vivid and authentic similarly to normal memories, and will be experienced by the subject as true. Although, therefore, initially a memory seems real to us, it then happens that as we think about it, we begin to ask questions, to demand details that do not actually exist. And that is how the memory becomes unfamiliar, not intimate and not experienced entirely. And that is how the feeling of distance from that reminiscence grows stronger and stronger, going on to undermine the certainties of our mind. Rio's Utopia in "An unfamiliar memory" places emphasis on this very thorny question. A young woman turns her face to us. She has just turned her gaze and her eyes are observing something that is beyond representational space. In her hands is a fan with a peculiar checkered pattern that creates contrast with the beautiful wavy, multicolored patterns of the yukata that the protagonist of the work is wearing. All around, colorful circles full of ornaments that look like mandalas. The space is rather claustrophobic and dark, a feeling probably derived from the looming presence of a multitude of colorful hues. The mind travels, making connections. At one point the epiphany. The memory wanders and rests on exactly one summer evening. There is a festival, there is a girl wearing a yukata, and a myriad of fireworks burst in the sky. We remember it vividly. Our memory induces us to recall the smallest details of that evening and yet it goes no further than the image of this girl. We do not remember the sylvan smell of the pines as well as the scent of meat from the street vendors. We do not remember the precise location or even whether, that evening, it was windy or very hot. We do not remember any faces other than that of the woman. Is our mind playing a trick on us? Have we ever been to that festival in our lives?
Art Curator Lisa Galletti
Rio's Utopia
An unfamiliar memory
Rita Oatway Rita Oatway is an energetic, gestural and imaginative artist. Although she embarked on her artistic journey later and not in her teens, she demonstrates great technical qualities and artistic ability. Rita is an example of how art can overwhelm you at any age, at any time. Art just comes. It induces you to create, to let off steam on the canvas, showing your true essence to the world. Her path is constantly growing and with her commitment one can achieve great things. In his works, references to the world of avant-garde art of the 1900s are evident. As can be seen in her artwork "FLOATING" where a particular attention to surrealism emerges with shapes and colours that bring us back to the world of playfulness and childhood. Distributed on a blue background, different shapes move like a dance. A cheerful and continuous movement. The shapes are deliberately abstract, the angles not perfect, the sides of the polygons not perfectly straight and outlined. There are also stylised figures of men floating and actively participating in the composition. Everything is in constant motion, an uninterrupted flow that overwhelms everything. The brushstrokes go in different directions and contribute to the dynamism. Red, black, green, yellow and blue are the real protagonists of the work. The colours contribute to giving energy and feeling, drawing the attention of the viewer who is drawn into this dance. The artwork leads one to reflect on the situation of modern man. The artist invites the audience to detach themselves for a moment from material constraints, from society, stripping themselves of pares and anxieties. The painting invites people to be free, to feel light, to leave behind all that is negative and focus on the positive. Rita removes materiality from the world, letting objects float in nothingness, floating in a parallel, imaginative universe. The viewer, looking at the image, becomes part of the work and actively walls it up. She detaches her mind and sets off towards new horizons where Sisto worries and fears do not exist. These emotions are also conveyed through the painting technique, free of conventions. Art takes possession of the brush and moves freely on the canvas without limits or constraints.
Art Curator Ilaria Falchetti
Rita Oatway
FLOATING
Roberto Altini Painting for me is a surprising discovery: perfume, contact, seeing the colors take shape and mingle, seeing that blank canvas and imagining what could be there and once finished having desire and curiosity about what will do next
Positivity, calmness, confidence. These are the feelings conveyed by Roberto Altini's work, No Title, at the VISCERAL international art exhibition hosted by M.A.D.S. Roberto says "Trust yourself. Remember in the difficulties you will encounter in achieving your goal that which is never stable." For the talented artist, painting is discovering colors, scents. Art for Roberto is a continuous discovery, he investigates, questions and has the goal and desire to see what will be the outcome of his work once it is complete. Roberto makes questioning his way of life; he has always been fascinated and interested in ancient and modern philosophy and spirituality, and this curiosity of his spills over into his works. No title is the pure Fauvist expression of art, Roberto focuses on color, used freely and in an emotional as well as constructive function, in the wake of van Gogh and Gauguin. Roberto's art is based on the simplification of forms, the abolition of perspective on the use of bright and unnatural colors, and the incisive use of pure color that tends toward immediacy. Starting from different suggestions and stimuli, he sought a new mode of expression based on the autonomy of the painting from reality.
Art Curator Mara Cipriano
Roberto Altini
Nessun titolo
Roxane Revon Roxane Revon is a French-born multidisciplinary and polymathic artist. Her artistic career is not limited to one medium but she loves to experiment and immerse herself in new creative experiences that lead her to use several painting mediums. Her art is original and unique. What she conveys are real relationships with her surroundings. She invites the audience to relate to the world, through art and imagination. To understand her works, one must be willing to free oneself, to let out emotions and feelings in order to fully empathise with the work of art. Having also worked in the theatrical world, her artworks often have a scenic, magnificent and evocative setting. Roxane arouses unexpected, strong and disruptive emotions. As in the case of her work 'Bamboo cyanotype'. The technique used is very particular and the process is laborious. The artist emphasises the controversial relationship between humans and living beings, particularly, in this case, with plants. She breaks away from the objective, realistic vision and immerses herself in a temporal vision, detached even from space. Vegetation becomes something decorative. The plant is analysed from another point of view, decontextualised and transformed into art. Everything that surrounds us is art, but sometimes we need to change our perspective. The world needs new visions and man needs to create a relationship with his surroundings. Subjective vision is fundamental and induces a new type of approach. Roxane creates an X-ray of the plant, concentrating on the roots that with their ramifications reach anywhere. She invites the artist to enter a new temporality, to forget what he knows in order to plunge boldly into a new and imaginative world. The cyanotype technique creates images with characteristic shades of blue and azure. The colours contrast with each other, creating plays of light, contrasts. Light and shadow alternate, giving movement and vitality to the artwork. His work interrogates visceral relationships, inspired by the readings of anthropologists Natasha Myers and Philippe Descola, the artist stages new ways of seeing and sowing the plant/human relationship. The artistic path behind each piece is elaborate, made up of research and experimentation. Each image is studied and thought out.
Art Curator Ilaria Falchetti
Roxane Revon
Bamboo cyanotype
Rüdiger Carius “The source of art is being” (Rüdiger Carius)
Melting ice, Pop, The attraction, The swirl are the new, highly anticipated four works exhibited at the M.A.D.S. International Art Gallery at the international exhibition "VISCERAL." Rüdiger reintroduces his deconstructed universe. Two works, Melting ice and The attraction belong to the semi-figurative dimension animated by creatures close to what can be a pattern of human being. The artist characterizes these figures with a typically human, often sporting, activity. It is no coincidence that Melting ice presents two ice skaters, two lovers. These inanimate figures, immersed in an undefined but schematic, abstract but rigorous space are incredibly imbued with the emotion they convey to the viewer. A thousand emotions also convey The attraction in which the artist plays with proportions and once again expresses a multiplicity of feelings and reports different human activities.
Rüdiger Carius
The second two works, Pop and The swirl lose figurativeness in favor of pure abstraction. Rüdiger immerses us in an abstraction that is completely akin to our days, our times. Pop is pure energy, forms, color and is pure representation of Split Art (a mix of colors related to psychology and neurobiology in combination with "destroyed" forms). The new artistic current introduced by Rüdiger shows us the world, emotions in a completely different, unusual but extremely communicative way. The power of color and forms used establish a dialogue with the viewer that is more powerful than communication because the artist communicates with the unconscious part of our mind. The swirl explains through images what has just been enunciated in words; it is a dynamic, moving, energetic work. Dynamism is as always conveyed through the combination of geometric shapes and color selection.
Art Curator Mara Cipriano
Rüdiger Carius
Melting ice
Rüdiger Carius
Pop
Rüdiger Carius
The attraction
Rüdiger Carius
The swirl
S. Zong “To capture the transformations and rhythms of nature in order to create a work that embraces the movement of life.” (S. Zong)
A combination of notions, humanity and nature: a strange and yet essential bond that links human beings with the natural world in what are the mysteries, the movement and the energy of life. This is what contemporary artist S. Zong addresses in his paintings. Here, nature is illustrated in its amenities and tranquillity, while at the same time, it takes the appearance of an unstoppable and amazing force, which places human beings in front of their own innermost feelings. S. Zong’s paintings are not just a mere representation of what he sees; what emerges from the round and sinuous brushstrokes are not only the emotions that the artist feels, but also the bodily movements that he makes while painting. His artistic process is, in fact, “marked by gratitude, poetry and physicality”, S. Zong says; the performance of painting is vividly visible and it is as significant as the painting itself. The works “Arbre des mutations”, “Matrice primitive” and “Particules d’or” beautifully represent the intrinsic bond between nature, human beings and life. Here, blue, orange and beige shades fluctuate in the shapes of big and long leaves by creating flexuous movements all over the canvases. While the paintings are similar in style, each of them has its own meaning and a silent and strong communicative power that provokes a storm of emotions in the viewers. Be these emotions idyllic, where the viewers feel part of a whole or conflictual where they feel overwhelmed by nature, S. Zong's art is an attempt to reflect human beings and their relationship with nature. Through the sinuous lines of his paintings, the artist cradles the viewers: the mere sight of his works leads them to enter an intrapersonal world by encouraging them to seek a connection with nature and the movement and fluidity of life.
Art Curator Martina Lattuca
S. Zong
Arbre des mutations
S. Zong
Matrice primitive
S. Zong
Particules d’or
Salad For Aliens What is the perfect recipe for the tastiest salad? INGREDIENTS: colours, shapes, patterns, creativity and intuition. Take some shapes and mix them with colours of your choice, put in the right amount of creativity (q.b.) to blend the flavours altogether, and most importantly add the secret ingredients: a lot of intuition and instinct. Salad For Aliens is the perfect shop to satisfy your daily cravings for art salads. Every salad is inspired by the beauties of our planet and universe, thus infinite combinations of ingredients and imagination are possible in order to appreciate the vastity of our world. As a trainee on Earth, the owner of the shop, HOO, is inspired by every moment, every discovery on this planet to create the most delicious salads to be shared with the world. The taste of his salads will guide you through what HOO has experienced and lived during his journey on Earth and each flavour will make you discover our planet through his eyes because, in the end, we are all trainees on this world. We, the aliens, can always learn different ways of seeing the world and reappraise different situations in a novel way, thus making us much more similar to HOO than we think. Salad For Aliens will bring the essence of the life on this planet into its salads, making us reflect that a mixture of ingredients is as good as a mixture of beings on Earth, and combinations of what at first might seem odd can result in an unexpected, but wonderful blend of flavours. So, take a salad and enjoy the journey!
Art Curator Francesca Mamino
Salad For Aliens
Menu1 “Dream”- The Moon-Based Flavors
Salad For Aliens
Menu2 “Love”- The Earth-Based Flavors
Salad For Aliens
Trust the Universe
Samia Rashid Hai “Vision is the art of seeing things invisible.” (Jonathan Swift)
What do you see beyond overlapping brushstrokes, colors that mix and a white canvas as a background? Abstract art allows the artist to tell her world in an extremely personal way; at the same time the viewers are free to travel with their imagination in search of meanings and interpretations of what they see. Samia Rashid Hai is a contemporary artist born in Bangladesh for whom painting identifies with a precious means of self-expression and communication with others; she defines her works as "love letters" through which she sends messages to the whole universe. "P O I S O N" was created in 2022 with the acrylic on canvas technique. Large black and red strokes were created by Samia thanks to the use of the palette knives: the former go in different directions, transmitting a sensation of movement and dynamism; the latter are straight and clear and cut the canvas in the centre. Samia has chosen a very significant title for this work: metaphorically, poison is something that changes our mood and our attitude towards others in a negative way. Poison can be a situation of malaise that haunts us, a person that makes us suffer, an obstacle that presents itself one step away from the realization of our dreams. Through the work chosen for the VISCERAL exhibition, Samia wants to invite viewers to focus on their path, trying to remove everything that could somehow besmirch it. Strong chromatic contrasts and profound stories make Samia's works unique.
Art Curator Camilla Gilardi
Samia Rashid Hai
POISON
Sara Ann Rutherford
Art is a powerful medium for releasing one's emotions. The feelings that animate the body fuel creativity, allowing the subconscious mind to bring out hidden emotions, helping each artist to understand themselves and deal with emotionally charged events. Artist Sara Ann Rutherford, who grew up in St.Louis, Missouri, describes her creative process as a stream of consciousness. Following the narrative technique of transcribing one's thoughts in a rush, without organising them logically, the artist brings her emotions to the canvas, painting non-stop until she considers the work complete. These are works in which the artist's self, her feelings, passions and sensations come to the fore. The artist creates images representing her inner or outer world. She paints intuitively, choosing the colours she considers most suitable for what she wants to convey. The work that the artist is exhibiting for this exhibition "Bed in Brooklyn" is a hymn to her love for the city of New York, in particular the district of Bedstuy where she currently resides. Squares of different sizes represent the buildings in her district with their typical sandstone facades that change colour depending on the light. In this painting one can read all the love Sara Ann feels for her host city. The colours used convey a sense of joy and happiness to the viewer. A strength emerges from the work that shakes the viewer's sensitivity, involving him even if the subject matter does not concern him directly.
Art Curator Lucrezia Perropane
Sara Ann Rutherford
Bed in Brooklyn
Sarah Versteele
Sarah Versteele's love for art began at an early age, when, on the lap of her grandfather, a passionate art historian, she started leafing through art books, becoming so enchanted by them that she decided, when she grew up, to make it her profession. The inspiration for her paintings, which range from figurative to abstract while always maintaining a personal touch, comes from her feelings and the reality around her. This is why the artist sees her works almost as an extension of herself and a way of exploring her inner self. In Patchworks Stories, each element of the composition is both independent and connected to the others. In fact, each coloured fragment, while maintaining its own uniqueness, contributes with the others to create a new and enriched narrative.
The rough texture of the canvas surface, given by the use of acrylic, ink and gel medium, recalls the materiality of fabric, evoking the idea of patchwork, already suggested by the title, and creating a parallelism with the uniqueness and variety of our personal stories and experiences, to which the artist pays homage through this work. In Sparkling Butterflies, a multitude of small coloured butterflies invades the surface of the painting, creating a pictorial motif suspended between the abstract and the figurative. The work, inspired by a visit by the artist to the Valley of Butterflies in Rhodes, Greece, is intended to celebrate change and growth through one of the symbols of transformation par excellence, the butterfly, whose delicate movement gives the entire composition elegance and vital joy. In Let Love Rule, the apparently abstract subject of the composition is actually created by the repetition of the words "let love rule", which follow one another in a concentric pattern, evoking, through their soft and enveloping shapes, the artist's idea of love: a universal feeling capable of making human beings better. The visceral instinct that the concept of the exhibition urges the artists to express is evident in each of the three works presented by Sarah Versteele, who brings her innermost spirit to the canvas in a free and unconditioned manner, naturally expressing her deepest interiority.
Art Curator Marta Graziano
Sarah Versteele
Let Love Rule
Sarah Versteele
Patchworks Stories
Sarah Versteele
Sparkling Butterflies
Savas Deli "If you ask me what I came to do in this world, I, an artist, will answer you: I am here to live out loud." Émile Zola The German artist Savas Deli, originally from Hannover, expresses his inner life through painting. His paintings are guided by feeling and the emotions of the moment, his subjects are the fruit of his feelings. His feeling spontaneously decides which colours and shapes to bring to the canvas. Colour, light and psychic automatism are the main components of Savas Deli's abstract art. Movement and matter come together in a single breath that gives form and nuance to his subjects. Long, short brushstrokes define the sketchy strokes that converge in a centre where all the colours fade and dissolve. Yellows, reds and greens are the means to tell the story of the warmth one perceives upon entering the artist's experimentation, a large chromatic weave that opens up to the viewer's reality as an everyday experience. In his painting, Savas Deli, expresses his emotional state and life experiences; mourning grief and happiness take on shapes and emotions on canvas thanks to the power of colour. The artist is dedicated to exploring the unknown regions of human emotions. His aim is to express an idea in an original way through his works. His paintings are experiential, vivid and emotional, presented in their purity and simplicity. They are narrated and lived stories, thought out and disseminated that find their point of arrival in the present matter. His art is combinatorial in nature, where scenarios are repeated but intersect in ever different ways to produce new situations in his world. Reality sometimes merges and sometimes brushes up against the imaginary, always maintaining a due distance, it seems that the artist always wants to leave room for the imagination of the observer of his paintings so as not to reveal how it turns out. He plays with an explosive and luminous palette that questions what the real world really is.
Art Curator Giulia Fontanesi
Savas Deli
Deli,s diner
Sayo Ouchi “It is our privilege and our adventure to discover our own special light.” (Evelyn Dunbar)
Sayo Ouchi is a contemporary artist of Japanese origin who lives and works in London. Always inspired by the female figure in its various cultural facets, her art shows herself wrapped in colourful imagery, where women and nature emerge lush and full of life. Genuine psychedelic portraits in which bodies and faces merge into vibrant sceneries made of lines and spots with disturbing tones. In the three works ("The Main Actress"; "Twin Diamond"; "The Queen of the Wild Shaman") exhibited at M.A.D.S. Art Gallery on the occasion of the VISCERAL exhibition, we notice how these elements are present with great intensity. The viewer finds himself immersed in a universe that tells of a renewed and powerful female figure, aware of her identity and eager to regain her own space. The language adopted is also greatly influenced by symbolism, as well as pop culture. In fact, the circle is a recurring geometric figure in the artist's research, exploited to highlight certain facial features and body shapes. The circle symbolizes the eternal flow, the soul and water, and thus the maternal feminine principle, while for C. G. Jung and modern psychological thought, it represents the Self and the totality of the psyche. This is profoundly interesting in relation to the work by Sayo Ouchi, whose aim is precisely to release and allow the feminine mind to flourish. Hers is an analysis of femininity as a universal concept, where the emotions felt are the same all over the world. These digital works are intended to be a bridge connecting cultures, between the West and the East. A new way of uniting apparently distant worlds.
Art Curator Francesca Brunello
Sayo Ouchi
The Main Actress
Sayo Ouchi
The Queen of the Wild Shaman
Sayo Ouchi
Twin Diamond
Sergio Blanco
Art has not always been part of Sergio Blanco’s life, but it has always resided within him, semi-hidden, waiting for its moment to shine. The Argentine artist had to turn his life upside down to get it out, but once he found the courage to do so, Art showed him that it is his "straight path", the one that Dante Aligheri had lost in the middle of his life and that Sergio Blanco has instead finally found. His works are abstract and, among other things, they are the mirror of his interiority. The three works under examination are different, and yet we can read in each of them the same hand nervous, but accurate at the same time, the same hand inspired and still doubtful at times despite the quality of the works is undoubted. The comparison with the life of Dante Aligheri is not accidental; in the work " Infierno" there is, in fact, a reference to hell described by the Italian poet. The Argentine artist has here, however, reinterpreted it: on a red-brown base we find rapid signs that appear as scratches. The colors are mixed directly on the canvas in a deliberately violent way giving rise to a tormented representation; a conflict (perhaps interior?) takes place before our eyes. We can find the same violent lines in "Amanecer crepuscular". Sergio Blanco develops this work horizontally so that the viewers are lost in this expanse of bright gold. This color, however, is stretched on the canvas in a way far from uniform: it is fragmented into thin slits and small spots spread on the canvas in a nervous but harmonious way at the same time. In "El muro", finally, Sergio Blanco shows us his skill in the multi-material field; this work, in fact, is made on wood. It takes on a remarkable tactile quality and can be approached to bas-reliefs because of the play of light and shadows that are created on its rippled surface. Here, gold is the only color present and yet the presence of shadows, of which I spoke before, give movement to the composition. It does not seem to admire a wall, but rather a golden sea rippled by the wind. With a strong and decisive style, Sergio Blanco speaks of himself but also speaks of current events, in his works there is meditation and instinct, there is past and present, but above all, there is his talent that certainly does not go unnoticed.
Art Curator Francesca Catarinicchia
Sergio Blanco
Amanecer crepuscular
Sergio Blanco
El muro
Sergio Blanco
Infierno
Sergio Cesario Sergio Cesario is a Brazilian-born artist who now lives and works between Miami and Lisbon. His artworks are innovative and original. They provide new perspectives and points of view of the world, leading the viewer to leave behind a conventional view of his surroundings. Sergio works with digital photographs and is inspired by reality, decontextualising it and creating new images. The works he produces are the result of research and a passion that has been going on since he was a teenager. Technology has influenced him greatly. The images he creates gather different impulses and stimuli from objects with which man is familiar. Therefore, starting from something the public is familiar with, he manipulates and distorts reality, creating abstract and colourful shapes that create visceral relationships between man and the image in front of him. What is familiar becomes something new, to be discovered. While what is unknown appears closer to our reality. In doing so, Sergio works on two parallel planes, where the only meeting point is art and subjectivity. In his artwork 'Precious', the artist uses vibrant and striking colours. The energy contained in the reds and purples blossoms suddenly, trying to contain the exuberance of the yellows and blues. The technique he uses is very close to the textures of oil painting, although it is a digitally produced image. Sergio is very adept at modernising painting techniques and incorporating references to futurism, surrealism and abstractionism but in a contemporary form. In this way he narrates the world with a new, evolved point of view but using points that the public already knows so as to make the work comprehensible. The feelings triggered by the image are conflicting, passionate. In the diptych 'La Bourse De Rêves 1 and 2', the artist allows technology to decontextualise a three-storey architectural structure with arched openings, creating perspective and widening the view. The colours focus on cold tones. A digital photograph, distant in time and space, yet so close to our everyday life. Sergio's artistic play lies in mixing the unknown with the known, combining photographs of unrelated places and objects. The choice of colour is also fundamental and suggests the emotional key with which to interpret the artwork. In "Le Chat Voilé 1" the atmosphere changes. The contrasts between red and black are strong and disruptive. Baroque architecture emerges from the background and becomes a decorative motif. The choice of these colours is not random and brings out fears, anger, passion. Sergio invites the viewer to liberate himself, not to be afraid of his emotions. Again, he builds the image from a contact with reality, from a photograph. The artist proves to be very adept at manipulating images and rendering them in an artistic version. Each artwork conceals a story and is enigmatic and mysterious. Sergio provides the elements for interpretation but leaves it to the viewer to provide his own subjective version, thus creating new points of view.
Art Curator Ilaria Falchetti
Sergio Cesario
Precious
Sergio Cesario
Le Chat Voilé 1
Sergio Cesario
La Bourse De Rêves 1 and 2
Shaleen Garba Shaleen Garba is a contemporary artist based in Atlanta, GA, who communicates her art through the language of color, organic shapes, and expressive mark-making. In addition to traditional brushes, she uses pallet knives, spray bottles, or fingers to help scratch the painted surface. At “Visceral” exhibition hosted by M.A.D.S. Art Gallery, Garba presents “Oh, It's 2 A.M.?”. The work is presented as a set of abstract colored blocks, whose colors, from softer to more gaudy to deeper, alternate with each other giving the whole not only an effect of harmony and balance but also of depth and three-dimensionality. As the artist says, she intuitively use bold brushstrokes and shapes on top of delicate layers that pay homage to life's jubilance. The color in her paintings wants to create energetic work that looks like a celebration. Influenced by Pablo Picasso's Rose period, Garba in fact uses cheerful orange and pink hues to show play and lightheartedness. The title of the work then refers to the late hour in which Garba finishes painting - with her husband next to her who keeps her company: their typical bedtime is 2 A.M. which always seems to arrive quickly. Garba therefore named this piece "Oh, It's 2 A.M.?" since this is what she and her husband usually say around that time.
Art Curator Matilde Della Pina
Shaleen Garba
Oh, It's 2 A.M.
Shikon
Behind the artistic name Shikon, there is a talented Japanese artist that choose as her artistic name the Japanese word <Shikon , a bluish purple that is a traditional color in Japan. The artist wishes that her art can connect with God and she wants to talk about Japanese culture and Shinto to the world through art. On the occasion of the “Visceral” exhibition at M.A.D.S. Art Gallery, Shikon presents a wooden circular panel titled “Ascension” created with alcohol ink and drawn with wind without using a brush. Shikon's artworks are a transposition of her thoughts and her being: colorful and golden. From her painting, formed by fluid shapes of color, we can capture her personal world traits to discover a new one dominated by a poetic way to create art. Shikon is inspired in her art by Kintsugi, literally "repair with gold", is an old technique devised in the late 1400s by Japanese potters to repair ceramic cups for the tea ceremony. The breaking lines are left visible, highlighted with gold dust. She uses this poetic technique in her art so painting becomes a story, an emotion that leads us to stop and look inside us to discover ourselves. The use of a circular base makes her paintings a vibrant communicative force. The gold color explodes to our eyes filling our sight and our soul. The shapes, the lights and shadows and the gold color creates an intimacy feeling that causes a strong emotional response in spectators. The shape of one strong color creates an intimacy feeling that causes a big emotional response capable of evoking feelings and sensations in the spectator's look.
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"Art is a line around your thoughts” (Gustav Klimt)
Art Curator Federica Acciarino
Shikon
Ascension
Shu There is something fascinating in the broken planes, in the geometric blocks that form gentle, curved elements, in the crystalline color that Shu uses to tell what flows from his creative spark. What we have before us is something overflowing with vitality, chromatic masses that seem alive, seem to literally pulsate when looked at closely. How then is it possible to mimic the essence of life through the power of color and form? A sea of colors stands before our eyes. Guttural red, pastel pink, orange red, flesh pink. The broken planes of the composition induce us to look at every tiny detail of the composition as if to examine every single plane, every single facet that makes up the subject we are looking at. Because facets are what we are talking about and, in front of us, it really looks as if there is a crystal cut by extremely precise hands. The color moves, it reverberates its expressive force in the various planes of representation, it breaks its docile linearity to create a composition formed by many small tesserae that follow one upon the other, one next to the other. Precisely because of this, the shape and structure are reminiscent of those of a carved crystal. The perfection of the line and the cuts to which the work is subjected contribute to the creation of an extremely interesting image because of its unusual formal treatment. The breaking line and the heterogeneity of the planes that form "Comatose" allow the formation of an abstract work that, through the use of color seems alive. Although therefore the use of facets is reminiscent of a crystal, looking at the work with an overall glance we can notice more. The red-pink color, the presence of multiple different planes, and the almost vortex-like conformation of the entire composition reminds us of a section of something. The first image that might come to mind is the photograph of the inside of the human body obtained through a CT scan. There is the same circular setting, the same division of planes, the same confusing set of elements overlapping one another. The mind wanders, and as we look at Shu's work, the section of a tree trunk characterized by concentric circles one after another forming its structure and telling its centuries-old story also flashes into our minds. In both cases it is a view of a section of a living thing, of something alive therefore, whether animal or plant. Through these subtle and almost imperceptible references to the natural world, Shu's work acquires life. The color seems to move from plane to plane, the facets seem to pulsate and change their form. The artist literally manages to breathe life into an abstract work by creating references that stimulate the mind subtly and quietly, like a whisper.
Art Curator Lisa Galletti
Shu
Comatose
Shu
Lily
Shu
Night of Resuscitation
Sieglinde Mikula
The works of Austrian artist Sieglinde Mikula depict fascinating and mysterious female subjects. Sieglinde’s women emerge from dark backgrounds, have smiling and cryptic expressions drawn with subtle and elegant strokes reminiscent of the Japanese style. The eyes of the faces represented in profile of "Harmony of Opposites" and "The Gracefulness" are formed by lines that lengthen the eyelashes through a single line and spirals on the cheeks, giving them the appearance of masks. "Harmony of Opposities" represents two faces looking in opposite directions through the nape, two sides of the same coin. The hair of the two heads, one with white face and the other with black face seems to be the same long, smooth and colorful. The geometric element of the circular, triangular and quadrangular spiral is constantly present and covers the whole of the background of the first picture and the body of the subject of "The Gracefulness" adorning it with shapes reminiscent of tribal tattoos. The woman represented in profile is majestic, she stands up straight and looks in front of her without fear. Another element prevalent in all Sieglinde’s paintings is the hair of the subjects: through this the artist expresses in a particularly lively way her creativity and tells part of her life.
Sieglinde Mikula
In the case of "The Gracefulness" this is colorful, light, in contrast to the dark color of the skin of the subject and seems almost confused with the tones of the background. In the hair of the woman of "The Colors of Music" instead the viewer finds the spirals: they represent the sound perceived by the listener. Around her dance musical notes that come from the piano on which the Muse of Music is sitting. Just like in other works her eyes are closed, the expression is smiling and focused and the viewer can see the music he feels closest to him. In the case of "Romance" the artist represents a woman with very clear skin and hair. The hair is fluffy and the expression of this subject is different from the others. For the first time the artist portrays a woman with open eyes: blue and thoughtful eyes, intent on thoughts of love. The element that unites all the subjects is the representation of red and fleshy lips that enhance the complexion of the subjects that goes from very light shades, almost white to very dark tones. Through her creativity Sieglinde Mikula tells different stories, stories of women who differently embody beauty.
"If something takes my fancy, my imagination takes over, it starts to sing and dance in my head and wants more of it." (Sieglinde Mikula)
Art Curator Sara Giannini
Sieglinde Mikula
Harmony of Opposities
Sieglinde Mikula
The Gracefulness
Sieglinde Mikula
Romance
Sieglinde Mikula
The Colors of Music
Siegmund Angyal
In the course of the history of art, the meaning of words linked to images and visual representations becomes more and more important with the development of contemporary currents as, at times, it is necessary to help the viewer's gaze. Many contemporary artists of the early twentieth century experimented with the art of associating lexical art with their own figurative art. Twentieth-century artists with often very different expressive forms, but united by one particular characteristic: at the beginning of their career they experimented with different art forms before choosing which one to undertake. Painters who are also poets and poets who write through painting. Other great exponents of the avant-gardes instead used words to go against their own figurative art and show the world a different and revolutionary way of making art in the use of subjects. The example of the painter René Magritte is the most striking, since he takes his painted pipe and announces to the world that it is not a pipe. In the example of the contemporary painter Siegmund Angyal we see a figurative painting that really speaks for itself and perfectly adapts to the concept of Visceral as it appears to us in all its physicality and completeness. The artist's talent once again overwhelms the user with the beauty and uniqueness of his technique.
Art Curator Letizia Perrieri
Siegmund Angyal
Interconnectedness
Silvia Macková
To witness an ephemeral force. Silvia Macková, presents “Ocean Spirit” for the “Visceral” Mixed Reality art exhibition at M.A.D.S. Art gallery. A vertical artwork to enhance the curvature of the wave about to be broken by its inevitable nature. The sun appears to be setting, after the golden hour we can witness the magic only for a brief period of time and it is still worth it. A pink setting contrasted by the green wave brings a sense of stillness. Green bright tones act as a visceral and inevitable task. An ephemeral force. “The man who has experienced shipwreck shudders even at a calm sea”. – Ovid. “Ocean Spirit” make shudder only to those who cannot create. “How inappropriate to call this planet Earth when it is clearly Ocean”. – Arthur C. Clarke. We could think of nature and keep in mind only what is green or maybe only what is blue. A green wave depicted is a compromise to make both coexist. Silvia Macková has also created a green frame of green nature, mixing it with what would be a blue force. A visceral spirit is taking over the green wave leading it to evolve with green nature.
Art Curator Karla Peralta Málaga
Silvia Macková
Ocean Spirit
Skyolet “Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul”. (Wassily Kandinsky)
In art, the term horror vacui defines the act of completely filling the entire surface of an artwork with finely detailed details. Skyolet's artwork is reminiscent of this practice: intertwined curvilinear lines stand out against a pink background, forming a labyrinthine chaos with black outlines. Crisscrossed with colored dots, the lines appear to form the wavy hair of a female figure in profile visible in the lower right corner, which from her large green eye seems to hint at a smile. Other colorful eyes are scattered throughout the work and observe with strong intensity the viewer who is drawn in and stunned by a play of vivid colors. The artist Skyolet represents in this masterpiece a multilayered world where the unconscious takes over, where the eyes are the mirror of dreams beyond reality, where the closeness between viewer and artist becomes tangible.
“To look at a thing is very different from seeing a thing. One does not see anything until one sees its beauty”. (Oscar Wilde)
Art Curator Marina Maggiore
Skyolet
Beyond You & Me
Sofia Cabrera
The artist Sofia Cabrera presents on the occasion of the international art exhibition VISCERAL the artwork titled Atmosphere. The artistic language used is the abstratims in fact the colours seem to go towards an homogeneity. The monochrome of the background communicates the idea to create on the canvas the representation of a particular atmosphere. This means that the composition is not the description of reality but what she feels at the moment of watching and leaving this atmosphere.
Art Curator Elisabetta Eliotropio
Sofia Cabrera
Atmosphere
Sonja Kresojevic
Sonja Kresojevic, presents “Summer” for the “Visceral” Mixed Reality art exhibition at M.A.D.S. Art gallery. A vertical painting with bold brushstrokes, which invades an area with visceral persistence. Bright light tones embody an optimist approach to take over the space. “In the midst of winter, I found there was, within me, an invincible summer. And that makes me happy. For it says that no matter how hard the world pushes against me, within me, there’s something stronger, something better, pushing right back."-Albert Camus. You push back, you create from that and become bolder with each stroke. “Summer” depicts a positive outcome after turmoil, reflected by the truth of the bold brushstrokes. It is important to emphasize the size of this creation, which is 150x200 cm. It is imperative to emphasize it, because of the strength and decisiveness needed to undertake such task. Sonja Kresojevic has created a “Summer” where a decision has been made and has also been proven. It only matters how you react. And yes, you may always start again as many times as needed. Just remember to keep up with your own visceral strength.
Art Curator Karla Peralta Málaga
Sonja Kresojevic
Summer
SOU SOU is a talented and original artist with an abstract and design flair. His works have an overwhelming and intoxicating aesthetic. Everything is designed not only to be pleasing to the eye but also to allow the viewer to identify with the work by letting out emotions and feelings. SOU has moved from the world of design to the world of art and his taste for decoration and organisation of space is evident in each of his works. Abstract and decorative intertwine, creating new combinations and textures. The images he creates are poetic, seeming to drift lightly through the thoughts of the mind. The colours wander through space unconstrained and unencumbered by anything. Colour, like the soul, floats in the environment describing shapes and creating new combinations. In the work 'Midnight Camouflage', a swirl of bright colours takes over the canvas. The brushstrokes are of various sizes. In the lower part the white colour gives light and blends with the other colours, creating an impetuous movement, like when two waves of the sea meet and break on each other. The higher you go, the more individual and well delineated the brushstrokes are. At the top, a golden cloud is free to drip colour from top to bottom. The material no longer has any boundaries, sky and sea mingle and create a whole. The colour is metallic, vibrant. Time stands still, or perhaps it has always been evanescent. Everything blends in and only a colourful, overwhelming chaos remains. In 'Eros' the colour gold returns, forming the background to an energetic explosion of reds, pinks and purples. Warm colours in which black tries to emerge overbearingly. SOU highlights the various facets of love, a feeling as overwhelming as it is chaotic. It bursts out suddenly and is destined to expand, to expand in time and space. The colour has a dual texture: it appears powdery but is diluted with water in certain areas, giving movement and eliminating static. Love is a difficult concept to express in its entirety, so the artist decides to deal with a portion of this feeling, namely eros, the love part. Eros is a fire that never goes out, destined to burn. The choice of warm colours that explode and create a whirlwind, not only of colour but also of emotion, is appropriate. In 'Beyond the line' the artist instead invites the viewer to go beyond the limits of reality, to detach himself from the ordinary in order to seek the extraordinary. One must go beyond the objective view of things, explore the unknown and discover unexpected things. Beyond the limits we set ourselves, represented by the white vertical brushstrokes, there is a world to be discovered. The artist represents this world with colours, in complete contrast to the white, black and grey that oppress imagination and creativity. SOU communicates through a figurative language, using art and his painting skills. He moves spontaneously on the canvas, leaving signs of his passage with sharp, recognisable brushstrokes. The artist is able to express his inner poetry, conveying it to the viewer. He invites us to see a new perspective, to change our view of things by overcoming our limitations.
Art Curator Ilaria Falchetti
SOU
Midnight Camouflage
SOU
Eros
SOU
Beyond the Line
Stavros Kotsakis "It’s not what you look at that matters, it’s what you see". (Henry David Thoreau)
Stavros Kotsakis is an autodidact light artist and designer based in Gothenburg, Sweden. His research aims to explore the infinite facets of changing light, interacting with different materials. The history of the world and of humanity is built around light, light is something that binds us to the purest and most sacred part of our being. Stavros Kotsakis thus uses light as an expression of his own vision of the world, paying particular attention to the forms it can take to express creativity and poetics. Light becomes the protagonist of his artistic research, allowing a creative journey from form to function. It naturally becomes a basic element of geometry, creating an effect that leads to fragility with a sense of apparent imbalance. The lights dominate and measure the space, giving rhythm and colour. The illuminated surfaces become the protagonists of an installation, taking on an almost immaterial consistency. In his coloured light work, Stavros Kotsakis is able to create a flow of light in a targeted manner and transform the entire architecture into light. The viewers are thus challenged; visual perception is compromised, so that the light artwork may be confronted with a question, a doubt, personal experiences and beliefs are called into question. Stavros Kotsakis orients his research and experimentation towards interactive narrative prototypes, creating his own language and trying to stimulate the observer, his imagination and perceptions. He invites us to search for light, to study the effects produced by the different colours used, to look for a way out, a means and a different key to interpret reality and the destabilising feelings that the perception of the work may provoke.
Art Curator Giulia Fontanesi
Stavros Kotsakis
Apertur
Stellar Yeon
Stellar Yeon is a contemporary artist that uses her art to express the unique beauty of humans, animals and nature. Her art is focused on releasing the powerful emotions that govern us like hope and prayer and communicate them through his art. On the occasion of the “Visceral” exhibition at M.A.D.S. Art Gallery, she exhibits one beautiful work titled “Time runs on the railroad”. It is the representation of time: a chair stuck in an hourglass on rails. Sometimes even in moments of relax and sitting, we are forced to realize that time flows inexorably like a train on the railroad tracks that must reach its destination. The work is also characterized by the use of only two colors, yellow and blue which creates a strong contrast. The yellow of the sun illuminates the hourglass and its contents with hope and joy, but also illuminating a small part of the landscape surrounding the tracks which is the representation of the world where we are. Stellar gives us a work of great intensity of meaning, a wish from the artist that the tracks can become a brilliant life path. But also a wish to enjoy the present, not to think about past events because they have already passed.
“They always say time changes things, but you actually have to change them yourself” (Andy Warhol)
Art Curator Federica Acciarino
Stellar Yeon
시간은 철도길을 달린다 (Time runs on the railroad)
Stephen Linhart “Art is visceral and vulgar - it's an eruption.” (Georg Baselitz)
Stephen Linhart is a contemporary American artist who immerses his artistic research in algorithmic and digital art, transforming the image into a new universe to be discovered, into a veil to be torn in order to see beyond. His works are the result of an intense post-production process, which allows him to enter into the subject's limbs, to the point of annulling the original. The five works ("Curves 4"; "Tangled Web"; "Soft"; "The Heart of the Matter"; "Teeth") exhibited at M.A.D.S. Art Gallery on the occasion of the VISCERAL exhibition, intertwine with the theme in an interesting way. The vorticity of the elements in each work highlights the artist's need for expression that is so profoundly linked to the unconscious. In fact, his art, despite coming from a very technical background, nevertheless opens up a dialogue with a highly irrational universe, where the image loses its original state, in order to transform and free itself from pre-existing conceptual schemes. Influenced also by Surrealist thought, he also imprints on his works a vision intertwined with dreams and the incoherent flow that characterizes their detachment from meaning and reality, overwhelming the viewer with vibrant and colourful imagery, where matter seems to decompose. Stephen Linhart breaks the visual mould to allow form, deforming itself, to find a new way of existing within a world that is too defined for him. He invites us to break through the pre-constituted barriers of reason, to welcome new experiences and let ourselves be guided by those deep emotions that are too often unheard.
Art Curator Francesca Brunello
Stephen Linhart
Curves 4
Stephen Linhart
Soft
Stephen Linhart
Tangled Web
Stephen Linhart
Teeth
Stephen Linhart
The Heart of the Matter
Sthu Manaka Sthu Manaka is a contemporary painter of abstract portraits. His works have already been exhibited in numerous galleries. He creates evocative images, starting from reality and transforming it, manipulating it to evoke profound messages and letting emotions take hold of the people he portrays. Colour is often the protagonist and an expression of the inner soul. Sthu lets the true essence present in all people speak and mix with the work of art. He depicts images that are trapped in time, emphasising a visceral relationship between the person and his portrait. Art becomes an expression of hidden emotions, unexpressed feelings and momentary sensations. Sthu succeeds in capturing the true essence of the human spirit, extrapolating spiritual interiority and highlighting it with the medium of art. With colours he creates a continuous flow, an uninterrupted movement capable of creating relationships between the viewer and the image. In the painting 'Bophelo ke ntwa (life is a struggle)', his concept is evident. The artist expresses the inner struggle through heartfelt casts that start from the head and go downwards, affecting everything. The background is bright pink, perfectly uniform and two-dimensional. The viewer is pulled by the work's protagonist, coloured with a few contrasting colours. The areas of light and shadow are well delineated but not blurred. The flow of thoughts in the man's mind escapes from the skull and is released outwards, becoming real. The work is impactful and invites the viewer to inner recollection. Life is a constant struggle and the work serves as a visual metaphor for this. Fears, anxieties and worries are mixed with joy and happiness. Although every day we all struggle to find our balance, our inner peace, we must never lose who we are. Build our identity as individuals, keep in mind who we are and what we are worth. Life is a tangled mess but only by being ourselves can we achieve harmony. Sthu has the ability to communicate strong messages through aesthetically pleasing, contemporary imagery. He reveals the raw truth using his own art and style, always remaining true to himself.
Art Curator Ilaria Falchetti
Sthu Manaka
Bophelo ke ntwa (life is a struggle)
Sun Shuang Yanyan "Every portrait is, first of all, an act of affection, friendship, love for someone and also a form of idealization" (Domenico Paladino) The artist Sun entrusts her hands, her colors, her emotions to a realistic style and gives us the gift of extremely intense works. Sun produces portraits, giving life to this type of work means not only recreating a physiognomy but also transporting on canvas and describing the emotionality of the person portrayed. The artist creates works strongly charged with emotions, she represents moments, details of a daily life but at the same time full of emotional intensity. The people portrayed seem to want to talk to us, it seems to be able to understand what they are thinking, a real dialogue is created. If on the one hand Sun's works represent something real, on the other hand she manages to insert hidden meanings, thus giving great depth and value to the works themselves. The artist wisely uses colors, masters the technique and creates works of great aesthetic value. The protagonists of the works are not only the people depicted, but the colors that the artist uses, in fact they are not real, she does not depict people in a totally truthful way, she transforms reality with the use of colors. The blue woman clearly does not reflect the truth of the facts, but perhaps the color brings to mind a state of mind. The artist is able to use colors wisely, to modify reality but leaving intact the great aesthetic value of the forms. If on the one hand she transforms reality, the works still remain true because the thoughts and feelings that transpire from the people portrayed appear to be real and tangible. The series of works that Sun exhibits are true, intense, they possess great emotionality and transmit to the observer the sensations and emotions that go to dig deep within. Sun's works offer a moment of reflection and aesthetic joy, an eternal gift for the subjects and the observer. Encountering the work of the artist Sun means finding a moment to reflect, she makes us rediscover forgotten sensations.
Art Curator Vanessa Viti
Sun Shuang Yanyan
A couple
Sun Shuang Yanyan
Woman with her cat
Sun Shuang Yanyan
Women in front of aquarium
Susanna Susanna is a Canadian artist who experiences many types of art. The artist uses digital art and Adobe Illustrator to create artworks full of color that lift spirits. Her style is reminiscent of the dynamic and lively forms with which Keith Haring represented dancing characters and, at the same time, the colors resemble the stained glass windows of churches. The artist creates "Ocean Wave", a work inspired by swimming in beautiful ocean waves on the beaches of the Canary Islands of Tenerife. " Ocean waves give energy and charge with a positive attitude and faith in future achievements". Susanna uses strong and decisive tones to represent a wave that rises in the impetus of movement and that frames a volcano. The ocean is colorful, formed by many small sharp waves and from this emerges the wave that gives the title to the work. The lower part is formed by rectangles of darker color, different shades of blue, purple and green, while the upper part is represented by droplets reminiscent of the foam of the waves. The droplets are made up of warm colors, pink, red, orange and yellow tones that rise in three levels and that in the upper part frame the volcano which is in turn surrounded by yellow rays. The background is yellow and around the wave are decorative elements that add the last dynamic note to the design. Susanna fills all the space of the canvas and uses her creative talent to design cheerful works full of energy that release positive power and load those who look at them with positive force.
"The goal of my workflow is to create beauty, harmony, and positivity." (Susanna)
Art Curator Sara Giannini
Susanna
Ocean Wave
Svein Ivar Ulrichsen "Music is for the soul what gymnastics is for the body." (Platone)
Svein's artistic work is for the viewer a gymnastics for the soul, he somehow puts us in contact with mystical entities. The figures it represents, every element, every single detail seems to aspire to something transcendental. Svein's works make us lose the sense of reality to catapult us into an otherworldly world, where the absolute protagonists are emotions and feelings. The work "Free spirit" is an example of the artist's great ability, a human figure seems to fly, it is free, it can take flight, the colors that Svein uses are wisely balanced, a dark background that contrasts with the brightness of the figure Human. An important element in all Svein's artistic work is precisely the contrast, he makes extensive use of it in both colors and shapes. Dark backgrounds always contrast with luminous figures and details, so as to give them the right importance, as in the works "Loss of expression" and "Lust", the figures dominate the works because they are luminous and possess almost otherworldly characteristics, as if they were souls.
Svein Ivar Ulrichsen
In the work "Returning from the Big Emptiness" the contrast that Svein creates is given by the abstract of some elements and the pure realism of the earth that can be seen on the right side. In fact, the artist's works are full of details and often meanings that the viewer is free to interpret. Svein's works evoke memories and emotions, observing one of his works often means bringing to the surface forgotten moments, or even dreams, this is precisely the great power of Svein's art. He gives us the gift of unique moments, he makes us savor dormant memories, he transports us to other dimensions and makes us travel through space and time. Encountering Svein's work is always a moment of joy for the eyes and for the heart, he is able to make our soul fluctuate like that of the figures he represents. Svein gives us a moment of lightness accompanied by reflection, his works are always the starting point for reflecting on us, on the world, on existence.
Art Curator Vanessa Viti
Svein Ivar Ulrichsen
Drinking from belly butterflies
Svein Ivar Ulrichsen
Free spirit
Svein Ivar Ulrichsen
Loss of expression
Svein Ivar Ulrichsen
Lust
Svein Ivar Ulrichsen
Returning from the Big Emptiness
Svein Ivar Ulrichsen
Woman by the pond
Taru Rouhiainen "Roots lie on the surface." (Karl Kraus)
Cultural tradition has accustomed us to believe that the truth of things, their most real reality, is hidden behind the superficial shell that keeps it hidden from the outside. It is in the depths, it is said, that one must look to trace the truth. Art itself, moreover, was born accompanied by this idea, that is, that the essence of what we know must override the appearance by which it is revealed, thus surpassing the surface that is shown in importance and value. Faced with the profound expressiveness of Taru Rouhiainen's paintings, one wonders: what if we eliminated the dimension of depth? It would happen like this: we would be as if projected into a world in which there are no boundaries, a world made more than of deduction, of touch and sight, of colors and sensations, in which immediacy unravels as the very fabric of reality, an infinite warp that connects, like a headless web, all beings, all existing.The author's artwork showcases depth so easily that one almost wonders the exact opposite as well: if this world of which we can see a hint, is not perhaps better as it is now, protected from the gaze of prejudice, with its surface beautifully in view, like a shield. Paintings that reveal but perhaps remind us more of the beauty of being intentional about it. There’s a reason our inside is covered, our most vital organs are so fragile, our true feelings are so deep. A reflection on the importance of surface and imagining a borderless world between inside and outside becomes spontaneous when looking at the artist's work because that’s exactly that ideal place where she is painting.
Art Curator Erika Gravante
Taru Rouhiainen
Everything is energy
Taru Rouhiainen
I am Groot
Taru Rouhiainen
What lies beneath the surface
Taru Rouhiainen
Passion
Taru Rouhiainen
Just keep Smiling
Tataya Akekashi “Everything you can imagine is real.” (Pablo Picasso)
The collection of her works is like a diary in which memories of her past coexist. Tataya Akekashi is a contemporary Japanese artist who paints so that her emotions, thoughts, and experiences can live forever. She tells her story through colors which, through their strength, release great energy, but at the same time feelings of peace. “At the river surface” was made in 2022 with a mixed technique: she used mud pigments, mineral pigments, Nikawa, Gohun, Kumohada hemp paper on wooden panels. A play of brushstrokes suggests the movement of the flowing river water: different shades of blue alternate in some places with brown strokes. The transparent water loses its clarity due to the impurities that the current drags: the river, in this case, can symbolize the life of every man. He is born free from all problems and oppression, but during his existence he encounters obstacles and temptations that disturb his peace. If leaves and branches remain on the surface of the water, anguish, and restlessness, on the contrary, penetrate us, upsetting our balance. Akekashi invites viewers to immerse themselves in her works, to dig into their own past by looking for memories that are good for the heart.
Art Curator Camilla Gilardi
Tataya Akekashi
At the river surface
Tatsuya Yano Soul. Life principle of living beings; in a religious sense, immortal entity opposed to the body, which in the human presides over intellect, feelings and spirituality. Yes, this is a gigantic word. The range of its specific uses is so vast as to be bewildering -- and before such words it is important to try to understand their framework, the lines of force that hold them up. Its first meaning, from which all others flow, is that of vital principle: etymologically, and according to a very ancient suggestion, this principle is described as breath, that breath that unites the living. It is a very unwieldy concept. And much of its success lies in its opposition to the physical, to the body-especially in reference to the human being, and from a religious perspective. It becomes the innermost part of the person, his true essence, the figure and non-fallen engine of intellect, feeling, spirituality. A breath, inspiring all that is invisible about a person and beyond. And a word evocative even in sound: pronouncing it, the uninterrupted flow of air exhales -letter by letter -- from the mouth, nose, mouth, again from the nose and again from the mouth. Soul. A transparent something then, which one cannot touch with one's hands and cannot see with one's eyes. Soul does not respond to our senses therefore it is not perceptible through the tools of our body that allow us to identify and analyze things around us. Yet we feel her, we perceive the soul of each person when we talk to that person, when we embrace her or even when we argue. She is there, ethereal in her essence but as big as a boulder in her importance. Tatsuya Yano, aware of the weight of the soul elaborates "Miracle Soul," a work that features within it a myriad of small souls moving alongside each other. But haven't we said that the soul is transparent and incorporeal? Indeed. And yet, its meaning, the consequences of its presence are so obvious that the artist was compelled to color it through the use of different pigments. The fluorescent yellow soul, the orange soul, the blue soul, the brown soul, the silvery soul, and so on. A collection of souls that touch each other, come into communication and contaminate each other with every slightest movement. Although in fact one is born with a soul - life breath - with peculiar characteristics, with the passage of life and experience the latter smooths its edges, fades some of its traits and conquers others. An eternal cycle of change and assimilation whose driving force is contact with other souls, with other people therefore. And it is precisely for this reason that in Tatsuya's work the souls come upon each other. Although they present garish and diverse colors - a symptom that each soul is different from the other -, contamination and enrichment is inevitable and this can only be achieved through one path: sharing with other living beings.
Art Curator Lisa Galletti
Tatsuya Yano
Miracle Soul
Thomas von Palubitzki
Inspiration, talent, innovation, creativity, originality and the art of reuse. These are the thoughts that emerge when we are faced with “Disorder”, “In black” and “Between red”. With an extravagance and authenticity reminiscent of those of Andy Warhol, Thomas von Palubitzky - German artist who participates for the first time in an exhibition organized by M.A.D.S. Art Gallery on the occasion of "Visceral" - succeeds in the brilliant idea of perceiving the potential and diversity of a small everyday object as a bottle cap. "Disorder" is an artwork really able to test us: on the one hand it is undeniable its tendency to generate chaos, disorient its observer and destabilize it; on the other hand, the arrangement of those bottle caps is so perfect and harmonious to be pleasing and satisfying: the work looks like a content asmr for the eyes. "In black" is a round work that, at first glance, recalls the solidified lava of a volcano: it leaves us stunned, undecided whether to stay there to observe it or to look away, afraid of that black background that seems to have no end. The bottle caps seem to create links of color that give rise to undulating concatenations that recall the sharp waves of a stormy sea. At "Between red" it seems impossible to take your eyes off: in that limbo between a disturbing anxiety - surely due to the red that dominates the work - and a tireless charm, this work is located. A blister pack or a sheet of bubble wrap? Maybe neither, maybe both: enchanted by these circles in relief arranged randomly on the canvas, we remain immersed in the middle of the red. This is the talent that, in addition to the artistic one, most stands out of Thomas von Palubitzky: to be able to stick to his works that, in addition to being aesthetically beautiful, are also adept at moving our deepest thoughts.
“I discovered the bottle cap for myself and immediately knew about the potential and diversity of this small everyday object.” (Thomas von Palubitzki) Art Curator Sara Grasso
Thomas von Palubitzki
Disorder
Thomas von Palubitzki
In black
Thomas von Palubitzki
Between red
Thorben Stubbe According to one of the most prominent theories in psychology, the Dual System Theory, our brain and behaviour are set up in such a way that two systems work together to give us a good balance between impulsivity and reasoning. This is because an automatic and rather emotional system is accompanied by a more thought-out and cognitive thinking process. This duality is a source of inspiration for the German artist and designer Thorben Stubbe. Designing cruise ships as his job, Thorben is strongly influenced by technical and cognitive reasoning as there are many rules to be followed in order for the ship to function. However, this structured way of thinking is opposed to the feeling he has while being on a cruise ship in action, which is much more emotional and free. This duality is the engine of his inspiration also in his work as an artist. Even if these two processes seem to create a dichotomy in our daily routine, there is much overlap in which the two can coexist harmoniously and create a beautiful picture. In much of his practice, Thorben focuses on this overlap and he translates it on the canvas to be shared with the world. In his collection, he treats topics such as emotional human connection, which is composed of many chaotic facets that altogether create the essence of human life. Additionally, in his latest series The Art of Engineering he wants to show the audience the cruise ship market through his eyes and how this duality can give rise to impactful and intense paintings.
Art Curator Francesca Mamino
Thorben Stubbe
Blue me away
Thorben Stubbe
Building Dock – The Art Of Engineering
Thorben Stubbe
Familiarity
Tionna Nyasia Watson I am no bird; and no net ensnares me: I am a free human being with an independent will. (Charlotte Bronte)
Tionna Nyasia Watson is an American artist. Her flair is expressed admirably in traditional and digital painting, as in the case of Grace, the work she presented on the occasion of the Visceral international exhibition. The work perfectly reflects Tionna's artistic intent, which is to enhance the extraordinary uniqueness of women of color, through not only physical characteristics, but also thanks to shared feelings of sisterhood and mutual support in adversity. Grace, in fact, represents a beautiful young woman, wrapped in a seductive black costume that enhances her muscles and shapes. The essentiality of the garment contrasts admirably with the curly and voluminous hair, giving the whole composition a remarkable dynamism, accentuated by the sinuosity of the pose. The young woman, in fact, seems to be caught in a moment of movement, perhaps of dance, and she almost seems to perceive the invisible notes on which the girl moves. The artist makes Grace the emblem of the beauty and elegance of black women, and above all of an inner strength that is expressed in self-confidence and freedom, an essential element of life.
We must be free not because we claim freedom, but because we practice it. (William Faulkner)
Art Curator Chiara Rizzatti
Tionna Nyasia Watson
Grace
Tomoaki Sugawara
Tomoaki Sugawara is a Japanese contemporarry artist. On the occasion of the International Art Exhibition “Visceral” at M.A.D.S Art Gallery, Tomoaki exhibits one work titled “The Wooden Horse”, created with acrylic and gel medium. With this intense work, the viewer is catapulted into a childhood memory. Probably, this is a memory of the artist himself but it can also be a memory that belongs to all of us. A wooden horse, like the one represented by the artist, is the most classic of children's toys that we all played with. Time is suspended thanks to the use of soft, delicate and sweet colors, suitable to represent a child's bedroom. Tomoaki is capable of creating an enchanted and familiar atmosphere, he animates the painting and enriches it with a deep feeling that comes loud and clear in the memories of us spectators. We find ourselves contemplating this canvas with understanding feelings of nostalgia. The artist himself, through the strong feelings of his works, gives us the right key to his personal pictorial universe, gifted to our eyes.
"A true artist is not one who is inspired, but one who inspires others.” (Salvador Dalí)
Art Curator Federica Acciarino
Tomoaki Sugawara
The Wooden Horse
Toyo "Colors, like features, follow changes in emotions" (Pablo Picasso)
The artist Toyo creates artwork full of energy and positivity, a work that embodies the great power of color. The artist manages to condense an infinite series of emotions in her works, color is the main element, it is the real protagonist, together with abstract shapes, circumferences that move within the work, it almost seems like they want to go outside to get in touch with the surrounding environment and with the observer. In the work "Interacting structure" it is evident how the artist was able to create shapes that, although abstract and that do not immediately refer to contingent reality, create vitality and dynamism and at the same time make the work extremely calm. The color is lively, bright and gives a feeling of great vitality, colors that complement each other and give peace and tranquility to the viewer. Like any story that has a past, a present and a future, so the work of the artist Toyo tells a journey, a journey characterized by reflections, thoughts and experiences to treasure, secure foundations, true and solid thoughts. Through her work, the artist wants to express thoughts and emotions connected to them, the artist gives us the gift of reflection, her work can be a starting point for each of us to understand and investigate existence. Without a doubt, the viewer is pervaded by a strong feeling, the work certainly causes a leap in the heart, in fact Toyo's work is able to impact the soul of the beholder, it is suggestive and full of power. Her work seems to want to talk to us and tell something, the viewer can do nothing but listen and let himself be pervaded by this strong wave of emotions. The color and the essential forms that the artist celebrates in her work become, in some way, the elements through which the artist frees herself from any preconception and prejudice, she expresses herself without doubts and without fear, she puts in her artistic work all her thoughts and ideals without any fear. Toyo gives us the gift of freedom, her works become a cry for freedom for the observer, it is the starting point for reflecting and getting to know ourselves. Her artistic work becomes a means, a bridge that can connect reality with thoughts and emotions, in which both the real and the abstraction of emotions coexist in a perfect way.
Art Curator Vanessa Viti
Toyo
Interacting structure
Uncotsutete
Bright spheres dazzle our sight. They are ethereal and insubstantial, probably composed of pure light. They move in unison, forming a whitish cluster that moves slowly through the darkness. All around, in fact, is a smoky world represented through shades of blue and gray. Where are we? In what place are we? We slowly advance through this murky and at times disturbing universe. The path ahead of us is unlit; the likelihood of getting lost in nothingness is very high. Yet, at some point the aforementioned glowing orbs appear. A glimmer of light in the darkness is all we need to light our way, to make our future shine. The bright, round lights invite us to go toward them, to reach out our hand and touch them, understand their physiognomy and begin a new adventure. As soon as our fingertips touch those bright auras, we are catapulted into a new universe. Here the darkness gives way to a lighter and at the same time more evanescent environment. The atmosphere is pinkishviolet and the air is charged with vitality. We sense energy springing from the serpentiform whitish elements, feel vigor in those chromatic swirls that move around us, enveloping our bodies and minds. We are in rapture at all this dynamism, compared to where we were just before, here the space is so full that we feel somewhat overwhelmed by all this energy.
Uncotsutete
At a certain point, we abandon all reluctance and let ourselves be gently carried along by those patches of whitish energy that unfurl all'around our bodies. Finally, we become attuned to the surrounding space and are propelled, irrevocably, toward a bright point in space. A sphere of light reminiscent of a star in the sky invites us to make its acquaintance, and we, in a flash, are encompassed by its light. Spheres of light as portals to new worlds, as paths to reach, stage by stage, our future. Before us is a violet world. It is calm, serene and surrounded by whitish elements reminiscent of Hydrangea flowers. There is a feeling of being underwater and the atmosphere is dense, calm and muffled. Our soul has no fear; it seems almost satisfied by what is in front of its eyes. Uncotsutete's works can be regarded as true stages of a journey in search of the future moment that has been reserved for each of us. Through the globes of light and points of light we reach new worlds and new universes that reveal to us each time, different scenarios in which to spend our lives at least until the moment when, another luminous space wants to encompass us in its clear limbs.
Art Curator Lisa Galletti
Uncotsutete
Encounter
Uncotsutete
Longing
Uncotsutete
Future
Uncotsutete
The moment to look again
Václava Dandová
Intuitive paintings in and through which the artist Václava Dandová transmits her emotions and feelings starting from just a white paper and some colours, she gives birth to an emotional and symbolic artistic piece. Václava paintings are coherent with her concept of creating, and this is reminded also in the titles that indicate the pieces. ’Connection’, realized with mixed media techniques and just two colors, the black and the yellow ones in their hues, exhorts the viewers to a collaboration, a sort of brotherhood. There is a space, where all is connected. Like trees are connected with their roots and crowns to each other, you can realize you are connected to other people and everything around you, but only when you open your heart to yourselves first. The thin lines that compose the scene give to the whole lightness and dynamism as to be catapulted in this magical reality. The concept and the theme of ‘magic’ is represented through ‘Lady with a magic’ in which the artist has chosen to reflect and give voice to the female figure and her power to connect humanity. Always composed by just simple lines and the same nuances of colors, the paintings confer mixed sensations and feelings that embrace the viewers, bringing them into the scene. The Lady can be seen as a sort of giant flower opening to the world, as to reveal her essence and power that the artist herself calls: creativity, the element and the ability that each of us has to not hide. Always related to magical subjects, ‘The Phoenix’ acts as a sort of symbolic and important announcing piece: <<When something doesn’t work anymore, it must be burned to the ground. And as a Phoenix, something new can rise from the ashes>>.
Art Curator Martina Stagi
Václava Dandová
The Phoenix
Václava Dandová
Connection
Václava Dandová
Lady with a magic
Vaida Kacergiene “The wealth I achieve comes from Nature, the source of my inspiration.” (Claude Monet)
For the international exhibition “Visceral” at the M.A.D.S. Art Gallery, Vaida Kacergiene exhibits two wonderful artworks (“Colors Explosion”, “Spring Inspiration”) where thoughts, feelings and moods mix to create paintings full of color and vitality. The artist manages to connect with surrounds her, depicting new and different realities and drawing inspiration from every aspect that can evoke positive feelings. The environment is enhanced to the fullest, with the aim of overwhelming the viewer in an aura of well-being and tranquility: in fact, immersion in such a delicate and harmonious climate relaxes both body and mind, helping to dissolve the tensions accumulated during everyday life.
Vaida Kacergiene
This is why nature becomes synonymous with peace and absolute perfection! Vaida, in fact, reveals these fundamental aspects within her works: all the energy and positivity emerge from the pictorial surfaces, enchanting the viewer and inviting him/her to appreciate the birth and evolution of nature. Its power in creating living and pure elements, such as trees and flowers, is present in both of the artist's paintings, giving anyone who admires them a suave serenity. Each shade is united with one another, and in this way the result appears homogeneous and balanced. A strong luminosity emerges, illuminating the viewer's heart and frees his/her from the negative feelings.
“Look at the trees, the birds, the clouds, the stars... the whole of existence is filled with joy! Everything is pure happiness.” (Osho)
Art Curator Alessia Perone
Vaida Kacergiene
Colors Explosion
Vaida Kacergiene
Spring Inspiration
Verena Melchert Verena Melchert has found in art the meaning of life. It allows her to give the world her vision, share what she feels with people and manifest her emotions through shapes and colours. Art is a therapy that overwhelms anyone and brings them to know sides of themselves that had hitherto remained hidden. Art is a revelation of purity, of truth and is a language that anyone can understand. Verena is a gestural artist and lets herself be carried away by her emotions. She does not set limits or boundaries, but wanders the canvas letting art take possession of her and create a new image. Her artworks are material, the colour criss-crosses on the canvas creating three-dimensional textures. Each of her paintings symbolises a feeling, expressed both in gesture and colour. In 'Happiness' a harmonious chaos where colour makes room in the monotony of everyday life. Pink and yellow mix with other neutral colours, creating glimpses. The artist records on the canvas, his movements in space. The brushstrokes go in all directions feeding movement and creating a melody of signs and gestures. The colour has no constraints, it expands in all the space it has available. This also happens in 'Joy' where the influence of painters such as Pollock is also evident. Colour creates new combinations and textures, it overlaps, it criss-crosses, it creates a dance. Yet in the chaos there is order and harmony. The work appears monochromatic but inside it has coloured marks and shades that give it vibrancy. The marks on the canvas are gestural, dictated by emotions that overwhelm the artist. Verena creates something special, something unique. In 'Ocean of Tears', colour is the real protagonist. Blue is divided into different gradations and shades, mediated by white. The pigment is material, mellow and three-dimensional. The work conveys melancholy and depth. Verena plays with contrasts and the strength and symbolism of blue and white. Light meets darkness and tries to dominate it but it tends to prevail. A play of transparencies and superimpositions is triggered on the canvas. Each painting presents a subjective key to interpretation. The viewer is encouraged to make a connection with it by using emotions and letting them determine the flow of things.
Art Curator Ilaria Falchetti
Verena Melchert
Ocean of Tears
Verena Melchert
Joy
Verena Melchert
Happiness
Vicky Porfyri Vicky Porfyri is a Greek self-taught abstract and conceptual artist, based in Portugal. Her inspiration comes from true stories and real-life events. She mainly uses bright and vibrant acrylic colours and sometimes she uses words or quotes written. She herself says: “Paintings are not just a beautiful decorative element. Have energy, just like the words and quotes do and that is the reason, I love to combine them.” Vicky Porfyri joins “Visceral” art exhibition at M.A.D.S. Art Gallery and presents three artworks: “F.E.A.R.”, “Monster” and “World on Attack”. The first work taken in analysis, is a clear example of how the artist often inserts words into her works. In this case, the word "Fear" is represented by different fonts and is the compositional focus of the work. F.E.A.R. is the acronym for "False evidence appearing real", referring to feelings. The work appears contemporary, very conceptual. Colors and geometric shapes create a focus on the letters F and R, positioned at opposite angles, while the letters "ea" are more difficult to understand, prompting the viewers to pay more attention to the composition. The other two works, "Monster" and "World on Attack", are more abstract and the colors are brighter, despite the titles refer to complicated situations. "Monster" has a vertical gait and carries a message from Bryant H. McGill. Pastel colors, such as light blue and beige, are interrupted by a large black X, which breaks the cheerful composition, destabilizing the spectators. "World on Attack" is a clear example of Vicky’s geometric painting. The square canvas is cut diagonally into two parts: one more free and immediate and the other composed of precise lines. A meeting between order and chaos. The artist is inspired by the health emergency dictated by Covid-19 and the war in Ukraine, showing the public how easy it is to break the balance and end up in disorder. The works of Vicky Porfyri address, through abstract works, social and psychological issues, creating a link with the public.
Art Curator Giorgia Massari
Vicky Porfyri
F.E.A.R.
Vicky Porfyri
Monster
Vicky Porfyri
World on Attack
Vivian Atienza
Life is said to be divided into cycles of seven years, each of which marks a milestone for each individual. Every seven years, man evolves and is transformed. Moments of crisis and strong emotions shape his inner self, making him a different person. Through this inner journey, full of suffering and obstacles, man comes into contact with the deepest part of himself, until he achieves complete self-knowledge. The artist Vivian Atienza, a Spanish-German painter born in 1983 in Düsseldorf, Germany, combines her painting skills with her philosophical studies to create innovative works that challenge the viewer to feel emotions hidden in his or her deepest self, pushing him or her towards self-change. Her works touch our inner reality most vulnerable to change and lead us to freedom through inspiration and self-perception. Through contemplation, the viewer is taken on an inner journey that destroys the structures erected by fear to bring out his true self. The artist succeeds in her intent through the skilful use of colour. For her, human beings have the ability to perceive colours with their whole body, not just with their eyes, and this causes colours to influence them in many ways.
Vivian Atienza
Colours influence our actions: they have the power to calm stress, help us rest better and calm us down. But the perception we have of colours depends above all on our personal experiences, each colour tends to stimulate a different area of the brain through what we know, which is why Vivian Atienza's works have such great power over the viewer, because they are able to arouse different emotions and consequently a different self-perception for each individual. The colours used in the work Color Encounter 8442, which the artist is exhibiting for this exhibition, are neon pigments. They are colours that convey a great energy that evokes positive or negative feelings depending on the viewer looking at the work. Through the use of these colours, the work completely changes its appearance when exposed to UV light. The colours become fluorescent, leading the viewer to go deep into the work and at the same time examine the deepest part of himself.
Art Curator Lucrezia Perropane
Vivian Atienza
Color Encounter 8442
Vivian Atienza
Color Encounter 8442 under UV light
WhiteFangArt
The Italian artist WhiteFangArt is based in Finale Ligure, located on the Ligurian coast. The territory is characterised by a marvellous coastline, as opposed to the mountains in the background that together create an earthly paradise that is a source of inspiration for many. Particularly, for WhiteFangArt his land means everything. The nature that flourishes in the surroundings is captured through his eyes and his camera, but his artistic vision allows him to enhance this reality in a much more colourful and impactful way. From the idyllic nature of the territory, WhiteFangArt brings us to a world made up of bold contrasts, with a colour palette that reminds us of a psychedelic dream.
WhiteFangArt
In this new world, anything is possible: pink skies and fluorescent flowers are the order of the day and each new artwork is an opportunity to create new realities. Different combinations of plays of lights, shadows and bright colours give WhiteFangArt the possibility to project his emotions in the artworks, exploring his thoughts and feelings. At the same time, it’s a mutual influence. From the artworks themselves, he absorbs all the energy of the vividness of the images which is translated into a state of well-being and peace with himself. And this is exactly the power of art, a continuous and simultaneous interchange of emotions and sensations that is shared among those who experience it.
Art Curator Francesca Mamino
WhiteFangArt
BORRA/GINE
WhiteFangArt
MANHOOD FLOWER
WhiteFangArt
MONNA SPACE
WhiteFangArt
ULTIMATE DOOR
Worapol Nual-La-Ong In other words, the universe itself—and the Mind behind it—is insane. Therefore someone in touch with reality is, by definition, in touch with the insane: infused by the irrational. (Philip K. Dick) Giuseppe Trautteur, physicist and computer theorist as well as head of the fine Adelphi Scientific Library, exposes the mysteries and paradoxes of the neuroscientific investigation into free will. He writes of the free prisoner, living in a kind of lacerating cognitive dissonance between 'complete reliance on the laws of physics', which convince him beyond reasonable doubt that free will is an illusion, and the experience of choice, which is irrepressible: and if illusion, incorrigible. Through his paintings, Worapol Nual-La-Ong captures the irrepressible movement of his emotions and seems to ask: how can one be rational, if being irrational is not an option? Man is described and defined precisely as a Rational Animal and it is by virtue of this reasoning that he differs from all other species. Thanks to reason, deprived of sentiment, the human race evolved and reached very high levels of light for which the entire species is grateful and proud. The irrational, on the other hand, is feared, degraded and sometimes becomes a source of disgust and shame. But if chaos is contained by reason, in order to create as little damage as possible with its unpredictability, reason itself must not impose itself as the sole legislator of human actions. How can a man, an artist, a citizen, not surrender to this functionary of the internal and community order that is reason? The painter's answer is to stop the emotional and irrational moment, give it a context, elevate it to proper importance, treat it with kid gloves and honour it.
Art Curator Federica D'Avanzo
Worapol Nual-La-Ong
Color of mind no. 5
Worapol Nual-La-Ong
Color of mind no. 6
Worapol Nual-La-Ong
Color of mind no. 11
Wu Tungyang Wu Tungyang, 37, was born at Taipei city, Taiwan. He loves painting, drawing and discovering. Wu started drawing as a child and then from 2017 embarked on a professional career as a painter when he was back home from Camino de Santiago which inspired him deeply. At “Visceral” exhibition hosted by M.A.D.S. Art Gallery, Wu presents five artworks. “Fishes in Selhurst” depicts a pair of goldfish of which only the first is represented in a realistic way: the others are rendered in an abstract way, as if they were caught in motion. As the artist declares, the fact that even thought You were forgettable person, but still remember something that is from your inner self, then you sing for it and name for it! "Hostel interior", as the title suggests, represents a detail of a hostel where the artist has stayed: the view is very particular, half the ceiling and a splendid chandelier are taken up, on the other a glimpse of a sitting room, with a terrace in the distance. The colors are soft and the uninhabited spaces seem to vibrate with a higher power precisely because of the total human absence. The artist says he stayed in this hostel while traveling in Spain, after finishing the Camino de Santiago and having some free time in Barcelona. He lived in the hostel with many different people in the house with whom he got to talk and share the experience with each other. Same thing happens for “Hostel terrace”, in which the terrace that perhaps could be glimpsed from the previous painting is taken up. This work captures the artist's great ability to capture every single detail and make it emerge in space, through light and shadow effects that guarantee its threedimensionality and depth. "Relax for something in the terrace" is another painting that portrays a particular memory very dear to the artist, the one where he stopped with other people on that terrace. Someone's Tobacco is on the round table. A reminder that the journey teaches us a lot, such like how to make a decision with very despair. And you have a goal and a bump on your way. You have your skin and heart in the same time. Lastly, totally different, “Sheep in the lawn” portrays a sheep in the foreground in a bucolic context. The dense and poorly defined brushstrokes give the whole a slightly abstract look, while the sheep is well highlighted between the green foliage and the light at the bottom of the painting. One of the many landscapes that Wu met on the journey most dear to him and which marked him not only as a man but also as an artist: that of the Camino de Santiago.
Art Curator Matilde Della Pina
Wu Tungyang
Fishes in Selhurst
Wu Tungyang
Hostel interior
Wu Tungyang
Hostel terrace
Wu Tungyang
Relax for something in the terrace
Wu Tungyang
Sheep in the lawn
Xianwen Zheng “Quiet the mind and the soul will speak.” (Ma Jaya Sati Bhagavati)
Xianwen Zheng is one of those artists whose art is anything but scratchy, loud and gloomy. His mother’s belief in Chinese Taoism had a profound influence on him, which led Xianwen to learn Taoist Inner Alchemy and Zen meditation. Interested in phenomenology, he lets things speak for themselves through his paintings; his is an attempt to capture, in paints, the essence of a place or a thing. To grasp them, Xianwen tries to free himself from all preconceived opinions so as to focus on truly experiencing that place or thing. Within his artistic poetics, the search for a contemplative connection between the human being and the outer environment leads the artist to represent simple sceneries of ordinary life. In the paintings “Belated spring in Seurasaari island”, “Cactus in a red room” and “Clock, Fried egg and Coffee”, time seems to have been frozen in an objective and yet subjective space. The atmosphere is oddly still and silent, nothing moves as if everything is waiting for something to happen or someone to come. The paintings are the presentation of eggs and coffee, springtime and cactus: things of everyday life that acquire a different meaning to whoever is looking at them. Here, Xianwen produces an object which has both material and immaterial properties: the paintings are made through colours on a canvas, things that are touchable and measurable and, at the same time, such colours unfold in a subjective phenomenon that becomes present only in contemplation, thus arousing feelings and emotions to the viewers. By doing this, such objects do not lose the qualities of their individuality, which is seen by the viewers through their imagination and the feelings that the same objects sprout to them. The artist does not necessarily seek a personal connection with the viewers. In these paintings, Xianwen invites the viewers to search for a connection with the objects themselves.
Art Curator Martina Lattuca
Xianwen Zheng
Belated spring in Seurasaari island
Xianwen Zheng
Cactus in a red room
Xianwen Zheng
Clock, Fried egg and Coffee
Yanko Yankov
Since ancient times, artists have been inspired by nature, being enchanted by the beauty of a landscape, the warm colours of a sunset, a garden full of flowers on a spring day. Even today, in spite of the environmental disruption caused by man, nature continues to thrill with its beauty and everything must be done to preserve it. The concept of sustainability in art began in the 1970s with the birth of Land Art in America, in which the use of natural materials such as stones, branches and leaves was favoured for the creation of works, as these were perishable substances. The artist Yanko Yankov, moved by the magnificence of nature, entrusted his art with the task of sustaining it, transforming waste into works of art. Nowadays, the damage caused by waste to our planet and ecosystem has become unsustainable.
Yanko Yankov
Plastic bottles, packaging, disused objects are thrown in the trash and very often cannot be recycled. Artist Yanko Yankov collects this waste and gives it new life. His art not only has an aesthetic value, but also raises the viewer's awareness of urgent and very important issues. When looking at his works, everyone is stimulated to act consciously, performing acts in favour of the cause. In the artist's works, one also perceives something personal, a desire to express one's own thoughts, one's own story, outside the ordinary and outside conventional techniques. By mixing different materials and textures, the artist succeeds in fully expressing his thoughts and emotions, giving paintings that are not only ethical but also reflect the beauty of nature, which the artist is always fascinated by.
Art Curator Lucrezia Perropane
Yanko Yankov
Untitled 1
Yanko Yankov
Untitled 9
Yi Hsuan Lai Yi Hsuan Lai is a visual artist from Taiwan currently working in New York. She incorporates photography, sculptures made of polymer clay, and found objects to create photographic and sculptural assemblages that reflect the fluidity of the body, the complexity of self-identity, and Otherness. At "Visceral" exhibition hosted by M.A.D.S. Art Gallery, Yi Hsuan Lai presents "Untitled". The work represents a block of discarded foam on which the artist drips pink tempera, which left to chance and without a pre-established path, takes on a life of its own by casually painting the foam under it. With her works, the artist, drawing inspiration from her emigration and female experience, creates sophisticated constructions and ambiguously reinterprets objects through the representation of the lens with a visceral and anthropomorphic quality to speak to the physical and psychological experiences of people. Through her playful use of the image that intertwines with materiality and space, her work oscillates between construction and deconstruction, fiction and reality, in two and three dimensions, to evoke the public's desire to touch and re-evaluate the use one-off of materials in a body and otherworldly representation.
Art Curator Matilde Della Pina
Yi Hsuan Lai
Untitled
Yip Yew Chong Telling the past, depicting it, imprinting it in memory with a tangible image to ensure that it is remembered and remains in the minds of which it has not lived: this is one of the mission of the visual artist from Singapore Yip Yew Chong (YC). The artist shares with us his rich memories of people who live their lives, who do their work, and of places that change, evolve, until they are upset. In these works the artist tells, through images, the evolution of his city. In "Jalan Singapura 1 - Selamat Pagi" we see the rural Singapore of the early 1970s, in which a Malay village and a Chinese village coexist side by side. By observing this work, we immerse ourselves in a mix of culture and landscapes: a happy atmosphere of the past and a place now distant, which resounds only in memories. In “Jalan Singapura 2 - Selamat Malam” we experience a first transformation: the night has come. The oxen floods the city and the flickering of the lights gives an almost magical atmosphere to the air. Now we almost seem to hear the individual sounds produced by the city, among which, in the dark, also those of the nature that surrounds it make their way. A dad will be whispering to his son -selamat malam- (good night in Malay). Finally, in "Jalan Singapura 4 - A new beginning" we see precisely the beginning of a new era that faces the city. Everything changes: concrete apartments are replacing wooden houses, agricultural areas will soon be filled with new and modern housing. A rapid and drastic change has engulfed the city and its inhabitants. The excitement for the novelty and the anxiety for the loss of what they knew reigns, at the same time, in each of them. The artist's works, such as those presented here, are a real story, snapshots of moments from a time that is now past, which would survive only in the memory of those who lived it and keep it in mind.
Art Curator Silvia Grassi
Yip Yew Chong
Jalan Singapura 1 - Selamat Pagi
Yip Yew Chong
Jalan Singapura 2 - Selamat Malam
Yip Yew Chong
Jalan Singapura 4 - A new beginning
Yishi Deng
Yishi Deng is a multidisciplinary artist living in New York. Initially specializing in fashion styling, however, she has always sought new possibilities for mediums and forms of narration that could have reached a wider audience. Deng is the guest, for the first time, of an exhibition organized by the M.A.D.S Art Gallery. On the occasion of "VISCERAL", Deng exhibits a figurative work of art made with acrylic on canvas, entitled "Wood of the Suicides: Restless Living Dead". In the foreground it is possible to observe a figure that recalls that of the poet Dante Alighieri. The work, in fact, literally seems to come out of a canto of the Divine Comedy, precisely the XIII canto of hell, in which the souls of suicides germinate in wild plants as soon as they reach the VII circle of the second circle of hell, on the day of Last Judgment, then, the souls of suicidal people will take back their body but without the possibility of embodying themselves, in fact they will be forced to hang it on the tree where the soul is imprisoned. The work represents the moment in which Dante arrives in this dense, dark and gloomy forest, deeply terrifying. Dante, in opera as in song, looks around hearing moans but unable to see who is emitting them. The artist has masterfully represented the souls of suicides as an integral part of the trees, and, in the song Dante breaks a twig to be able to understand that the trees themselves are the souls. Yishi Deng's work is extremely powerful from a communicative and visual point of view, the artist shows his mastery in illustration by choosing a delicate theme and a complex literary work, such as the Divine Comedy, to be able to tell it.
Art Curator Martina Viesti
Yishi Deng
Wood of the Suicides:Restless Living Dead
Yoshi "Life beats down and crushes the soul and art reminds you that you have one". (Stella Adler) Japanese artist Yoshi succeeds in expressing all the force and speed behind concepts and ideas through his art. The speed of the city, the hustle and bustle, emerges from the shapes and warm, clear tones to allow a transcendental vision; it is as if our imagination emerges from another dimension. In his painting 'A rusty city #7', the artist seems to follow a kind of playful path in which he leaves visible traces of an object amidst less recognisable elements. In this way, he allows the viewer of the work to follow a path of personal understanding, where everyone can focus their attention on a different detail to create their own vision and understanding. In the work, one can recognise the influence and legacy of photography, which have a particular importance for Yoshi; in fact, the artist experiments with environments and shapes in which he can distort colours and light, giving importance to some elements over others. Yoshi depicts speed through shaded colours that give an extraordinarily realistic sense of movement; it is a very personal and special vision that gives us the feeling of entering the painting, immerses us in the painting and draws us into the scene. The particularity is in the colours; we find bright, bright ones at the sides that create contrasts between them and stand out from the neutral colour in the centre. As if the scene is transient and in constant motion. The idea that the scene is transitory and that through the colours, the artist tells us about the passing of time is a unique characteristic of his style.
Art Curator Giulia Fontanesi
Yoshi
A rusty city #7
Yuriko Kanazawa Everything is energy and that is all there is, everything in the Universe is made of energy, including us. And energy is expressed in the form of frequency and vibration. We believe that objects, people and everything are in space and are separate. Actually, we have to enter another order of ideas, as everything has in space its own extension as a field that extends throughout the universe, this global quantum field makes everything interact with everything else. According to Ervin Laszlo, people of antiquity knew that space is not empty, but is the origin and memory of everything that exists and has always existed. This truth is now being rediscovered by the most advanced science and established as one of the pillars of the image of the scientific world in the twentyfirst century. And it will profoundly change our concept of ourselves and the world. Quantum Physics has revolutionized the classical concepts of solid objects. These dissolve into configurations of probability waves, that is, probabilities of interconnections and energy exchanges. All matter is fundamentally characterized by energy, that is, electromagnetic field emission arising from atoms and its atomic nuclei, which continuously exchange this energy through their particles. Quantum Physics thus reveals a fundamental Unity of the Universe: it shows that we cannot break down the world into minimal units endowed with independent existence. The deeper we go into matter, the more nature does not reveal to us the presence of an isolated fundamental basis, but rather appears to us as a complex network of relationships between the various parts of the whole. In Focus the presence of an energy uniting every single part of the universe is extremely visible, it is palpable. Large fiery red tongues composed of energetic and nervous brushstrokes form the framework of the work. These spread throughout the work and, as they unfurl, change color, changing energy: from red to green, from orange to purple. Energy-and therefore what we seechanges its physiognomy while remaining so in its nature as an energy element. And this is literally palpable in the physiognomy of the brushstrokes that characterize the entire formal composition of "Focus." There is no empty space; the whole universe in which the work expands is occupied by matter, by energy shaped through small, extremely textural brushstrokes. The touch is nervous, short and releases a considerable amount of color on the support. Smudge upon smudge, touch upon touch, the pigments are layered on top of each other forming a chromatic blanket that suggests a three-dimensional feature to the work we are looking at, with the intention of literally narrating everything that is not seen but perceived. Everything that governs the universe but that we cannot yet see in a tangible way. "Focus" is pure energy, it is the intersection of atomic electromagnetic fields that follow one another and communicate in unison with one another. With this work, Yuriko Kanazawa succeeds in narrating the atavistic laws of the universe not with numerical language but through color and form.
Art Curator Lisa Galletti
Yuriko Kanazawa
Focus
Yvonne Benasser Nature is not only all that is visible to the eyes, it also includes the inner pictures of the soul. (Edvard Munch) Yvonne Benasser is a great emerging amateur artist, from Paris. She attended high school and has a baccalaureate with a training in plastic arts, although now she works totally in another field: she paints, creates art for passion and inner vocation. Her personal experience and evolution leads her to reconnect with art because she believes that art is an essential means to communicate and express beauty, the passion, the inner feelings and is above all curative both for those who make it and for those who come into contact as a spectator. She believes that making and perceiving art is an improvement in daily life and therefore makes her paintings available also for charitable activities. Yvonne's style is very defined, original and innovative in continuous evolution: she expresses herself and interprets reality through abstract textures experimenting with different materials and techniques. The driving force of his creations is the dynamism of colors, strong, striking, bright and juxtaposed in an energetic and contrasting way. In M.A.D.S. in "Visceral" exhibition she shows us a piece of herself titled "Visceral Organs", made with mixed technique in 2022. It is a materic artwork, in relief, formed by wavy and intertwined and intricate shapes, symbol of the human bowels. Here the whole depth of being is expressed, we are invited to the raw look of what is happening in us and that we do not know...between charm and dream...the gaze plunges into that intricate world created by matter and colors and we understand the link with our inner being intricate and hidden. A perfect and highly expressive combination that invites a reflection on the role of art and on the revelation of being through it.
Art Curator Giulia Dellavalle
Yvonne Benasser
Visceral Organs
Zara Newman "It's not the struggle that obliges us to be artists, it is the art that obliges us to fight." (Albert Camus)
Zara Newman, a self-taught South African artist, finds in art the strength to fight and to show her true essence to the world. Affected by Marfan syndrome, Zara has always struggled in her life and her artworks are the aesthetic representation of her desire to emancipate herself, to give meaning to her experience and to raise it as the motivating force of her entire life. Her contemporary portraits, with marked and decisive features, represent human beings, their relationship with the outside world and wandering around the world. And the recovery of anatomical features typical of black people is no coincidence: the artist's intention lies in the desire to reclaim her origins, to obtain justice and to recall the many and different problems that afflict today's social structure, a discriminatory and non-inclusive society. The works of Zara Newman, although very personal, open to a universal theme and anyone can recognize themselves. Anyone who has suffered in life has been discriminated against or cast aside. Her art is about this: by showing the different facets of human emotions, it wants to scream to the world what the truth really is.
Art Curator Federica Schneck
Zara Newman
Song of Susannah
Zara Newman
Total meditation
Zara Newman
Yellow
Zeina Nader The colors and images they create are perceived not only with sight, but with all the senses. A color manages to evoke, in each of us, a sound, a perfume, a texture, a sensation, a memory. The mind instinctively associates each color with an emotion, whether positive or negative. In the Lebanese artist Zeina Nader this ability is expressed at its maximum power. As she tells us, since she was a child, she had this innate gift of perceiving a mixture of sounds, feelings and emotions associated with shapes and colors: every emotion was and is an explosion of colors inside her. Abstract art is for Zeina the means through which she is able to express this Synaesthesia of hers. Finding ourselves in front of her works and observing them, something unique and special really happens: we read the title, we move our gaze to the canvas and immediately a story, an emotion, the frame of a moment is revealed before our eyes. The works presented for this exhibition are a clear example of this. Zeina tells us here three moments full of emotions in her life. In "Kiss of Love" we are catapulted under that starry sky illuminated by the silver light of the moon, which created the perfect atmosphere for a sweet kiss, which makes the heart and mind fly among the stars. So, just like the stars, the eyes sparkle when this sweet memory resounds in the mind. "Turquoise Water" is instead the perfect snapshot of the intense turquoise of the Italian waters of Capri. Now we too, observing the canvas, are able to experience that sensation of diving into the crystalline blue waters, feeling the freshness of the sea on the skin, letting ourselves be lulled by the music of the waves. In the work "Bicycle Fall" instead Zeina tells us an episode from her childhood, transports us to a memory of her: a moment in which the excitement has turned into a sudden physical pain of a fall. We really feel that burning and that sensation on our own skin. The instinctiveness and viscerality of the artist's emotions explode on her canvases and then radiate in anyone who gets overwhelmed and excited at same time.
Art Curator Silvia Grassi
Zeina Nader
Bicycle Fall
Zeina Nader
Kiss of Love
Zeina Nader
Turquoise Water
Zixi Xia "It's so hard to understand, my dear angel, and thought is so incommunicable, even between people who love each other." (Charles Baudelaire)
Freelance photographer since 2019, Zixi Xia offers a series of artworks related to the deep and personal theme of intimate relationships between human beings. Her photographs come to life, generating multiple sensations and, above all, associations. The protagonists of the artworks, a man and a woman, are portrayed in one of the most intimate gestures, the kiss, but it's what remembers them, the elements, that make the difference. What Zixi Xia manages to capture is the moment of the exchange of energies, the strength and mystery of physical communication: the red halo that surrounds the two lovers recalls the passion, the vitality of the bond that can be established between two people, a halo that becomes more and more subtle and faint, as if to underline the speed with which a feeling manifests itself and vanishes. Connections, relationships between human beings represent a part of Zixi Xia's artistic poetics, dedicated not only to a truthful, intimate and direct type of communication, but also to those distant relationships, the impossibility of communication, of loving. "Lovers 03", very close to the artwork "Lovers" by the artist René Magritte, speaks precisely of this: two lovers kissing, but at the same time calling for an important reflection on the difficulty of communication and expression, especially in today's society.
Art Curator Federica Schneck
Zixi Xia
Lovers 01
Zixi Xia
Lovers 02
Zixi Xia
Lovers 03