Curated by Art Directors Carlo Greco and Alessandra Magni
Critical texts by Art Curators Alessia Perone Alessia Procopio Alessia Ventola Alice Gaglio Alice Scaffai Beatrice Rabassini Camilla Gilardi Carola Antonioli Chiara Isella Chiara Rizzatti Elisabetta Eliotropio Erika Gravante Federica D’Avanzo Federica Schneck Flavia Montecchi Francesca Brunello Francesca Catarinicchia Giorgia Massari Giulia Fontanesi Ilaria Falchetti
Karla Peralta Málaga Letizia Perrieri Lisa Galletti Lucrezia Perropane Manuela Fratar Mara Cipriano Matilde Della Pina Marina Maggiore Marta Graziano Martina Lattuca Martina Stagi Martina Viesti Sara Giannini Silvia Grassi Sofia Fasulo Sofia Ronzi Valentina Valentini Vanessa Viti Viola Provenzano
"Hysteria denotes a psychoneurosis characterized by very insistent emotional states and particularly theatrical paroxysmal attacks. For centuries, hysteria has been used to hinder, imprison and pathologize the female condition. The term itself comes from the Greek, ὑστέρα (hystera), which means uterus. According to the Corpus hippocraticum, any disease affecting the female organism was due to the displacement of the uterus within the body: Hippocrates attributed to this organ those inexplicable morbid phenomena that affected women in particular emotional conditions or states. These considerations remained almost unchanged until the modern era, it was in the seventeenth century that the doctrines on hysteria as a phenomenon due to gynecological causes began to be overcome, starting to leave room for hypotheses of cerebral origin and of the nervous system, until the second half of the Nineteenth century when hysteria was recognized as a psychic phenomenon that affected both men and women. Literature, however, between the nineteenth and twentieth centuries, is covered with female figures imprisoned in a narrative that described them as unstable, capricious, but also endowed with a violent craving, which makes them dangerous, frightening, and for this reason they must be healed, locked up. The artistic attraction of the hysterical woman leads her to be a very popular topic among nineteenth-century novelists and writers, but also in theaters and on cabaret stages. The hysterical woman is traced to Emma Bovary, diagnosed by the doctor Charles Richet as a "light hysteric", we find her in Svevo's Amalia in Senility and in Ippolita Sanzio in Gabriele D'Annunzio's Triumph of Death.
The legacy of the "hysterical woman" persists until the 21st century, whenever a woman's emotionality is emphasized, underlined, pointed out, attributed to physiological phenomena that make her unbearable and annoying. The iconography of the hysterical woman originates in the Salpêtrière hospital in Paris, thanks to the director of the department reserved for epileptic and hysterical patients, Jean-Martin Charcot. The social norms of the time established everything that women should and could not be, all behaviors that deviated from these norms were considered pathological, hysterical, and for this reason they were hospitalized. The works of art that represent the treatment of hysterical women dot centuries of world history, from Jospeh Kuhn Regnier who represented with illustrations the works of Hippocrates in Signorini with "The room of the agitated" of 1865, but still "The madmen" of Attanasio of 1889. The prejudice according to which women are only guided by their uterus has had consequences and repercussions that go beyond the psychiatric sphere. A close connection between disease and control is evident, what could not be controlled or that did not let others to controlled them was defined as sick and in this way canceled, punished. In fact, the iconography of the hysterical woman can be found in the posters of the antisuffrage movement of the early 1900s. In Italy, until 1963 women could not attempt the competition for the judiciary because "the woman is fatuous, light, she is superficial, emotionally impulsive ...". The mass unconscious implies that a woman's way of relating to the world is vitiated by its own gender. For centuries, the various manifestations of mental distress have been labeled as "hysteria", a unique and obvious condition, which belongs to all the women without any difference. Women, however, were also the cause of a different form of hysteria, that of the masses, with the Salem witch hunt in 1692.
Today, the need for control is adapted to all people who are considered different from the mass social vision, the freedom of thought that the 21st century allows us to reach, at any time and situation, leads the holders of the established order to a search for control never seen before. It is no longer the minorities and the diverse who are in the eye of the storm, but all those who think outside the borders, those who question themselves or do not question themselves. Collective behavior influences the individual, thus mass hysteria is defined, a form of alarmism that reflects a society where the concern of the individual extends to a form of collective psychosis. Just imagine a chain of information traveling in a frenetic and rampant way, influencing multiple minds in a domino effect. From the economic crises to the most recent global pandemic, to the climate crisis, the fear of the violation of privacy, information travels at unprecedented speed, each of us is hit daily by alarming news, sometimes untrue, which leads us to increasingly negative thoughts. We are hysterical in every aspect of our existence, the desire to look our best and the contemporary desire not to appear at all, the perennial trust and distrust of the future, the illusion and disillusionment that Social Media convey. The iconography of mass hysteria sees in artists such as Edvard Munch (The Scream) and Ernst Ludwig Kirchner (Street Scene) its highest expression: monstrous faces deformed by fear to which society itself leads them. The anthropologist Ernesto De Martino, in his work "The end of the world. Contribution to the analysis of cultural apocalypses ", he explains how the two pillars of Western culture are one the losing the world or being lost in the world. "Hysterica" the new exhibition organized by M.A.D.S. Art Gallery asks artists to investigate their own deep disturbances, fears, emotional stimuli, soliciting a heterogeneous vision. The emotional and deep world is rich and mostly unknown, M.A.D.S. Art Gallery asks artists to imagine how their unconscious and their impulsiveness would turn out if they were tangible. Concept by Martina Viesti
Special Guest Adriano Lombardo presents
Insane mind The power of imagination of Adriano Lombardo, which sets no limits with the different compositions than man is able to generate, can artistically realize new horizons, open, free and fluctuating, as the creative action produces a multiplicity of combinations of figures, tones and movements. (Alessia Perone) Going against the judgment and pressures that society imposes on every individual requires a significant effort. The work of Adriano Lombardo recreates a journey of self discovery, that ends with finding the original pulsation of the emotions contained in each one, those that make us unique. (Alessia Procopio) IPNOTIC, MAGNETIC, INTENSE, SOFT AND RUDE AT THE SAME TIME. LOMBARDO MADE “HYSTERICA” A REBEL SCREAM TO THE RATIONAL WORLD, WE ARE HUMAN, WE ARE INSANE. (Alice Gaglio) The artistic creations of Adriano Lombardo are a perfect match between imagination and multimedia. His works touch the boundaries of the rational and the imagination and allow the viewer to admire a new, digital world! (Alice Scaffai) "In front of a human we can see the whole world. The dimension of a mind it's not forced in the body boundaries. Lombardo shares with his works the importance of freedom and the discovery of a new world. The observer is transported into a new way of feeling itself and the surrounding reality." (Beatrice Rabassini) Does the world around me not belong to me or do I not belong to it? The voices speak to me, but I don't understand them. Where am I? I wait for the light to illuminate my universe. (Camilla Gilardi) The swirling notes that resonate in the soul emerge in a triumph of shapes, lights, confused, distant voices. Like the most hidden fears of the human being, they envelop the mind, making it restless and helpless, alien even to itself. (Chiara Rizzatti) Adriano Lombardo's hysterical and totally hypnotic loop that allows us to get inside his mind, a game of passion to identify with all the dramas of life. The user is invited to live an unusual experience in which the artificial and the real merge, and there is the will to arrive through the man-machine interface to an art that allows you to freely build your own liminary expressive paths and to activate sense circuits charged with energy. (Erika Gravante) The digital creations of Adriano Lombardo representing a good dose of meticulous and handcrafted special effects. An impeccable work that hypnotizes the viewer. Their positive minimalist but energetic intrusiveness, with a set of ambient sounds leaves imagined distant worlds in continuous and free experimentation. The quality and the perfect photorealistic verisimilitude of everything that happens leads us to imagine the space, reconstruct it in a very creative way, play with our expectations and mix the deep darkness with the almost aseptic light of an incredible spatial illumination. (Federica D’Avanzo)
Adriano Lombardo
Insane mind
Adriano Lombardo Through a dreamy and surreal poetic imagery, Adriano Lombardo uses voices, colors and dreamlike atmospheres to recall the concept of madness, essential to escape from the almost exaggerated condition of social unease and alienation that many human beings feel. (Federica Schneck) In occasion of the "HYSTERICA" exhibition, Lombardo guides us on a journey into the deepest and darkest places of the Unconscious, where every logic is lost and even the smallest light of hope can blind us for its intensity. It's only upon this frail, mirroring treshhold, a recurring technique and symbol of his work, that we are able to face and embrace our true self. (Flavia Montecchi) Adriano Lombardo, an Italian contemporary artist, develops the concept of hysteria through a distorted world made of vibrating sound waves, which deeply shake the identity of those who inhabit it. (Francesca Brunello) Having explored and fully understood the link between art and new technologies, the Italian artist Adriano Lombardo is able to exploit all the potential that, when combined, they are able to produce. The results are astonishing videos that can be counted as works of contemporary art in all respects. (Francesca Catarinicchia) We no longer know the world around us, we are more and more like robots at the mercy of situations and events. We are not able anymore to make our own decisions, what surrounds us changes and manages our choices, our emotions and our feelings. Through the use of strong colors, moving scenes and lights, Adriano expresses with his art a new way of acting and thinking about the space in motion that surrounds us. (Giulia Fontanesi) Adriano is an extremely daring artist capable of creating parallel worlds in which the viewer is lost in ecstasy. He proposes an innovative, extremely topical concept that appears fascinating and unique. (Ilaria Falchetti) To embrace an unrestrained situation and make it evolve into the acceptance of a new world eager to discover the ultimate truth. Acknowledge your identity. (Karla Peralta Málaga) Without darkness, light cannot exist and man would not even know its existence. In each of us there are dark sides and bright sides that create the balance of the soul and hysteria is the loss of this balance. In this new masterpiece Adriano Lombardo manages to represent this imbalance by using lights and shadows in a dynamic whirlwind that leaves infinite space for the imagination. (Letizia Perrieri) Mirror as a portal to another dimension. A convulsive journey opens up to our eyes in all its wonderful and frantic essence. Inside us, the stars. (Lisa Galletti) The artist Adriano Lombardo enriches his artistic research by experimenting with digital tools. In them he finds an own and personal method to express and make concrete his thoughts, his intuitions, his gaze and his experiences. (Manuela Fratar) Our mind can be compared to a house. Only one room is open and it is the part of us that we decide to accept and show to others. The other rooms are numerous, but they are locked, they are part of our house but are not used, they are not taken into consideration. Our rationality, our conscious part decides to hide our other facets, this to keep us safe, to protect us from ourselves. Adriano Lombardo has the merit of looking deeply within himself and showing us what he sees. For the first time in our life we are faced with our fears and our deepest instincts. (Mara Cipriano)
Adriano Lombardo
Insane mind
Adriano Lombardo Nervousness, tension, irritability. Broken feelings and scorched reason lead to an uncontrollable system, a disorder called hysteria. This is what the artist Adriano Lombardo represents. (Marina Maggiore) Through an almost compulsive narrative rhythm and a sound effect that skillfully combines music and speech, this work succeeds in giving us the perfect image of that destabilizing feeling caused by fears, inner contradictions and conditioning of others that we call hysteria. (Marta Graziano) Millions of matters with millions of energies share the same cosmic space. Here, Adriano Lombardo reflects on how the human being becomes anxious and paranoid when forced to confront the self, the others and the surrounding environment. An increasing heartbeat unfolds in an infinite and chaotic universe where incomprehensible, unsettling human voices and sounds overlap. Sharing and confronting are not easy things. (Martina Lattuca) According to the bond between human beings and nature, the digital artist Adriano Lombardo presents, for the ‘Hysterica’ exhibition, an emotional video that lets the viewers get carried away by its sounds - remembering the wood’s chattering - and splitted images. Digital human figures whose behaviours are influenced by the voices composing the background music, are the main characters of this artwork and the whole atmosphere’s driving force. The fight against the nowadays society’s prejudices and rules, is the main subject here represented and so, the best way with which to open this exhibition. (Martina Stagi) Mirror as a portal to another dimension. A convulsive journey opens up to our eyes in all its wonderful and frantic essence. Inside us, the stars. (Sara Giannini) Sometimes we seem to be crazy just because we act differently than everyone else. But who decides who is crazy or who simply stands out from the crowd for its uniqueness? Sometimes we try desperately to be something we are not, but in this way we get lost and, looking in the mirror, we risk not recognizing ourselves. So, are we the crazy ones or who tells us we're crazy just to feel more "normal"? What then ... how boring normality! (Silvia Grassi) For Adriano Lombardo, the soul is pure electromagnetic energy. Energy that lives in us, as in the entire cosmos. Listening to the voice inside us is like being mirrored in the entire universe, to let ourselves be lived by the emotions and feelings that cross us. (Sofia Ronzi) Getting lost, running away, running and being far away in the infinite space that our mind is able to create. The meeting of fears and feelings that overwhelm the soul. Moods in constant motion, meet and collide. (Vanessa Viti) An emotional rollercoaster. The voices we hear in our heads keep us busy. The human being is a thinker, floating continuously in his thought, trying to find an order. Adriano Lombardo realizes a disturbing work which translates the darkness of the human mind and its contradictions, a revealing short film about all of us. (Viola Provenzano)
Adriano Lombardo
Insane mind
Aditi Gupta “Ah! The strength of women comes from the fact that psychology cannot explain us. Men can be analyzed, women...merely adored.” (Oscar Wilde)
M.A.D.S. Art Gallery welcomes a new artist to its large community: Aditi Gupta. She is from India, studied Visual Merchandise and completed her education working in a design house in New Delhi. In 2021 she started working as a freelance artist. Aditi loves art, but she is such a generous woman that she would like to share artistic knowledge with children. In fact, her dream is to open an Art Institute very soon. The MADS team is pleased to exhibit her art, for the first time, in Milan and Fuerteventura galleries. Aditi Gupta participates in the international art exhibition "Hysterica" with a work entitled "Riot of Confusion". The artist analyzes the emotionality of man and woman indistinctly in the whirlwind of their everyday life. The human being is fragile, but at the same time very strong. During the day, endless thoughts, fears and problems inhabit our minds and leave us in a confused state of mind. "Riot of Confusion" which Aditi Gupta represents with the silhouette of a second face emerging from the mind of the first. This dual personality is steeped in intertwined threads, tangled and difficult to unravel, almost impossible. The face made with warm brushstrokes suggests an agitated, almost hysterical state of mind. Yet men and women, despite both living complex lives, carry out their family and work duties every day with dignity and courage. For centuries, the term “hysteria” has been used to hinder, label, and pathologize the female condition. However, forms of hysteria are not only attributable to the female sex. The 21st century teaches us that collective behavior influences the individual, so we speak of mass hysteria. It is a form of collective psychosis that finds fertile ground in contemporary society and affects both men and women. We live in a society that requires us to always look our best, despite the perennial mistrust of the future, the wrong life models that Social Media convey. Aditi Gupta investigates her soul and, as a mother of two children and a worker, through her work shows the state of total confusion that constantly crosses her mind. The pictorial style of the first face seems to refer to Cubism, which fragments the subjects into different splinters of reality, seen from different angles, and superimposes them in a new order. Aditi skillfully superimposes brushstrokes of different colors to represent the infinite sensations that animate her mind. Each brushstroke marks the passage of time, an emotion that was not there before. Until you reach a point, called hysteria, which takes over the woman who gradually cancels and forces her to enter a mental state of great confusion. The work of Aditi Gupta is excellent: behind this, there is a great introspective analysis and a consolidated artistic education.
Art Curator Alessia Ventola
Aditi Gupta
Riot of Confusion
Alan Brown “I have always knocked at the door of that wonderful and terrible enigma which is life.” (Eugenio Montale)
Utopian landscapes where mechanical perspectives envelop the visual space. Schematic geometries are repeated like patterns, making the atmosphere often suffocating, immobilizing the passing of time. The air becomes rarefied, creating in the viewer a feeling of stifling disquiet. The gaze is captured by Alan Brown's artworks. The contemporary American artist uses digital art to tell impossible stories, appropriating an expressive language on the edge between Metaphysical Painting and Surrealism. Dream and unconsciousness therefore play a fundamental role in his artistic expression, in order to tell imaginary stories that are as utopian as they are real. Indeed, through these enigmatic landscapes, Alan Brown shows us worlds that are also influenced by different everyday realities. In particular, in the artworks exhibited at M.A.D.S. Art Gallery on the occasion of the HYSTERICA exhibition, we notice an immediate reference to the recent pandemic.
Alan Brown
The "cage" element present in both the artworks - the work entitled "Dream" is even visionary considering that it was created in 2004 - despite being inserted within a surreal context, is strongly exegetic here. In "Misplaced", we see anthropomorphic figures imprisoned inside cages placed side by side in the middle of the desert. An enormous cutter is set in the foreground on the floor at the foot of the cages. These people, with whom we can freely identify, try in every way to free themselves, without succeeding. The entire work is like an enigma to be solved, inviting the observer to look for a solution, as if he were inside a perverse game. Reality is a fundamental source of inspiration for Alan Brown in order to tell the story of a complex world in which we often feel powerless and blocked. A twisted world, whose incomprehensible shape is, in some ways, like a cage that we are not always able to open.
Art Curator Francesca Brunello
Alan Brown
Dream
Alan Brown
Misplaced
Aleksandra Pikuła
At the international exhibition “Hysterica” at the M.A.D.S. Art Gallery, Aleksandra Pikuła exposes three works (“Apathy”, “Entanglement”, “Indifference”) in which emotions and moments from everyday life become the main protagonists. The artist is fascinated by the many aspects of the human mind: in fact, in every single painting a particular characteristic of the complex human condition emerges. For example, this is clearly visible in “Apathy” and “Indifference”: in each canvas there are two characters which divide the scene between those who carry out every day routine actions (eating or smoking) and those who lie helpless on the floor. In these cases, the artist depicts the disconnection among the various figures: in fact, one can see a loss of interest or lack of sensitivity and of concern for other people around us. The element of duplicity can also be seen in “Entanglement”, where the opposition of the two faces attracts the attention of the viewer, who feels enough attracted to return his/her gaze. It is as if Aleksandra wanted to depict the theory of Yin and Yang: a symbol of harmony, from which it is possible to extrapolate balance and interaction between two energies (positive and negative), exposing the duality of every matter in the universe. In the three works we can notice an additional fundamental factor: the contrast between the extremely vivid colors and the emotions portrayed. This creates an almost fairytale-like and unrealistic atmosphere, recalling the Fauvist works of Henri Matisse and the typically German Expressionism. In fact, while Matisse uses bright colors to represent happiness and light-heartedness, the Expressionists’ canvases are charged with a tragic meaning, exasperating the moods. Aleksandra is able to unite these artistic and aesthetic themes in order to give life to very deep chromatic stylistic research, simplifying the forms, eliminating what is not essential, up to showing passions and disturbances, as well as feelings that best express the uniqueness of the characters depicted.
Art Curator Alessia Perone
Aleksandra Pikuła
Apathy
Aleksandra Pikuła
Entanglement
Aleksandra Pikuła
Indifference
Alexander Turnbull-Vollmer
Alexander Turnbull-Vollmer is a self-taught German artist that creates colourful and expressive digital artworks. His capacity for creativity emerged through the unconscious and liberating act of scribbling. Alexander sketched freely as a child - like his English grandfather, an architect, used to do - and subsequently he grew up filling his time and notebooks with drawings. He recently focused his creative research on digital Art and devoted himself to the creation of a digital art collection with the intent of conveying his main personal interests: "consciousness, philosophy, mysticism and futuristic visions". At the “Hysterica” exhibition, held by M.A.D.S. Art Gallery, Alexander presents “Save Our Youth”, a digital painting - created on the procreate app with a tablet - that perfectly encapsules the main topics of his work. The subject is a crowd of both figurative and abstract characters, digitally painted in a vibrant juxtaposition of conscious and spontaneous brushstrokes. The artwork immediately stands out for its complexity, inviting the viewer to both step forward in order to study closer the members of this chaotic parade and to step back in order to get a better understanding of the disturbing reality they belong to. The title of the artwork underlines the artist's concern for “our (innocent and naive) youth” which is destined to grow in a society that is far from being perfect or safe: not able to process the quantity and negative quality of informations that surround them, the younger generations are the most exposed to destructive behaviours, such as the excessive consume of contents and substances. In Alexander’s artwork fluorescent colours, cold whites and strong blacks unveil the dystopic vision. "The woman on the left side is abusing pills, signifying the huge amounts of people escaping reality through drugs or TV. In the centre you can see a red ghostly figure, it represents our invisible demons. The overall chaos of this work represents a state of disarray somehow being held together." The artist did not limit himself to the expressive use of colours but he also used words and quotes: by scattering his thoughts around the artwork, Alexander framed the crowded action giving the necessary distance to the viewers to reflect upon his creation. The artist's hand stroke is energetic, sketchy and playful like the one of a child but with the conscious, more mature control of an adult facing his fears and inner demons. Similar to the Neo-Expressionism approach of Jean-Michel Basquiat, Alexander explores the multifaceted reality, trying to capture both the inner and outer experiences of the human being in the modern society. Despite the grotesque reality it portrays, his artwork is a call to collective action, a message of hope before the disarray, a wish for a better future, far but not impossible to reach.
Art Curator Flavia Montecchi
Alexander Turnbull-Vollmer
Save Our Youth
Ana Shpis "Art is not just a job, a hobby, or a part of one's life. Art is a powerful "word" through which a person can express what is sometimes impossible to express in words and actions" Ana Shpis
Ana Shpis gives us three masterpieces to admire at the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. Ana Shpis is contemporary digital abstract artist from Russia, but now she lives in Kazakhstan. Ever since her school days, she wanted to paint, but fate decreed that she only touched on art now. She loves painting in all its forms, but she implements her ideas with a graphic tablet. This way gives her more portability and the ability to implement her ideas anywhere and anytime. Her inspiration comes from her family and her favourite music. It all started as a hobby. But now it's not just a hobby, it's an integral part of her life. She brings with her The hysteria and she says "What is hysteria? A screaming woman who throws plates at you is not that. Hysteria is when you can't make a sound, the tears flow, and your hands fall down. And then you have to pick yourself up quickly, because there's no one else". A naked, faceless woman covers her nudity against an orange background that features a stain. The colors, shapes and expressions allow you to perceive the state of mind of the woman even without seeing her facial expression. "Why can't I relax and let it be true? This world that I try to hide It's kind of a mess. Too reckless for you. This place makes me feel alive" these are Ana's words for The madness: the palette has some features in common with the previous work. Here too the artist is able to perfectly communicate the protagonist's mood, the almost caricatured features and the grin on the woman's lips emphasize the complexity of the character. Finally, as if she wanted to present her artworks with an ascending climax, she shows The scream and she says "On a tiny scrap of paper stood the following words, hurriedly scribbled in pencil: «Good-bye, we shall not see each other again. It is not through pride that I’m going away — no, I can’t help it. Yesterday when I was crying before you, if you had said one word to me, only one word — I should have stayed. You did not say it. It seems it is better so.… Good-bye for ever!"
Art Curator Mara Cipriano
Ana Shpis
The hysteria
Ana Shpis
The madness
Ana Shpis
The scream
Anastasiya Zaitseva "For an Impressionist, painting nature does not mean painting the subject, but concretizing sensations" (Paul Cézanne)
Modern impressionism respects what were the characteristic canons of late 19th century impressionism in which artists begin to detach us from academic standards and paint the subjects on the basis of their impression and experience. With the development of different styles, many modern artists find themselves in the subjective concept of art according to which the impression of a subject can represent the subject itself and this is also the case of contemporary artist Anastasiya Zaitseva. In the artist's twin representations we can see how she manages to represent the same subject in different ways without ever departing from the desire to convey a strong inner dismay that seems to calm down only in the second work. So we don't really see rain as rain, but we can feel it is raining when we look at the image.
Anastasiya Zaitseva
This is very reminiscent of Vincent Van Gogh's style in his representation of the sky as he wanted to represent it and not as it was naturalistically. Anastasiya Zaitseva manages to convey what she wants and what she constructs in her imagination by offering us two points of view of the same subject and of her change based on her inner turmoil. A disturbance that everyone can find in himself and that thanks to the admiration of the work he can exploit in an almost therapeutic way to alleviate his fears or his deepest anxieties. Art also does this through the artist's talent: it becomes a means of healing for the human soul and through it we can express deep feelings. In this Anastasiya is a true impressionist artist as well as a perfect contemporary artist who manages to bring out her self from her works of art.
Art Curator Letizia Perrieri
Anastasiya Zaitseva
Cry of pain (Day)
Anastasiya Zaitseva
Cry of pain (Night)
Andrés Lopez
At the international exhibition “Hysterica” at the M.A.D.S. Art Gallery, Andrés Lopez exposes the work “After the rain”, which highlights the dynamic contrast between light and shade, trying to capture a fleeting moment and to paint the first visual perception. Like the lens of a camera, the artist wants to linger on a particular instant: while a figure with a bicycle is reflected in a puddle, which figures itself through several concentric circles. Such a “subjective” painting encompasses a concrete objectivity. What strikes the viewer is the contrast among the warm tones of the character, the cold tones of the wet asphalt and the water, making feel the atmosphere of the place. This element could become the main part of the painting, as everything that is visible at that moment could change and no longer be the same. Other fundamental details can be seen, such as the mirrored image, which is a door connecting the inside with the outside, the real world with the parallel world. One can see the desire to discover a vision, evocative and pragmatic, and to recount all that is in that astral dimension, beyond what can be reached by a mere glance. So, what is real? The reflected surface generates a paradox, an alternative universe, an illusory space where anything can happen. And finally, the continuous movement of the water, which represents a vortex that hypnotizes the observer: this dynamism is typical of the frenetic reality of a contemporary city, as everything flows as if it was in continuous evolution and everything is unstoppable. That precise movement is an intrinsic characteristic, an immutable principle that defines the essence of the reality in which every human being lives. The work leaves plenty of room for interpretation by the artist himself: while he is painting, his intuitions are flowing through the brush, giving color to the painting, leaving a clearly visible and indelible mark. Through this work, a clear idea can be extrapolated, with the aim of intriguing the viewer, inviting him/her to observe the image always more closely, in order to immerse completely himself/herself within the pictorial surface.
Art Curator Alessia Perone
Andrés Lopez
After the rain
Andrés Rakos “The great artist is the simplifier.” (Vincent van Gogh) A sketchbook as a story of one's life: thoughts, experiences and images collected in a diary as a starting point for the creation of works. Watching a film starring Jean-Michel Basquiat represented a turning point in the life of the Chilean artist Andrés Rakos: from that moment on, art has become a way to express himself, his personality, and his emotions. Instinctive brush strokes, bright colors, meaningful writings: these elements characterize the artist's contemporary works. GAME OVER was made in 2021 with mixed media technique. A sales document issued by a bottle shop is the background: messy pink and yellow spots and the black GAME OVER writing are the distinguishing mark of the work. Transforming simple labels and writings into art: this is what Andrés does, taking inspiration from the famous American writer and painter. Apparently simple to make, the true essence of the Chilean artist's works lies in the idea that then leads to creation. GAME OVER, end. Art is powerful because it is limitless: in front of it the viewer travels with his mind towards unexplored horizons. GAME OVER, a term created to indicate the end of a video game, is now in the global jargon used to indicate the end of anything: a relationship, the abandonment of a job, the interruption of an experience. And you, what do you see? Where does your imagination take you? After the end of something, what's new around the corner ready to wait for us? Andrés invites viewers to become one with his works, to understand the messages he wants to communicate while giving a personal interpretation of what they see.
Art Curator Camilla Gilardi
Andrés Rakos
GAME OVER
Angela Thouless "I paint the flowers to keep them from dying. Revolution is the harmony of form and color and everything exists, and moves, under a single law: life." (Frida Kahlo)
Mixing styles and artistic currents has always been in the experiments of artists over time and this has always brought incredible fruits and results that have changed the very way of experiencing art in many circumstances. The innate ability of an artist who manages to do such a thing certainly denotes an enormous talent, but above all a real vocation to pursue the avant-garde of art which is art itself. This is certainly the case of the artist Angela Thouless who in her works of art presents a set of styles that refer to distant and different cultures, but which manage to meet on her canvases, creating a common space and world where they become something. incredibly cool. In her works we can find fantastic animals, coming from ancient oriental paintings, exotic animals, South American traits, bright colors, elements of contemporary everyday life such as spray cans and all this does not mark any kind of jarring within her representations, on the contrary every what is a source of enrichment and beauty. We can see how the clouds and shapes reflect the typical designs of ukiyo-e art typical of Japan between the seventeenth and twentieth centuries, but some subjects, colors and characteristics are very reminiscent of the style of Mexican art, influenced also from Asian art developed with much brighter colors and more fluid geometric elements. The artist Angela Thouless manages to transmit all her inner energy thanks to the fusion of the elements in her works and she manages to give the viewer a real fantastic world in which everything seems possible.
Art Curator Letizia Perrieri
Angela Thouless
Chinese Tiger Spray Can
Angela Thouless
Costa Rica Spraycan
Angela Thouless
Tibetan Spraycan
Angela Thouless
Panther Boruca Spraycan 1
Angela Thouless
Venezuelan Devil Spraycan
Anita Aardalsbakke
Completely, totally, immensely in love with the colors, the light and the close and indissoluble relationship between them, Anita Aardalsbakke made them her pictorial hymn. Colors are in fact the absolute protagonists of all her works and it is therefore natural that she prefers abstract art among all the pictorial styles. Through this style of painting, in fact, the figuration goes into the background; it is no longer important what is represented in the artwork, but how. Anita Aardalsbakke has perfectly understood this concept and in fact, in her works, she gives great importance to the colors chosen, to their combinations, and to what they can arouse in the viewer. "I want to be able to tell life and nature." she says, "Colors can express much, and strike many, differently than words.". The works under examination are part of the series "Waves"; through it, the Norwegian artist wants to praise nature, but she also wants to make viewers reflect on the course of life. Life, like waves, have ups and downs, they move in relation to each other and there is no wave and therefore a life, perfectly identical to another.
Anita Aardalsbakke
This relationship between life and waves is perfectly explained already from the titles of the works: "Lives and waves" and "Our lives in waves", thus showing the full awareness of the artist. The first one has horizontal movements, flat and uniform brushstrokes, no deburring and no mixing of colors: it is a "clean" work that reminds us of the style of painting by Piet Mondrian, except for the presence of curved and wavy lines. The second work, however, although it has the same shades of color as the first, appears more blurred overall. The curved and wavy lines are vertical, the colors mix each other and the shapes have different dimensions. The two works are therefore so similar, but so different at the same time. Partially self-taught, a painter for more than 20 years, Anita Aardalsbakke is now a mature artist, an artist who has found her way to communicate concepts, ideas, feelings conscious and unconscious through art.
Art Curator Francesca Catarinicchia
Anita Aardalsbakke
Lives and waves
Anita Aardalsbakke
Our lives in waves
Anita Dalen Johansen
Anita Dalen Johansen according to the theme of the current exhibition ‘Hysterica’ present, to M.A.D.S. Art Gallery’s viewers' two personal paintings, emotional and deep in their meanings. Both of them seem to focus their attention on the subjects’ significant and expressive facial details. Inspiration, as the artist herself claims, is what ‘Inner voices, we can be our own worst enemy II’ shares. A dark painting, made up of just black acrylic and cold grey, brings the viewer into a deep and almost scary atmosphere in which a big facial profile is shouting. The sensation of anxiety and oppression is also accentuated by the big hand closed into a fits fluctuating on the right side of the canvas, surrounding a small and crouched figure representing the artist’s suffering soul.
Anita Dalen Johansen
An invitation to look deeply into the artist’s eye, just to understand and enter in contact with what she feels and what she wants to express, is what transpires from ‘She wasn’t there, again, today’. The subject of the title refers to a voice, a figure that has influenced Anita’s life for a long time, and that is well visible into the profound eye too. Conditioned by her thoughts and emotions, she has felt like an estrange until she has understood that, only <<facing this part of herself she has been able to take control of her life, work and possibilities>>.
Art Curator Martina Stagi
Anita Dalen Johansen
She wasn't there, again, today
Anita Dalen Johansen
Inner voices, we can be our own worst enemy II
Anne Lhuillier
<<Convinced that there is no art without emotional expression, she finds inspiration in the complexity of the human experience, whether joyful, painful or everything in-between>>. To talk about the paintings presented on occasion of the international art exhibition Hysterica by the artist Anne Lhuillier could be interesting to start from this consideration that concerns her personal artistic language. She starts from watching the reality around her. Like human feelings and emotions. Then she tries to translate these elements on the canvas in shapes and forms. If we start from the painting titled Hurricane, we can see this process of translation. In this case, she starts from a natural event and with the colours and signs, she describes the effects of this event. I want to underline the uses of this word “effect”. This means that the artist does not represent the hurricane, but what this natural event springs up into the human emotions. The colours seem to overlap one another in bands and stripes. The composition that comes up to the eyes communicates a force that confuses and amalgamates everything. So what is able to create the hurricane not just the hurricane. The second painting presented is titled Field and recovers the same intentions of the first painting to represent the natural situation. In fact, also in this occasion the artist represents the landscape in its immediacy. The technique used recovered the impressionist language, with the uses of the brush on the canvas. Brushwork became rapid and broke into separate dabs in order to create the fleeting quality of light. It is not just the representation of the landscape, but also what the artist sees about the landscape, in an exact moment of the life. The technique used in the third painting is different from the other ones. The artistic language used is that of the abstracts and the composition seems to represent not something in particular but just what the artist feels in the moment of the artistic creation. In the background we can see different shapes, forms and colours. In this case the important element to consider is not the last results of the composition but the action beyond the brush. As the artist wants with this sign to say: -I’m here-. As she wants to communicate to the viewer her presence. The composition seems to be divided into two parts from a black line. On the bottom part, one element stands out from the other and it is a world. We can clearly read the question “Why?”. Maybe the most important question we know. The artist Anne Lhuillier leaves to the viewer this question as if she was asking the observer to come back to childhood to discover the world again and one more time.
Art Curator Elisabetta Eliotropio
Anne Lhuillier
Field
Anne Lhuillier
Hurricane
Anne Lhuillier
Why?
Aranka Szekély “I just wanted to depict a lovely woman who is struggling with emotional problems and is ambivalent, sexy and angry or desirable and irritating the same time”. (Aranka Szekély)
On the occasion of the multimedia exhibition "Hysterica", organized by M.A.D.S. Art Gallery of Milan and Fuerteventura, our dear Artist Aranka Székely presents two acrylics on canvas entitled "Hysterica" and "Paths of life". These are two very different works: the first artwork, in a figurative genre, presents a beautiful woman with dark hair, with facial features very similar to those of the artist herself, making us assume an identification of her, within her work. Even in the past participations, Aranka has always presented herself confident and determined, she has never been afraid to discover her frailties or to camouflage them under something else, but rather, she has always been able to share her most intimate and profound secrets with us, her feelings, and her wishes as an adult and mature woman.
Aranka Szekély
In fact, this time too, she shares with us her familiarity with hysteria and with sides of herself, which are certainly not visible at first encounter. She admits that "Hysterics are part of our life, almost characteristic of women. Usually I am not hysterical, but I know there are situations where it is healthy to be. Hysteria helps to overcome emotional problems: repressed souls can cause severe psychiatric illness, so it is recommended to use it and sometimes be furious". The second one, on the other hand, is a colourful abstract that expresses optimism towards life and towards any hostility that it may present to us. It is a hymn of joy, positivity, and strength: the obstacles of life can be many and complicated, but every moment of our time is unrepeatable. She uses a very broad palette, full of contrasts and lively enrichments, combining them with thin and thick strokes that alternate, follow each other, overlap. The complex is carried out with great skill, great artistic wisdom, and a not indifferent aesthetic ability, which makes every detail necessary for its composition.
Art Curator Carola Antonioli
Aranka Szekély
Hysterica
Aranka Szekély
Life paths
Arnold Arturo Hoffmeister Garcia "Our life is largely made up of dreams, of the unconscious. And we must connect them with our actions." (Anais Nin)
Arnold Arturo Hoffmeister Garcia, artistically known as SalemShei, constructs his artistic poetics through a personal and profound artistic language that aims to bring his own unconscious to the fore through an incessant movement of the brush, an impulsive movement that, like a stain to be written, it records every sensation and impulse experienced in that precise moment. Frantic strokes, contrasting colors become the main characteristic of the artist, who lets himself be guided by his unconscious and creates highly suggestive works of art that induce the observer to analyze his own unconscious to generate personal visions of what he is observing.
Arnold Arturo Hoffmeister Garcia
Like a Demiurge, the artist becomes the mediator between the intelligible reality and the artistic material, between the real and the imaginary, a world that wants to be shown and listened to to give awareness to the artist. Understanding of oneself, of one's potential with a view to strengthening one's confidence. Accept that we are who we are and serenely show it to the universe: this is the key to reading, profound and in synergy with one's soul and the sensitive world.
Art Curator Federica Schneck
Arnold Arturo Hoffmeister Garcia
Primitive Entity
Arnold Arturo Hoffmeister Garcia
Clinging to the Void
ART BY Austa Lea
Inspired by nature and the wildlife, the artist Austa Lea creates her two paintings - exhibited at M.A.D.S. Art gallery during the current ‘Hysterica’ exhibition - giving attention both to their compositional details and to how they are created; the technique used is always related to nature and its gift. Therefore, we can consider this kind of paintings as a sort of ‘recycled art’. Nature is full of contrasts and that is why it is unique, as it is for us, human beings, always guided by feelings and emotions that influence our lives and that, only letting them go, we can confront them: <<I see the fairy tale and magic of the world around me, and my paintings express this>>. ‘C I S’ the first painting with which Austa joins M.A.D.S. Art Gallery during the ‘Hysterica’ exhibition, is the perfect example of what she means by being who you are. Acceptance, trust, and care are the main subjects in which she believes.
ART BY Austa Lea
This painting is, in fact, the reflection of power, the power to not feel ashamed for what you feel. ‘C I S’ has no gender, it is feminine and masculine at the same time and this concept is what this piece refers to: in an undefined, colourful and almost magical background, Austa depicts a human being with a wolf’s head. Human beings and animals are at the center of the piece, just to remember that Nature is the perfect example to follow to be free. Similar in technique and in the composition, ‘MOTHER’ is the representation of our roots. This time, however, the colors used are darkest and the background shows natural elements, clearly visible, who seem to dialogue with the central figure, Mother’s Nature. Looking carefully at this painting, we can understand, from the tattoo on the main subject’s arm, that the whole scene is an invitation to pay attention to the importance of nature and to what it gives us. <<Pray! Pray for the rain, pray for nature, pray for the planet>>.
Art Curator Martina Stagi
ART BY Austa Lea
CIS
ART BY Austa Lea
MOTHER
ARTRAGENS “Understand me. I’m not like an ordinary world. I have my madness, I live in another dimension and I do not have time for things that have no soul.” (Charles Bukowski)
The art by ARTRAGENS, a contemporary French artist, is composed of stunning visual twists where colour is the absolute protagonist. She appropriates a language that blends extremely different artistic styles - Japanese cartoon art, Pop art, street art - succeeding in creating a strongly impactful unicum. The physical support becomes a place of conjunction and a meeting point with the world of digital art, dematerializing not only its conceptual boundaries but also its sensorial ones. ARTRAGENS shocks the viewer by guiding him into a psychedelic universe, where the characters are overwhelmed by dazzling visual effects, which absorb them completely to the point of almost obliterating their features. "Genius Madness" is a perfect representation of the madness that marks the reasoning, thoughts and logic of the genius mind. The street style is the underlying theme of the artwork, where different fluorescent colours blend into each other, overlaid by a raster dot effect, reminiscent of comics and American Pop art.
ARTRAGENS
The decomposition of the subject, accompanied by a neon effect running through its forms, destabilizes the observer by succeeding in its attempt to convey the frenzy of a misunderstood mind. The artist tells us about psychology, about an impetuous, unstable, explosive psychic world. With her art, ARTRAGENS delves into the depths of the human mind in order to bring out its hysterical characteristics, its impetus and dynamism, which define its creative power. She uses the energy of colour and digital tools to narrate the electrical activity of the brain. To tell the story of the light that flows along the neuronal networks and the intensity of the impulses that result. A journey into the energy field of the human mind, towards a shock aimed at awakening the drowsy.
Art Curator Francesca Brunello
ARTRAGENS
H
ARTRAGENS
Genius Madness
Ashley Wright “This tremendous world I have inside of me. How to free myself, and this world, without tearing myself to pieces. And rather tear myself to a thousand pieces than be buried with this world within me." (Kafka Franz, Diaries, 1910-1923) Ashley Wright is a Visual and Mental Health Artist from Redlands, California. Her will as an artist is to help people like her, who fight with Complex Post Traumatic Stress Disorder and dissociation, to find peace by letting their inner world coming out and be seen, in all its shades. From beauty to nostalgia, Wright’s Dreamscapes offer the viewer a place where to feel contrasting feelings, from hope and familiarity, to the discomfort and unknown of a place born from dissociation from the reality, derealisation and maladaptive daydreaming. All these sensations come from the actual conditions that a person with dissociation may experience every day, often by being mentally projected in a safer world than the real one. Each of the landscape the artist paints acquire a dreamlike allure, combining locations from Southern California with Sci-Fi and the vibrant designs of the 80s and 90s.
Ashley Wright
The dreamscapes Wright creates are the places that saved her during her years struggling with such a delicate, in her case undiagnosed for a long time, mental health condition. Which came from an unstable childhood and her father’s death when she was 18. The artist found out the healing power of painting during her senior year in college, during a period when she began experiencing more serious struggles with her mental health. After the discovery of the therapeutic potential of painting Ashley Wright never quit the artistic world. For HYSTERICA she exhibits two acrylic on canvas works: Find your Horizon and Healing the Burn. Through each texture, brushstroke and colour palette she invites the viewer in her mind. Her hope is to raise the awareness of Complex Post Traumatic Stress Disorder and mental health, by letting people see what she mentally and physically experienced.
Art Curator Sofia Ronzi
Ashley Wright
Find your Horizon
Ashley Wright
Healing the Burn
Assaya
Two bodies harmoniously fluctuating into an undefined space, are the main subjects of Assaya artist’s paintings presented at M.A.D.S. Art Gallery during the current ‘Hysterica’ exhibition. More defined in its details and in the contours, ‘Absorbed’ shows a muscular and female figure occupying the whole canvas. As the title itself lets imagine, the woman is absorbed in her dancing movements spreading her emotions throughout the scene. The red spots here and there into the painting seem to come exactly from her body, reproducing her long hair. The same scene, this time dimer and softer is represented in ‘Entropy’.
Assaya
Divided into two and almost symmetrical parts, the canvas reflects the human’s contrasting emotions, underlined also by the choice of the colours used. Conflicting feelings that have been made tangible with opposite colours: the red and the light blue. Both the paintings, according to the concept of the exhibition, seem to give essence to a hysterical moment, however, looking at them with a critical eye, we can imagine the scenes as rituals helping the subject to not feel the pressure of her feelings, letting them go out in a spontaneous way.
Art Curator Martina Stagi
Assaya
Entropy
Assaya
Absorbed
Asuka Ripple
Incredibly fresh artist, Asuka Ripple recently started her path with the visual arts. She introduces herself as new to the paint world, she met her medium, spray paint only two years ago and suddenly fell in love. Her works have the capability to convey the same amusement and surprise she felt, there is a clear message in her paintings, that is to believe in one’s singular self, to forget the collective consciousness that stops at a negative surface of ideas, her artworks suggest the eyes to calmly see through the truth, in her own words. The universe space, paradisiac worlds that live of lights and serenity, a soft shelter for the souls.
Asuka Ripple
Permanent rainbows and fresh water’s creeks, firm self-awareness in the form of mountains. Bouquets of different planets supported by DNA structures, everything is fantastic and magical. These paintings are the quiet place after the major war which is the ego’s battle. The aesthetic of sci-fi futurism shapes the image of this works of art, taking its elements and giving them an artistic direction, however Ripple’s practice is avulsed from any other analysis than the emotional one.
"I think art that you can describe in an intellectual way, in a verbal way, loses an awful lot. It's not as strong an art as the art that leaves many questions.” (Paul Lehr)
Art Curator Federica D'Avanzo
Asuka Ripple
See through the truth
Asuka Ripple
The world changes with heart
Barbara Garaventa
Barbara Garaventa is a young Italian artist, with an academic background different from art, she creates works from which a completely scientific influence on physics and gravitational waves comes. Barbara Garaventa participates, for the first time, in an exhibition organized by M.A.D.S. Art Gallery on the occasion of "HYSTERICA" to which she exhibits "Silent Explosion" a work with a strong visual and emotional impact. Barbara Garaventa with "Silent Explosion" seems to bring to light those details of the starry nights, we no longer look from the comfort of the Earth, but we go into the galaxies, into the deep Universe, we travel inside Van Gogh's "Starry Night over the Rhone" , we are, actually looking at a cosmic image made with oil paints on canvas. The starry skies, in the history of art, are very numerous, and one of the oldest testimonies is found in the tomb of Queen Nefertari. What the artist is showing and telling us is not only the beauty of what is boundless in the Universe, but represents a real oxymoron, Garaventa expresses his hysterical imagery metaphorizing it through the representation of a cosmic explosion, but which remains silent, void of sound, just a flash of light in the darkness of the universe. The metaphor is to be found precisely in this image of opposites, an explosion that recalls the hysterical act, both noisy and impactful, the silence, recalls indifference and the reality of a state of mind that has repercussions within the individual, in his inner and silent world. This work of art is able to allow a deeper reflection on real closeness to others, and emotional sharing.
“My vision of hysteria seen as a silent explosion in the universe. Hysteria is characterized by an explosion of moods enclosed in an individual, represented by a celestial body, surrounded by indifference, seen as a silent universe." (Barbara Garaventa)
Art Curator Martina Viesti
Barbara Garaventa
Silent Explosion
Bea Last “We don’t have time to sit on our hands as our planet burns” (Alexandria Ocasio-Cortez)
Bea is a professional contemporary artist, living in Scotland. Exploring different artistic practices, she recently discovered the beauty of using common objects and materials to create a narration for her artworks. Art becomes a vehicle to report a story, the story of our world, our planet, in its both social and political dimension. The main subjects are the elements involved, like plastic, wood and aluminum that are stretched in Fragility of the Self. Her work is constantly in progress, taking what events give her as a sign of art. Fragility of the Self seems to be a hung body, made by waste materials that we, as human, are used to throw. These objects have, here, the chance to live a renewed life, imposing themselves in front of the observer, who is forced to watch something that is usually voluntarily ignored. Fragility of the Self becomes a mirror for a contemporary humanity that doesn’t want to watch.
Art Curator Beatrice Rabassini
Bea Last
Fragility of the Self
Beal
According to his artistic name coming from ‘Beyond_Ideal’ that corresponds to his curious, mysterious and meaningful soul, the artist presents at M.A.D.S. Art Gallery three digital paintings that well define his believes and that are the expression of what the ‘strange’ and the ‘alter’ mean to him. ‘The Initial Will’, this symbolic and almost monochromatic painting represents a pledge. The central figure and main character of the scene is depicted in the exact moment of the acting process. The numerous and geometrical elements that fill the blue scene, let the viewer think about something powerful that is going to happen. A static but vivid painting that is going to change the artist’s and the viewers’ mind, is what transpires from this artwork and from ‘Khaibit’ too. More colorful and well defined is this organized scene that, according to the theme of the exhibition can open to the idea of a hysterical, a positive hysterical moment in search for the perfection of the soul. The five circles on the top of the painting, are the representation of the five types in which the ancient Egyptian divided the soul. Corresponding, into the painting, to each human shadow on the ground. As a sort of continuous scene, ‘So what are you?’ seems to reach the purity of the searched soul, the artist wanted to join to. This time, in a softer and more harmonious atmosphere, the main character is sat into a tree, the natural element and symbol of life. As the artist himself claims, the three paintings following each other, are the perfect expression of the pursuit of harmony and the perfect distance from the society’s rules and judgements.
Art Curator Martina Stagi
Beal
The initial Will
Beal
Khaibit
Beal
So What Are You
Benjamin Woollcott "My main concern is to retain the authenticity of that initial feeling while developing a compositionally sound final piece" Benjamin Woollcott
"Each painting is created focusing on a single emotion. I’ll either close my eyes and draw or blank my mind to everything but that emotion and paint. I then develop the painting further by selecting which moments to highlight and which to paint over. Throughout all of this, my main concern is to retain the authenticity of that initial feeling while developing a compositionally sound final piece". This is how Benjamin Wollcott describes his form of art. At the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. Benjamin surprises us with his artistic creations of the highest level. Bird of paradise, Entropy, Symbiosis are his works for "HYSTERICA". The first of his artworks is about the feelings of peace and tranquility. To create it, Benjamin blanked his mind and focused on the feeling of peace, allowing his subconscious to take over. The forms and colors that emerged are evocative of the bird of paradise flowers that grew in his garden when he was growing up. The warm-toned palette makes the viewer feel at ease. it is evident how important is the use of color which is the real protagonist of Benjamin's works. The colors express emotions belonging to the artist and evoke emotions to the viewer. Likewise, crucial is the brushstroke that brings out the inner world of the artist. Entropy is a quadriptych it is the gradual decline into disorder. Before creating this piece, Benjamin had been overwhelmed by a myriad of different emotions and memories. Those tumultuous thoughts culminated into this chaotic painting which reflects the emotional disorder running through his mind at the time. The quadriptych canvases were chosen to mirror the fractured state of Benjamin’s mind. Entropy is the representation of the shattering of the ego. Symbiosis is about the feeling of connection and belonging with someone. Benjamin focused on a person he cares deeply about to create this piece. The interaction of warm and cool colors represents the dynamics of their relationship. The shifting forms reflect the ways we, as people, grow and change over time. This painting celebrates the ways in which we connect, interact, and grow with each other.
Art Curator Mara Cipriano
Benjamin Woollcott
Bird of paradise
Benjamin Woollcott
Entropy
Benjamin Woollcott
Symbiosis
Bibik "All is flux, and nothing abides" (Heraclitus) Bibik is a Los Angeles based artist, despite having no art education and working with finance and numbers by profession, he gives birth of intense and deep artistic creations. Bibik artworks show a world distinguished from the visible one. He defines the sections of the objects as if they would open themselves to another dimension. Is evident the connection between human bodies and the machines, so that his paintings remind something similar to engineering drawings. There is a perfect combination of logic and a chaotic plane of existence. The observer can feel a melancholic feeling which is expressed in several manifestation. In Short Fuse the girl is filled by a fuse, that seems to be her one and only source of life, since the whole passing through her mouth. The old man, then, in Inner Roommate is reaching out his hand towards what seems to be a recorder. Is this simple gesture that probably creates the other self that you can see mirrored next to him. It’s the representation of the moment in which our memory becomes an independent creation outside ourselves. Close to this one, we see in Superior Carousel, another lonely man, who gives the impression to be accompanied by the representation of its own thoughts. The man lying, of whom we can notice a section of the face in the foreground, is inspired by the philosopher Schopenhauer, representing the binomial of life and death. It’s observable not only the theme of Time, as a form of the Greek Chronos, but also an innovative conception of space, that is no more only external and what is manifest, incorporating the inner world.
Art Curator Beatrice Rabassini
Bibik
Superior Carousel
Bibik
Short Fuse
Bibik
Inner Roommate
Bindia Hallauer
Bindia Hallauer is a Nevada, USA based visual artist. She has a strong background in technologies and design that helped her develop her own process and technique.Her digital paintings have a strong structure and well consolidated method: the artist starts painting on a physical medium on canvas and wood to be used as foundation to be elaborated digitally. An enthusiastic way to see the world and build a relationship with the viewer, her art articulates and communicates her sense of the world, through her own language she gives a sense of resilience and hope taking form as glazed surface and marbled bright colours. These paintings can be juxtaposed to Hyperrealistic drawings or sculpture, like Chuck Close ones or Ron Mueck’s. Hallauer’s works can be seen as a zoom in from smoke waves or from a leaf, or again, essential oil vapour of some indoor space. Pictures to be loved and questioned, a sincere dialogue between the two parts of the aesthetic event that lives in front of a work of art.
Art Curator Federica D'Avanzo
Bindia Hallauer
Ivy
Bindia Hallauer
Thanos
Bindia Hallauer
Never Will Be Same Again
BogdiFy "The colours are made to vibrate and sound in multiple dimensions" BogdiFy
Iva Bogdanova Vandergheynst, known artistically as 'BogdiFy', is a Bulgarian-born artist based in Lausanne, Switzerland. She is a graduate in Electrical Engineering and holds a PHD. BogdiFy’s artworks are mainly abstract and painted on canvas using mixed-media. Her paintings are vibrant and energetic, meticulously crafted with repeating patterns, based on specific choice of colour contrasts, and detailed thought. At the international contemporary art exhibition "ALDILÀ", hosted by the international art gallery M.A.D.S she shows her Purple Rain and Untitled: she uses colour contrast and richness of details to transform the invisible into visible. Inspired by geometry, curved spaces and infinity concepts, "the colours are made to vibrate and sound in multiple dimensions" like she says. The feature that distinguishes BogdiFy from the others is the use of color and shapes. Vibrations of colors and geometric lines create a parallel universe belonging exclusively to the worldview of the artist. She seems to be the reincarnation, of the new millennium, of the master Klimt. Shapes and colors of these two works, chosen by the artist for her second exhibition at M.A.D.S., create an otherworldly metaphysical scenario.
Art Curator Mara Cipriano
BogdiFy
Purple rain, simultaneously rigorous and decorative, is achieved by visually sectioning the canvas in several folds and painting each section independently but still in a way to keep a smooth transition in between. This technique stays away of seeing the whole composition at first, but the intuition keeps the transition between the fragments and sections. This gridded abstraction results in a flow of moving dots that become occasionally flowers and lines that position in different directions tuner that flow simulation. Untitled is carefully crafted with a multiplicity of details in the vegetation, signs and glyphs. The Gridded abstraction bleeds into landscapes and urban panoramas. The patterns glint like illuminated geometric manuscripts It is up to the viewer to choose the scale at which to observe. Though each scale proposes different details to read. The artist, once again affirms the extreme sensitivity and kindness of mind of BogdiFy. His works are a caress for the spectators. What distinguishes the artist is also her marked elegance. Elegance of the soul becomes elegance on the canvas. The shapes capture the attention of the beholder and make us travel in thoughts, a journey into our mind through the representation of the artist's mind. This embodies the spirit and purpose of the art itself.
"I transform the invisible into visible. Inspired by geometry, curved spaces and infinity concepts" BogdiFy
Art Curator Mara Cipriano
BogdiFy
Purple rain
BogdiFy
Untitled
Bowyi “It is a society where hatred of each other is prevalent, and a society full of black and white logic." (Bowyi)
Bowyi is a young artist from Seoul, whose art is rich from a communicative and emotional point of view. Her artistic and emotional maturity allows her to express what exactly she wants in the way she exactly wants. The themes that concern the individual, emotionality and sharing are very important for the artist, but also society and the dynamics that may arise within it. Regarding this, the two works she exhibited at “HYSTERICA”: “LOSS” and “LOSS (2)” represent, conceptually, a degrading and demeaning society, in which negativity is sovereign and moves all things. The two works exhibited by Bowyi convey a profound sense of loneliness and isolation, the red circle emerges inside and outside the work from the rest, it is different, extraneous, almost excluded from the rest that amalgamates and is perfectly coherent.
Bowyi
The red circle is the metaphor of people who live outside the social dynamics that stimulate hatred, fear, resentment, mutual exclusion, the circle is always on the line, which almost seems to be a border line, a clear division between the "we "And" them "of which modern society is the spokesperson. Bowyi wonders how there can be a future in which happiness and serenity are present, if people are pushed to express themselves without ever listening, without ever questioning themselves, they always pointing the finger at others. Bowyi's two works turn out to be a denunciation of the current social order, a request for help, a push for improvement and reflection.
Technology and culture have developed more than they used to, but on the other hand, people's thoughts and attitudes have become more foolish, ignorant, and younger than they used to be. How do these people hope for the future in a widespread world? (Bowyi) Art Curator Martina Viesti
Bowyi
LOSS
Bowyi
LOSS(2)
Bruce Korol "Life is perhaps a terrifying dream." (Joseph Conrad)
Bruce Korol's art is realized through the revival of a terrifying, disturbing and mysterious imaginary. Like a fisherman, the artist plunges into the deep oceans of his own unconscious to capture, grasp and re-emerge all the darkest and deepest thoughts, which materialize through the medium of art. Through an almost aseptic color palette, where black is the undisputed protagonist, the artist tackles the delicate theme of mental illness by placing the observer's sensations in the foreground and involving him in an emotional experience. Like a cathartic escape, art becomes for Bruce Korol a safe shelter, an expressive medium with which he can get rid of his nightmares and fears
Art Curator Federica Schneck
Bruce Korol
Untitled
Bruce Korol
Untitled
Bruce Korol
Untitled
Camila Bará Camila Bará is a young artist from El Salvador. Her creations are the result of a true and deep passion for art in all its facets, which accompanies her since her childhood. Despite the young age, she has already exhibited many works in her country - by taking part at events like Comic-Con, the largest fair in El Salvador - and she has also gained some international visibility thanks to virtual exhibitions. For her first participation at M.A.D.S. Art Gallery, Camila presents a work that aims to reflect on the concept of “hysteria”, and she does it by digging into her inner self, depicting on canvas the beauty that lies underneath human emotional instability. Emotions are never completely unique and transparent, they evolve quickly and we evolve with them, we change also in our appearance. The face of the young woman of this work has three projections of its emotional self, they represent our most instinctive reactions and our more instinctive nature. As the artist writes about her work, “happy moments can quickly go to sad or frustrating moments, it happens so often that we become hysterical people, being unable to bear those drastic changes of emotions and feelings”. “My abominations” allows us to take a deep look at the theme of mental and emotional instability but it also offers us the possibility to reflect on interesting aesthetic choices. The canvas is chromatically divided in two parts, the blue half and the red half. A third color, yellow, in an almost incandescent version, is used for some details, such as for the hair and some facial features. The entire work is based on the use of the three primary colors, they create an evident contrast even on digital supports and they give us the idea of the presence of two different worlds, the one that we have inside and the one on the surface. The passage between these two worlds is clear but at the same time never precise, it is where, in the artist's words, “our emotional stability crumbles”. With “My abominations”, Camila Bará excels herself to fight and control her demons, she makes a very mature use of the technique without remaining in the formality of a well-executed drawing, an example of an artistic personality destined to grow more and more.
Art Curator Viola Provenzano
Camila Bará
My abominations
Camilla Fransrud “It is not the clear-sighted who rule the world. Great achievements are accomplished in a blessed, warm fog.” (Joseph Conrad)
The artworks by Camilla Fransrud, a contemporary Norwegian artist, tell the story of nature through soft colours, which create visions rich in delicacy and respect. Layers of colours create interesting ripples, which give movement and threedimensionality to the surface of the paintings. Thus, landscapes open up to the eye, dispersing in clouds and mists, dense in their dissimilarity, enveloping the observer and inhibiting his sense of sight. The dance of nuances that characterizes Camilla Fransrud's paintings becomes a distinctive element that manages to speak of an invisible, obscure and hidden world, transforming what appears to be meaningless into seductive visions. In "Summer Feelings", pastel shades blend into each other, transforming blues into ochres and whites and pinks into greys. Tortuous swirls tell of fluctuating and vibrant emotions, accompanying the eye in a pleasant meditative dimension. The natural landscape becomes a fundamental source of inspiration for the artist, who appropriates it in order to represent incorporeal sensations of the human soul. A language that develops between formal and informal art, translating the mysterious seeds of the unconscious into visual experiences of soft gestures. A poetics that Camilla Fransrud uses to investigate and deepen her relationship with herself, in an attempt to understand what surrounds her. Her artworks become a portal to another world, where the observer unconsciously wanders in search of a reference point. The impalpability of the fog leads the viewer towards self-analysis. It speaks of a journey within oneself aimed at reflecting on what we struggle to identify and which often leads to perdition. The serenity that pervades these paintings, however, wants to communicate a sense of balance and security, reminding that each of us can see beauty even in the mystery of an unrecognizable landscape.
Art Curator Francesca Brunello
Camilla Fransrud
Summer Feelings
Caracola Art Studio "Art is the mere medium of depicting inward turmoils, battles, and attributes of a soul, raw and bare in their true beautiful form. Every painting is a two-fold image. You see a bit of the artist and what you perceive of the image. No two people see it the same" Andrea Salas
Andrea Salas gives us a wonderful artwork to admire at the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. Women in nature: into the sea shows a woman from behind, with her head turned towards the viewer. The thoughts of the woman are represented as waves of the sea. The keys to reading her work are simplicity, expressiveness, and aesthetic energy. Caracola takes inspiration from the environment, observing people, and from the simplicity of the space around her that are processed into works of art, either digital landscapes or in the form of hand-painted portraits. She was genuinely inspired by Vincent Van Gogh’s and Piet Mondrian’s imagination and abstractions and the viewer can actually see their influence on the work presented at M.A.D.S. Andrea Salas is an art enthusiast, and she loves investing time and space in exploring new aspects of art through experimenting with painting, media, and photography. She graduated with a Bachelors in Visual Communication and pursued with Masters in Fine Arts – Photography. As a frequent traveller to seek more opportunities, her passion and desire to explore art took her to different places from my birthplace Ecuador, Colombia, to Spain and Netherlands. Her inner artist was discovered at its earliest when she was studying in her college and came face with the European Art and Design Movements. It inspired her to the fullest to reach her potential and look for opportunities in a country with the same art background as the Netherlands. Her interest and taste in art and design also emerge from a long line of painters in her family tree by the last name, Salas, from the 1780s.
Art Curator Mara Cipriano
Caracola Art Studio
Women in nature: into the sea
Carien Borst "The aim of art is to represent not the outward appearance of things, but the inward significance." (Aristotle) Carien Borst is an artist who lives and works in the Netherlands. Carien's vocation for art is the result of a curious and lively creativity, which is accompanied by a reflective and profound intent, inspired in particular by an Aristotelian sententia. The artist embraces the ideal of the Greek philosopher, conceiving an art capable of transcending the vain shadows of appearance to seek the true essence of the emotions and passions that stir in the human soul. To best achieve this goal, Carien dedicates herself in particular to the art of portraiture, of which we can admire five splendid examples in the "Hysterica" exhibition. The paintings portray young female faces depicted in an intimate and true dimension, as for Barbara. The delicacy of the pink and blue tones of the background allows you to focus your attention on the girl's big eyes, wide open in the astonished expression of those who are faced with their emotions and feel almost a stranger (just as the name Barbara suggests, "foreigner") in this world. One of the main intentions of the artist is to convey serenity with her pictorial creations, and Hagar - The protected Woman seems the most perfect example for this ideal. The pastel colors (obtained with acrylic, ink, charcoal), the facial features stretched out in a hinted smile and the gaze directed at a point outside the canvas immediately project an optimistic and reassuring, confident and positive vision. In Inga the warm tones of red, orange and pink dominate, referring to fire (also in this case the etymology of the name Inga is an omen) as a bringer of destruction, but also of renewal, energy and liveliness. In Sofia – Be a flamingo between a flock of pigeons we find an analogous chromatic apparatus, although this time it is almost in the background with respect to the expression of the face. The almost pleased air of the girl portrayed seems a hymn to the awareness of her own uniqueness, which must not be flattened to a standardized ideal, but must be affirmed with pride and courage. Once again, her large, deep eyes "speak" with a mute vitality that needs no words. On the contrary, Yael - When Deep Calls to Deep (based on Psalm 42: 7 "Deep calls to deep in the roar of your waterfalls; all your waves and breakers have swept over me") amazes for the singular expression of the beautiful face, reclined on the side in a whole that suggests a symbolic introspective journey into the most intimate recesses of one's interiority. Carien Borst's art is thus summed up in faces wrapped in eloquent silence, in which gazes full of meaning emerge that meet those of the observer, to whom it is not possible to remain indifferent. The artist seems to address on the one hand a tacit invitation to look courageously at one's emotions and to accept them; on the other hand, she attempts to demonstrate the universality of feelings, which each can discern in the other person to the point of entering into a connection with it.
Art Curator Chiara Rizzatti
Carien Borst
Barbara
Carien Borst
Hagar – The protected Woman
Carien Borst
Inga – About Fire
Carien Borst
Sofia – Be a flamingo between a flock of pigeons
Carien Borst
Yael – When Deep Calls to Deep
Carla Pennant
In the most difficult days, each of us wonders what is the secret to being able to deal with the worries and anxieties of life. As long as there is a secret. For the artist Carla Pennant, the secret is optimism, always facing everything with joy and beauty in the eyes, despite everything. Her works of art are the means through which she expresses her way of looking and living life. For Carla her main source of inspiration is nature and the elements that compose it, because, as the artist herself states, they reflect her love for the simple things in life and for her beauty. Sometimes each of us should let go and get lost in nature, be overwhelmed by the joy it transmits and for a moment not think about anything, but only feel the warmth of the sun on the skin, get your hair moved by the wind, get your feet wet from the sea or touch the dew with your fingertips. It would be really good for the heart and soul. The work presented here fully represents, even at first glance, the mood, the joy of the artist in creating it, which she then poured onto the canvas. Observing it we can clearly see that precise moment when "After the storm" then always the sun shines. We see just how the sun, from the corner of the canvas, is radiating and permeating everything around it. As the light and heat of the sun always manage to make their way through the chaos and darkness of the storm, so joy and well-being must elbow to always emerge from the darkness of the difficult moments that life can present to us.
Art Curator Silvia Grassi
Carla Pennant
After the storm
Carmella Cardina
After a career in film and television, Carmella Cardina started taking photographs to investigate how she felt about aging and her changing body. Through her intense photographs, mostly in black and white as if to give the whole a sense of melancholy and nostalgia for something irrecoverable, Carmella investigates the body of the mature woman, placing herself as the protagonist of her shots, in order to force herself and the viewer to see her beautiful imperfections drawn by the passing of time. At “HYSTERICA’” exhibition hosted by M.A.D.S. Art Gallery, Carmella presents two photographs.
Carmella Cardina
In "Untitled_1", Carmella sits on a chair in an extremely confident pose, almost as if she were in a photo studio and was posing for someone important: knees crossed, hands intertwined on her right knee, shoulders wide and straight back convey a certain strength and self-confidence. What contradicts the whole thing and captures our attention is the red canvas bag that covers her head which deprives the audience of her identity. This person could be anyone. It could be you or me. Getting older happens to us all. The same expedient of covering the head also recurs in “Untitled_2”. Naked and flooded with a cold light that illuminates her from the bust up, Carmella’s head is wrapped in transparent plastic that prevents identification of the face. In addition to depriving her of her identity, plastic gives photography a terribly macabre sense, evoking the dead bodies and the coldness of their white skin. Her naked body and hidden face shows a sign of strength and fragility.
Art Curator Matilde Della Pina
Carmella Cardina
Untitled_1
Carmella Cardina
Untitled_2
Caro Sole Caro Sole is a German artist and she defines her art “Expanded Surrealism”. Her mission is to bring joy to the spectators and transmit a message of positivity. The work that the artist exhibits at M.A.D.S. Art Gallery, based in Milan and Fuerteventura, is entitled "Colorful Dream" and is made with collage and mixed media. The artist works mainly with acrylics, collage and ink on stone paper. The style of Caro Sole is unmistakable: the colors are gaudy and thanks to liquid acrylics you get a typical effect of the Fluid art; through the collage the artist inserts words, phrases, images that convey positive messages. In this case a woman completely occupies the composition. The visual fulcrum is her face that is placed in the center and is completely white, becoming a visual fulcrum that attracts the viewer. The woman’s hair occupies the rest of the canvas. They branch off and create soft waves of different colors, like those of the rainbow. The woman’s eyes are closed, she’s dreaming, as the title suggests. If we analyze the elements applied to collages are almost flowers, pink peonies that fit into the woman’s hair. The two most interesting elements, however, are an eye positioned at the top of the canvas which usually represents the presence of an higher entity that watches over us. The other element is the two swallows, on the right of the composition, which symbolize peace and freedom. The lyrics read "Sometimes life is about risking everything for a dream no one can see but you." - with this phrase Caro Sole sends an explicit and direct message to her observers, inviting them to follow their dreams.
Art Curator Giorgia Massari
Caro Sole
Dream Colorful
Carrie MeeRan “What happens when people open their hearts?" "They get better.” (Haruki Murakami)
Carrie MeeRan is a Korean American visual artist, published poet and pianist from Seattle. Her works talk about healing, growth and transformation through the experiences of life. In fact, she started her artistic path after a major trauma in her life when she was only 19. MeeRan’s life is the river her art is navigating, an obsessive and complex technique of layering and washing; a repetition of movements and gestures to heal, to wash the pain away and eventually discovering what can be good in the leftovers before it disappears.
Carrie MeeRan
Some of her paintings will last only for ten years. Consuming works of arts, like the famous candies by Felix Gonzales-Torres, hysterical need of showing the pain Hippocrates would say. The way the paintings can be seen is temporary and mutable with passing of time, a technique that mirrors the artist’s soul and intentions of transforming traumatic events in beautiful images to be admired. An obsessive gesture, the intention to write and cancel the same story, the use of the artist’s body as an active part of the final product. A performative event. Art history witnessed hundreds of authors expressing themselves through performative painting, Yves Klein, Hermann Nitsch, Jackson Pollock among others.
Art Curator Erika Gravante
Carrie MeeRan
Blue and Gold Wash
Carrie MeeRan
August Colors
Catarina Diaz
Catarina Diaz is a collage artist who creates incredibly avant-garde works thanks to the use of old newspapers and the collage technique that allows her to make something real making it completely different, placed outside what may be conceivable. Catarina Diaz is an artist confirmed among the participants in the "HYSTERICA" exhibition, an event that wants to emphasize the importance of expressing one's most visceral depth. At "HYSTERICA", Catarina exhibits two works that, together, create a unique work. “Pink Skies 1” and “Pink Skies 2” have an incredible aesthetic and communicative importance individually, but together, they create a new world, a set of different and bewildering emotions. The shocking pink elevates the subjects of the collages, places them outside the work itself, the use of tone-on-tone creates coherence and strength, which are elements that pervade the observer.
Catarina Diaz
The sense of lightness and freedom is tangible, perceptible, experienceable, you can see it in the cloud, and above all in the position of the girl in "Pink Skies 1". A very interesting element is the artist's choice to use cables to make the subjects suspended in the air, cables that create a sense of tension, as they are perfectly straight and taut, creating a profound contrast with the cloud, the element to which they are hooked. The hills below give that sense of movement and softness, a feeling of fluidity and dynamism. Emblematic in the works of Catarina Diaz is her intention, her desire to tell women, their most characteristic traits, which makes them unique and strong, women with the desire to be free and independent. You feel involved in this spiral of selfesteem and self-confidence.
Art Curator Martina Viesti
Catarina Diaz
Pink Skies I
Catarina Diaz
Pink Skies II
CemArda/Matocem
Inspired by his passion for cartoons, the artist CemArda – Matocem – creates abstract, realistic paintings in acrylic. The three pieces presented at M.A.D.S. Art Gallery during the current exhibition ‘Hysterica’ perfectly represents the artist’s way to give form to his artistic intuition. Similar in their technique and composition, they present a dynamic scene that, thanks to deep and black brush strokes here and there, give a sensation of impulsivity that corresponds to the artist’s drawing process. In relation with the theme of the exhibition, the way in which Matocem creates his artworks lets his rational impulsivity transpire. The subjects of the three scenes are human figures, black figures depicted in their activities – just as the titles themselves reflect – recalling each other as a following and unique scene. ‘Pathway’ and ‘Walking the right way’ have the same concept that reading with a deep gaze are a sort of invitation to the viewers to follow their own soul, their own thoughts looking ahead, without losing your objectives. The background’s colours here are more luminous than the one chosen and used to create ‘The final’. The concept of this last painting is given by the numerous elements fluctuating into the scene. The big eye seems to reflect the inner self, a guide and a way to express the exteriority, the possibility to get your feelings to come out. The roaring lion is, in fact, the personification of our power, the power to react.
Art Curator Martina Stagi
CemArda/Matocem
Pathway
CemArda/Matocem
Walking the right way
CemArda/Matocem
The Final
Charles Dadi
Nowadays, those who think outside the borders, those who question themselves about different issues, but also do not question themselves at all, those who manage to push their gaze other than their nose and really investigate in the depths of what surrounds them is seen almost with suspicion or in any case not really understood. The figure of the artist has always been seen as the figure of someone who is a visionary, who has his own vision of the world and manages to convey it on canvas or in sculptures. In the last century the figure of the artist has radically evolved in this sense and today has reached absolute levels: the artist is the one who always manages to have a critical eye on the world, on society, who thanks to his art manages to move the public opinion.
Charles Dadi
The artist's sensibility allows him to be able to grasp nuances of what surrounds him that anyone could escape and through his art he gives us a different, innovative key to understanding society, which we would never have thought of and that really makes us reflect. deep inside. The artist Charles Dadi, in fact, does not stop his gaze at our world that we trample and live every day, but pushes it much further: towards the immensity of the universe, of galaxies, of what that infinity could hide from us and reveal us. In his works, Charles opens the door to the universe that he himself created, which he shows us and describes in detail. In his paintings presented here, “Galaxy A1005” and “Galaxy A1006”, Charles does not limit himself to imagining what may be beyond our visible but molds it into shapes and colors on his canvases.
Art Curator Silvia Grassi
Charles Dadi
Galaxy A1005
Charles Dadi
Galaxy A1006
Cheryle Galloway Cheryle Galloway is an extremely talented Zimbabwean-born American photographer. She lives photography as a means of capturing experiences, telling stories, expressing emotions and feelings through the art of trapping an image forever. Cheryle is inspired by her surroundings: she photographs places, people, natural environments. Increasingly, she takes more intimate photographs that reveal feelings, emotions and trigger deep reflections. The viewer can identify with the subject, feel the same emotions on their skin. She photographs extremely expressive subjects whose gestures immediately capture the viewer's interest. The pandemic led Cheryle to take the path of self-portraiture, beginning to tell her story in a more intimate atmosphere, revealing through the camera lens sides of herself that she had been hiding, revealing them in all their splendour and beauty. She tells of weaknesses, fragility but also of strengths, pride, affirmation and beauty. Often, in fact, the protagonist of her photographs is herself. In doing so, she allows the viewer to delve even more closely into her way. She explores extremely topical issues such as questions of identity, race and gender. Cheryle's photography could be described as an autobiographical narrative that shows not only the places she has experienced and which are imprinted in her memory, but also her emotional, subjective sphere. In the series of five photographs that the artist chooses to exhibit in the "Hysterica" exhibition, she explores above all the concept of femininity and all that being a woman entails. She uses light and colour, form and gesture to tell the story of what it means to be a woman in all respects, describing fragility, sinuosity, fear, acceptance and affirmation. She exposes wounds, pain, but also freedom and joy. With these photographs she intends to break down the limits that society imposes on women as individuals and aims at a transversal version of them as human beings. Today, a woman's value is unfortunately still defined by countless factors such as her race, the job she does, the size she wears, how she dresses, whether she is a mother or not. Here, Cheryle breaks away from this vision and proposes an image of the woman as an autonomous individual, free to be what she wants. It is an invitation to the girls and to all the spectators, to be what we want without always feeling defective or inadequate. Cheryle addresses the issue of acceptance and self-determination: we are not just someone's wife or mother. We are women. Through these series of works, in order to express these concepts, the photographer strives to turn the point of view upside down. She wonders what would happen if women deviated from the norms of femininity that society imposes. A journey into the knowledge of the body but also of the wounds that accompany a woman throughout her life. What is striking about these photographs is above all the strong contrast between light and shadow. The choice of using black and white, which further emphasises facial expressions, body gestures and highlights key points, is appropriate and much appreciated. Cheryle reports a whirlwind of emotions: "I feel as if I don't exist" tells of fragility, doubts, a sense of inadequacy; "Be your own kind of girl" speaks instead of a feeling of self-assertion, freedom; "She will rise. With a spine of steel and a roar like thunder, she will rise" tells of a feeling of revenge, getting back up after a defeat, stronger than before; "We know we are the lucky ones" talks about acceptance. The shot "Apocalypse lifting of the veil" is very evocative, expressive and profound. In short, five shots encapsulate a path of affirmation which in turn concerns overcoming obstacles that often seem insurmountable. The photographs are extremely expressive, the light bathes the skin highlighting the sinuosity, their shapes. The plasticity of the bodies, the emotion that transpires from the expressive faces. Cheryle proves to be a very skilled photographer, able to capture the perfect moment, full of pathos. She encloses deep meanings in her images, inviting the viewer to investigate, to ask questions.
Art Curator Ilaria Falchetti
Cheryle Galloway
I feel as I don't exist
Cheryle Galloway
Apocalypse lifting of the veil
Cheryle Galloway
We know we are the lucky ones
Cheryle Galloway
Be your own kind of girl
Cheryle Galloway
She will rise, with a spine of steel and a roar like thunder, she will rise
Chiara Piantanida
Chiara Piantanida is an Italian figurative artist whose art expresses the extreme sense of surrealism and conceptualism itself, an avant-garde artist with a strong communicative and evocative power. She is again a guest at an exhibition organized by M.A.D.S. Art Gallery, on the occasion of "HYSTERICA" she exhibits two works: "Guernica in my own way" a work that was born as a reinterpretation of the famous Picasso painting. The representation is rich in symbolisms and hidden meanings, starting from the central figure, the flowers that come out of the subject's mouth express a sense of hope, the desperate figure that seems to succumb under the ground recalls the past from which the flowers that could represent a better future. Chiara expressed this concept by inserting numerous elements that represent historical events or, more generally, past eras.
Chiara Piantanida
"Decomposition of a person" is an extremely psychological work, which viscerally expresses a fragmented personality, it is therefore a psychological representation that analyzes the elements relating to interiority and exteriority, despite the fact that the colors tend to express a 'relaxed and calm atmosphere, the depiction is extremely raw, the person is completely divided into pieces which are totally exposed, hung, exactly as if they were hung out to dry in the sun.Both works express clear and distinct concepts, Chiara's ability is precisely that of getting straight to the mind and heart of the viewer, as every superstructure is absolutely eliminated, canceled, made useless. Whoever observes the work feels at the center of communication, almost as if that message was directed precisely to himself, the ultimate goal of artistic communication.
Art Curator Martina Viesti
Chiara Piantanida
Guerninca a modo mio
Chiara Piantanida
Scomposizione di una persona
Chie Suzuki
Lotus and lime leaves gently resting on the white backdrop. They are there, motionless and shining, portrayed in their maximum splendor. Covered by a glossy film of paint, they are prevented from rotting and eternal, gently releasing their vital energy. Lush and candidly painted plant elements are a symptom of a time that has stopped. Large lotus leaves are firmly glued to the pictorial surface. Above them, the transparency of the lime leaves creates a harmonious and almost imperceptible veiling. The veins of the leaves are so turgid that one thinks, at least for a moment, that the lifeblood that once made them green and firm still flows through them. Chie's leaves still have this turgidity, they jealously preserve it to offer it to the eyes of the observer. Restart is a game of superimpositions. The pink background, sweet memory of the dawn of a new day, receives and welcomes large and flat lotus leaves. The chromatic tones that characterize them are delicate but changing in their diversification of colors. A light blue gives way to a mature pea green. The pinkish hue of the background then combines with the texture of the lotus leaf and makes it its own. Like shiny fans moved by the wind, these leaves occupy much of the composition. They might seem heavy and heavy, yet the power of color and creative genius transforms them into incorporeal and luminous entities. Above them, the linden leaves, shy and ethereal, peep out in the center of the composition. The contrast between the brightness of the lotus leaves and the porous materiality of the lime tree is striking. These small ovoid leaves rest on the sea of colors like a feather on the water surface.
Chie Suzuki
They are insubstantial and incorporeal yet characterized by a dense network of veins. The sap is still there, pulsating. Fleeting and docile ghosts of memories, the leaves of the lime tree are superimposed on those of the lotus in an extremely poetic game of reality and past reminiscences. There is the force of life in this work. There is the history, the lucid memory and the feeble reminiscence. There is the eagerness to know what the future holds, there is the desire to get back into the game, changing the vision of their lives and themselves. Restart is a hymn to moving forward, to looking to the future while recognizing the past, while loving the past. Leaves moved by the feeble and fresh spring breeze spend their entire life cycle firmly anchored to the tree, their favorite home. It then happens that they fall off, lie on the ground and begin their slow and inexorable organic decline. It is the destiny of the leaf, it is the destiny of every living being and of every individual. It is the cycle of life and nature closing, only to begin again. And it is precisely on this that Chie's botanic art emphasizes, on the wonderful cycle of nature and the slow becoming of everything. The artist freezes time, stops the moment in the perfect moment in which every wonderful characteristic of the living being is at the height of its splendor. Like a nurse she takes care of the leaves, colors them, applies and polishes them, transforming them into precious elements to be applied on the support. The leaves, destined to the sad and inexorable destiny of decay are transformed in their essence, shown in all their vital force as only nature knows how to do.
Art Curator Lisa Galletti
Chie Suzuki
Restart
Chie Suzuki
Be Yourself
Chikara Komura
Chikara Komura is a Japanese photographer, professor at Seikei University, whose photographic production deeply absorbs the soul and spirit of those who observe. A sense of spirituality and detachment from matter permeates the atmosphere that Chikara Kamura's photographic works convey. For the first time guest of an exhibition organized by M.A.D.S. Art Gallery, he exhibits a triptych of works with an evident mystical and surreal atmosphere, which have the natural subject as their leitmotif. "AMAGI_06" is the photograph of a tree in bloom, taken inside a forest, the photographic work conveys a sense of solitude, but at the same time conveys a profoundly majestic and spiritual atmosphere. The pink flowers stand out on the green and the grey, a light mist allows the flowers to stand out even more than the rest of the photograph. "Flowers in the sea 06" similarly represents a natural subject that appears to be placed under water, the photography technique, therefore, changes radically from the previous image. The sense of loneliness is even more emphasized, but accompanied by the sense of movement conveyed by the slight blur of the photograph. Finally, "stone 10" perfectly embodies abstract photography, the shapes, lines and shadows turn out to be something totally different from what the artist initially photographed. Almost reminiscent of a "stone 10" labyrinth, it is also enriched with different, perfectly harmonious and coherent shades of color.
Art Curator Martina Viesti
Chikara Komura
AMAGI_06
Chikara Komura
Flowers in the sea 06
Chikara Komura
stone 10
Chris Collier “The heart of man is very much like the sea, it has its storms, it has its tides and in its depths it has its pearls too” (Vincent van Gogh)
British visual artist and musician, raised in a very creative environment that influenced his practice from the very beginning. Chris Collier is drawing the irony and loneliness of the deepest yet simplest fears. He is scared of the sea. As simple and as common as it is. But through his hands and felt pens his sea becomes everyone’s sea. Deep, large, mysterious, the sea can be a metaphor of adulthood life, no more armrests, no life jacket, the swimming course is over, now it’s up to you. Collier’s paintings are fresh and charming, his style is direct and free from unnecessary superstructures.
Chris Collier
It is what it is, didactic. Like a Virgin Mary painting titled Virgin Mary.Paintings that are somehow far from the reasonable stick to the mind, capture the eye and seem to be speaking a universal language on a very specific topic. Lines that look like scratches and scrapes combined with a naive use of colours that wink to an early Basquiat or a tormented Van Gogh finding their way to stay kids while experiencing the passing of time. Water as file rouge of the struggle, the place where all fears can stay hidden forever or come and get you without any notice. The fear of the unknown, Adulthood is seen as the balance age, the less hormonal phase of the human being, the least hysterical. All these thoughts open up the greatest argument with the inner self that many times causes the biggest tournament of the psyche.
Art Curator Erika Gravante
Chris Collier
Mustard
Chris Collier
Bathtime In The Quiver’s Motel
Christophe Szkudlarek
On the occasion of the multimedia exhibition "Hysterica", organized by M.A.D.S. Art Gallery of Milan and Fuerteventura , the French Artist Christophe Szkundlarek presents three pieces of his high quality digital Fine Art print. They are entitled "Creature", "Effusion" and "Warrior" and it is definitely an honor for us to host them on display, as they are perfectly in focus with the artistic taste and style choices of the Gallery itself. Graduated from the school of Applied Arts in Paris, and with artistic work experience as a textile designer for fashion and furniture brands, he has always been sensitive to the decorative arts, to ornamental motifs and to the comparison of colors and materials of all kinds. This first passion is linked to the pleasure of social relationships, from the strange and interesting encounters that life has for each of us. Music also feeds him and makes his imagination vibrate in a very direct way. All this gives life to the current design of erotic images, which speak of attraction between two beings, romantic or sexual, of desire, of otherness. The technique occupies a fundamental space, as Christophe engraves his drawing on paper or wood: he likes the idea of fixing a scene by burning a support, such as a pyrotechnic engraving, like a tattoo on the skin, which will remain forever. What strikes at first glance is the ability to arouse intense emotion and total participation on an aesthetic or emotional level in the confrontation of the characters. Although there is a "sexual" scenario, the images are not vulgar, but far from it. The elegance of black fits perfectly with the curves of the coloured crops, with the symbols, with the lines and everything is balanced.
Art Curator Carola Antonioli
Christophe Szkudlarek
CREATURE
Christophe Szkudlarek
EFFUSION
Christophe Szkudlarek
WARRIOR
Chriweno “Like the sundial, my paint box counts no hours but sunny ones." (Arthur Rackham)
Chriweno, acronym of Christine Weber-Nolte, is an artist who works between Laudenbach, in Northern Bavaria, Germany and Benalmadena in Andalusia, Spain. Her studies of the anatomy and physiology of the human body, along with her work as Natural Practitioner and Physiotherapist, led her work to be an utter explosion of colour and brightness coming from within the inside of people and their expressive external figures. Chriweno plays with tonalities as she burst with joy, spreading it on and inside her very works. Her works become an open arena for her interiority to create and express without boundaries. A never ending creative process which does not permit the artist to block herself or a single
Chriweno
work of hers to the limit of an ending point. In this way the Chriweno inner world is always ready to reach the outside without the constraint to come back, fueled by her strongest inspirations: love, Buddhism, nature, traveling, music and both of her hometowns. For HYSTERICA Chriweno exhibits two works: Brazilian Beauty and Nude. Both painted with acrylic colours on canvas, have the female figure as a focal point, two bodies that emerge with their whole intensity and tender beauty, shaped with spatula, brushes and sponge, and delineated with fine liner. A contour that defines, along with the colours, the certitude and the delight of a revealed emotion.
Art Curator Sofia Ronzi
Chriweno
Brazilian Beauty
Chriweno
Nude
Cristina Ortiz
Cristina Ortiz is a visual artist who is inspired for her works by the spiritual, dream world, mystery, nature and the beauty of simplicity. At “HYSTERICA” exhibition hosted by M.A.D.S. Art Gallery, Cristina presents two videos. In the first one, "HYSTERIA", the artist attempts to represent what "hysteria" means for her, through the overlapping of images, colors and sounds that seem to come from another world, with a dreamlike and dreamy result. The images follow each other in gold through aquatic effects, almost as if the stories they tell were on a distant seabed trying to tell something unknown to us. Photos of children come alive and speak to us even if the result is not engaging, on the contrary, they remain in their muffled world detached from ours. The video is a succession of fragments, like memories that are part of the artist's memory that are composed in a timeless sequence to return a story made up of images and sounds of which we do not have full understanding. The result is therefore profoundly metaphysical, a daydream.
Cristina Ortiz
With the same expedient, Cristina creates the second video presented in the exhibition, "Octubre": a human face remains fixed for almost the entire duration of the work, alternating however between more serene moments, accompanied by sweet and calm music and with an already used water flowing over it, to other darker ones, with the disfigurement and aging of the face followed by dark and disturbing music. Almost at the end of the video then, a series of faces alternate with each other, some younger, others older, almost as if time had passed fast between them: in line with the theme, the work is therefore based on old age, youth, awareness of our existence and mental disturbances caused by the ephemeral feeling of life and the lightness of the human being.
Art Curator Matilde Della Pina
Cristina Ortiz
HISTERIA
Cristina Ortiz
Octubre
DariDela
Layer of color on layer of color. Nothing is defined, nothing is certain. Tongues of pigment feed on the air, chromatic spots take possession of the representative space like flames of a fire. The pictorial ecosystem is the final product of an energetic and excited overlapping of color and sign. Graffiti indelibly engraves the soft color, freshly applied. It is the artist's hand that dictates the rhythm of the composition: the creative genius is all that DariDela needs to move her sensations and apply them on the support. Like reminiscences of atavistic impulses, the chromatic mixtures tangle on the canvas and lean on each other. It is an impetuous dance of color that stands out before our eyes, it is the wonder of human expressiveness. And so it is that DariDela borrows instruments of reality - color and canvas - to tell a universe invisible to our eyes, a world inexplicable in words but perceptible through color. Moon Landing unrolls before our eyes, fearlessly presenting us with emerald tongues that develop vertically. Are they the protagonists of the composition? Do these pictorial elements capture our gaze? There is no answer: in every point of the work there is a chromatic protagonist ready to welcome our eyes. Well, the smallest particle of bare canvas that can be glimpsed among the impetus of the color, the immoderate spreading of the trailing color and the imprints of matter that characterize the entire composition are all part of the same creative universe, of DariDela's excited world. Without a hierarchy of forms. Without a predefined order. This is probably the strength of the artist's paintings: the lack - in a positive sense - of a hierarchical scale of the elements of the visible. The chromatic universe is characterized by elements one superimposed on the other. The latter are entangled, mixed, and become acquainted with each other: vertical yellow and red lines are interrupted by brush strokes perpendicular to them; a shapeless pink mass invades the space first occupied by a marvelous quarter-circle produced by swiped color. Each sign has its own importance and sense of existence, each spot of color is determined in its application on the canvas. And yet, in this chromatic universe that uses a color democratically applied on the canvas, we see something recognizable to us, something that brings us back with our feet firmly on the ground. The Pindaric flight in the universe of DariDela has its end in the whitish figure on the far left of the canvas. It is a man wearing an astronaut's suit. He is a man who has just landed on the lunar soil. Now everything is clearer to us, now we have found an interpretation to the artist's colorful universe. The astronaut has reached his destination, everything he has dreamed, hoped and experienced is there, in the wonderful and multiform chromatic cluster that is Moon Landing. Each filament of color is a string of space-time; the canvas that can be glimpsed beneath the color is dark matter; the chromatic tongues approach the image of the magnetic storms of which the sun is the creator. Don't those emerald green flames mentioned a little further above recall the wonder of the aurora borealis?
Art Curator Lisa Galletti
DariDela
DariDela
DariDela
Moon Landing
DariDela
Rupture with you
David Stewart Klein <<We all have something to say underneath our silence>>
David Stewart Klein presents at M.A.D.S. Art Gallery three paintings that perfectly fit with the concept of the current exhibition: ‘Hysterica’. As the artist himself affirms, his aim is to represent what his mind shows to him and what he is surrounded by: his feelings and emotions; the ones of the people he knows and that inhabit the world around him. Two portraits and a real scene, capture the essence of the subjects and the main characters animating the scene. ‘Horrified in Red’ gives great attention to the composition: the frontal nature of the portrayed man – a friend of the artist himself- has been studied to create a confrontation with the viewer. Lots of feelings and emotions are captured in this instant just as in ‘Silver Lining’ as well. The subject, a character coming from David’s creation, is the personification of the rampant illness and homeless that have accompanied him during the pandemic. A sort of Hysteria – according to the concept of the exhibition – that is visible just through some gazes or acts. Not only powerful and striking portraits but also personal narratives just as ‘Summer 2020 (The Great Myth), are an example of David’s intimacy and intense mind. The perception obtained looking at the scene is the one of a chaotic scene, full of people, objects and symbols referring to the society. An amplified compositional space representing a fragment of the artist’s mind. Numerous are the references to the nowadays society and its strength. Great importance assumes, in David’s artworks the choice of the colours to use. The red, main character of the first piece, or the dirty white, such as the mix of colours composing ‘Summer 2020’, are used to <<show his audience his beliefs that, no matter their background, the one thing present in us all is our souls>>.
Art Curator Martina Stagi
David Stewart Klein
Horrified in Red
David Stewart Klein
Silver Lining
David Stweart Klein
Summer 2020 (the great myth)
Davina Dugnas
Hysterica is M.A.D.S second exhibition in which Scotland based artist Davina Dugnas opens her heart to let us discover other facets of her silent poem on canvas. Dugnas’s art is enriched by experimentation in colours and materials, texture and composition. What is iconic in Dugnas is her ability to create unique and exclusive artworks. It is impossible to take her art for granted as every work is a surprise; it is the result of Dugnas’s engagement with what surrounds and inspires her. “I take my inspiration from anything under the sun and moon”, she says. There is no work that is visually similar to the other as the artist gives to each of her paintings specific characteristics, an individual body and soul which are incomparable, distinctive and unique. Her artistic oeuvre is like a book of poems where words and rhymes fit together like pieces of a puzzle or contrast with each other like salt and sugar. So Dugnas’s art can be bitter and sweet, happy and sad, light and heavy, chaotic and calm, solid and fluid. “Secular Perturbation” and “Soul’s Journey” are the paintings that Dugnas presents in this exhibition. Once again, the artist uses different materials by mixing gesso, acrylics, resin and chalk to create two different works united by the same feeling of fear and uncertainty caused by the Covid-19 Pandemic.
Art Curator Martina Lattuca
Davina Dugnas
A bat with a mask is what catches the eye when looking at “Secular Perturbation”. The animal stands at the top of the painting, whose thick and black background is layered with shades of red and yellow by creating a heavy texture. On both sides of the work, the presence of heart-shaped, white resin attachments enriches the gloomy atmosphere. Inspired by Kitty Omeara’s poem “And The People Stayed Home”, this painting “represents story of survival during Pandemic and uncertain times we live in”, says the artist. “Soul’s Journey” is a black painting made with texture materials, gesso, acrylics and chalk. As Dugnas explains, she was inspired “by Kazimir Malevich who underwent such an initiatory experience as he came to the Suprematist vision”. All you can see in this painting is black; no lines, no figures, no shadows. Nothing happens, only a deep black extends on the white canvas. ‘Survival’, ’isolation’ and ‘self-awareness’ are key in these works. Both evoke the feelings of anxiety, fear and uncertainties that people felt during the Pandemic lockdown. While “Secular Perturbation” is the manifestation of fear, “Soul’s Journey” is the acceptance and awareness of it. While in the first painting, the visual representation of the bat is a powerful means to convey the artist’s message of fear and worry, in the second painting, colour takes over everything. Dugnas acknowledges her fears, accepts and overcomes them. So, the black represents the journey of each soul towards a deeper self-awareness. Here, the visual phenomena of the objective world are meaningless compared to the sensations and moods that isolation brought to people’s lives.
Art Curator Martina Lattuca
Davina Dugnas
Secular Perturbation
Davina Dugnas
Soul's Journey
Delphine Severs
Delphine Severs is a French artist whose artistic production focuses on the creation of sculptures made with the use of software for the creation of 3D images. Delphine seeks her greatest inspiration from anthropology and technology and wants her works of art to remain over time. "HYSTERICA" is the first exhibition, organized by M.A.D.S. Art Gallery, in which the artist participates by exhibiting "Untitled n ° 129" ethereal and fascinating work, made of stone. The work exhibited by Delphine could be part of that artistic current called Conceptual Art, just think of works such as "Acromia" by Piero Manzoni. The shapes and details capture the gaze of those who observe this piece of art, whose charm is also conveyed by the color with which it is made which conveys a sense of preciousness. A perfect combination of art and design, technology and artistic spirit, "Untitled n ° 129" strikes the observer and keeps him glued to its shapes, the curves of the material and the mastery of construction. The shadows and lights create further shapes and details on the work, the softness and the angular areas complement each other, making the work coherent and perfectly balanced. Thought and matter in this work coincide, thinking during observation makes the work comes to life, as if it could move at any moment.
"My sculptures depict an abstract representation of fossils, bones and relics. Essentially the petrified remains that we, as a society, will one day leave behind." (Delphine Severs) Art Curator Martina Viesti
Delphine Severs
Untitled N°129
Denise Kerkeling “To create one’s own world takes courage.” (Georgia O’Keeffe)
Denise Kerkeling is a young and energetic German artist. In her artworks you can see that her favourite subjects are flowers and nature in general. Colourful petals, fresh, three-dimensional compositions, forms of nature that create new balances. Inspired by her surroundings, her garden, Denise creates extremely creative, original and decorative canvases. She takes her cue from reality and detaches herself from it through reinterpretation in an expressionist or figurative key. In "Echinacea Arrangement", the protagonist is encapsulated in the title of the artwork. Four specimens of Echinacea, a herbaceous plant with anti-inflammatory and antibacterial properties and sparkling colours. It is a flower that grows in late summer in Denise's garden and which she draws in all its essence. The artist is very skilled in both drawing and painting. Light and shadows create an extremely realistic 3D effect that allows the viewer to get several points of view depending on the perspective from which the work is viewed. Every detail is rendered with care, Denise aims to create a lively composition, full of life and positive energy capable of returning to the viewer the emotions that this flower conveys to her. Growing at the end of summer, it could be a metaphor for many meanings. Summer ends but a new year begins, one chapter closes to reopen a new one. The end of summer is a time of new beginnings, of good intentions, of changes. After the months of sun, sea and holidays, everyday life begins again. It is a time when we gather the positive energies of summer and apply them to life as it goes by. Thus, the brightly coloured echinacea is a flower that expresses energy, hope for the future and positivity. Its bright pink hue contrasting with the green of the grass creates a lively and fresh combination. Denise creates this figurative but at the same time decorative and versatile artwork. It is extremely interesting how it looks like a photograph thanks to the 3D effect of the petals and pistils, which have been meticulously created, dot by dot. As you approach the painting, the pistils seem to have been made using a technique reminiscent of the pointillism of great artists such as Seurat. Each petal is detailed, realistically shaded. The oil colour technique contributes to making everything more fluid, sinuous and soft. Denise records with rapid brushstrokes soaked in dense colour, an optical perception of reality, reproducing the flower as it appears to the human eye. The colours blend perfectly with each other. The artist creates areas where the colours are denser and other areas where everything appears more diluted and lighter. When you look at the artwork, you feel as if you are in front of a field of flowers, you can smell the fragrance and softness of each petal to the touch. The three-dimensional effect helps to create a relationship of union between the real world and the unreal, imaginative world. Denise proves to be an acute observer of reality as well as an extremely talented and original artist. With the images of nature she creates pleasant combinations, accurate and balanced forms that instil positivity and positive vibrations in the viewer.
Art Curator Ilaria Falchetti
Denise Kerkeling
Echinacea Arrangement
Denise Nadine Steinkrug
The painting presented on occasion of the international art exhibition Hysterica by the artist Denise Nadine Steinkrug is titled El nino. On a dark blue we can see a complex composition created by clear colours as if they want to communicate the idea that something is happening here. The abstract language is used in a very representative way as if the artist has seen something that has impressed her feelings and her emotion. The inspiration comes from watching the reality and in a second moment, this action of watching becomes on the canvas colours and new shapes. The filter of the artist can see elements of the world. As the artist says: <<EL NIÑO“ shows how a tropical storm over the sea comes together. I am fascinated by this storm, while the wind has so much power and builds so huge waves. After my holiday, I decided to paint this on a canvas. >> This means that the artist wants to tell us what has felt in an exact moment of her life. She gives us a photograph of this special moment with her personal and peculiar way to communicate. The use of the brush in the background wants to communicate the violence of the movement made by the storm. The composition becomes dynamic and in action in front of the eyes of the observer. He can’t stay in front of the canvas in a contemplative way but if he remains to observe the artwork can feel the same emotion of the artist at the moment of nature watching. Is like to say: <<I’m here with you, when the storm is coming>>.
Art Curator Elisabetta Eliotropio
Denise Nadine Steinkrug
EL NIÑO
Deniz Soykan “The psyche must find its way into paintings. One must work on the painting while thinking about that something of one's own soul will become part of it, which will give it substance.” (Marc Chagall)
At the international exhibition “Hysterica” at the M.A.D.S. Art Gallery, Deniz Soykan exposes three artworks (“Inner Portrait I”, “Inner Portrait II”, “Inner Portrait III”) through she emphasizes the concept of the event at its best, where an emotional and mystical flow clearly emerges from them, striking the soul of the observer. Each brushstroke gives form and substance to the elements, enhancing the sense of depth produced by the subject in the foreground. Through the use of a black background and white colour, Deniz indelibly imprints her subconscious, thus creating a great and intense chromatic contrast. All these details allow the artist to give space to her inner world and to make evident some thoughts that are often difficult to communicate verbally. The portrayal of the face shows an alternation of phases that pass essentially from realism to idealization, from stylization of the signs to their expressionist transformation. The drawing also tends to be essential, but the desire to express emotions and feelings is vivid, and there is a two-dimensional integration between the figures and the pictorial surface. Deniz shows an experience of life through her expressive strength and accentuated minimalism: an immediate sensory charge emerges from these portraits, so concrete and dynamic that they best describe the sense of dismay and introspection of mankind. Her deep stylistic research succeeds in harmonizing the monochromatic combination, with the aim to give life to representations free from any preconception, fully autonomous and intense.
“My paintings were about a vision of the world, a conception that was outside the subject and the eye.” (Marc Chagall)
Art Curator Alessia Perone
Deniz Soykan
Inner Portrait I
Deniz Soykan
Inner Portrait II
Deniz Soykan
Inner Portrait III
Diana Paraskeva "The landscape was like a verse of poetry that creates itself" (Virginia Wolf)
A corner, a glimpse of a country and the sea, a moment of freedom and fleeting lightheartedness. The first impact that the observer has when looking at Diana's work is a feeling of tranquility, but it is by paying real attention that the details are noticed. The seagull in the foreground is there, in the center of the whole composition and has an important role, he brings a message, announces that something is coming: a huge wave is coming. Each object, each element of the whole work seems to have taken the same shape of the wave. Roofs, chimneys and streets curve, as if to bow to the great power of water. The artist with great skill hides the hysterical cry of something that is about to happen with a fabulous landscape. The elements and colours that the artist uses are certainly characteristic of her person, in her work there is brightness and balance, what the viewer perceives is a very positive personality, which manages to find balance even in adversity. Diana's work is a concentrate of energy and at the same time it is an invitation to reflection. The observer's gaze in front of the artist's work, especially where the lines curve, where the waves ripple, is overwhelmed by thoughts and sensations. The encounter with Diana's artistic work represents for the user a sort of exchange of ideas and emotions. The artist's work is imbued with strength, without realizing it the viewer is pervaded by emotions that shake the soul and awaken memories. Diana through her work reminds us of moments of joy, of freedom and at the same time that less positive things also belong to life but that live together in a harmonious way and that create balance. In fact, meeting Diana's art is a way to learn to recognize oneself, one's feelings, one's moods and to accept one's self in its totality.
Art Curator Vanessa Viti
Diana Paraskeva
Sea Breeze Moments In Ilfracombe
Diane Heckert Diane Heckert's works are all focused on the unpredictability and loss of control. In fact, the control upon which we try to base our entire lives prevents us from following our intuition, still, if we relinquish the need to control things, we can let ourselves be guided by our innermost being. Venturing into uncertainty, embracing the process, and trusting that we can make it our own - that is the basis upon which we can create something truly wonderful and touching. Diane’s intuitive and processual way of creating relies upon the usage of materials, all natural, which the artist allows to act in their full autonomy on the canvas, giving rise each time to unexpected and novel results. This way, the artist recreates the unpredictability of life itself. Namely, often in life we are faced with the unexpected to which we can react by distancing ourselves from it, suffering from it, getting confused by it, or we can reverse the situation by finding a way to embrace and deal with the unanticipated, through shaping it our way and making it our own. That is exactly Diane's approach to art- seeing things from another perspective and enabling the beholders to find their own image/s, and therefore themselves, in each piece of work. The art exhibition “HYSTERICA”, hosted by M.A.D.S. Art Gallery, will feature three of Diane’s works: “Departure”, “Heartbeat” and “The Wonderer”. In “Departure”, a series of cracks on the white background give rise to an irregular shape with pink and purple colors. Hide glue, marble dust, inks and coffee grounds were all poured on the canvas, and after gradually drying over weeks, they gave rise to this particular shape. Despite the unpredictability of the behavior of the materials during the drying process, shapes on the painting still result very harmonious. The same process was used in “Heartbeat”. Namely, the intuitive application of coffee grounds left space for the use of different stains, which subsequently reacted with each other in combination with shellac and binder, and that way led to unpredictable results. The hide glue and the marble dust, which are applied after the drying process, create the desired cracks that cannot be influenced nor created intentionally. The shape of the heart that emerges in this painting is perceived by the artist as a symbol of the unpredictability and vulnerability of life itself. Namely, heart, the symbol of life, can be exposed both to infinite love, but it can also be profoundly hurt. Both leave traces that are represented through the cracks in the artwork. Lastly, “The Wanderer” is also the result of the free rein that Diane gave to her sensations and intuitions. Namely, following the application of the gypsum plaster and marble dust, until it felt coherent, and after the basic structure had dried, the image of the wanderer kept imposing itself on the artist, so she eventually painted him. The wonderer appears to be somewhat lost, as if he had not yet found his place in the world. Hence, he started the journey in search of it, and possibly one day he will be able to find it.
Art Curator Matilde Della Pina
Diane Heckert
Departure
Diane Heckert
Heartbeat
Diane Heckert
The Wanderer
Dorothea Van De Winkel “The truth is that creative activity is one that involves the entire self - our emotions, our levels of energy, our characters, and our minds." (Robert Greene, Mastery)
Dorothea Van De Winkel is an artist from Oudenaarde a city in Flanders, Belgium, homeland of an ancient technique to create hand woven tapestries. Starting from a young age and during her artistic career, the artist developed her personal and unique tapestry style, connecting the traditional procedure, to contemporary art and its need to express the vastness and complexity of people’s inner world. Abstraction and emotions dominate in Dorothea’s hand-woven tapestries, along with a meticulous and accurate technique to design and weave them. Firstly, the sketch of the work is realised, under the guide of Dorothea’s deep and rich interiority. In the sketch, grey lines made with pencil, alternates with coloured traits. The alternation of curves and straight lines, as well as the one of grey and colours, reflect the emotional status of the artist at the moment of the creation of the work. The initial traits never leave the surface of the work. In a second moment of the procedure, they are maintained to create a familiar sensation between the artist and the future possessor of the work. This moment is the weaving.
Dorothea Van De Winkel
A delicate time for the creation of the tapestry, when maintain the reality of the emotional side of the work is put under stress. In fact weaving make the artist face some restrictions, which make it difficult to reproduce to exact same initial drawing. Those technical complexities, undertaken with mastery, are like obstacles that do not allow a full and free expression of the artist’s emotional side, obstacles that Dorothea is able surpass, thanks to a lifetime in the weaving field. In this way all the original details can be present in the final work, making her handwoven tapestries be the mirror of her soul. For HYSTERICA Dorothea Van De Winkel exhibits two handwoven tapestries made of cotton and wool: Impression in Colour 3 and Impression in Colour 4. With a dimension of 100 cm x 120 cm, they offer a projection and a mean of freedom of Dorothea’s mind. Two fascinating and enveloping compositions where the observer can immerse himself in an abstract landscape of light yet intense contour lines and pastel tonalities, discovering more about the artist’s deep world and trusting himself to release its own.
Art Curator Sofia Ronzi
Dorothea Van De Winkel
Impression in Colour 3
Dorothea Van De Winkel
Impression in Colour 4
Elisa Bosse
Born and raised in the creative landscape of Bergen in Norway, musician and visual artist from a very young age. Elisa Bosse is passionate about different mediums and materials such as wood and metal, but it is with painting that she finds her best way to express herself. Her practice is an ongoing journey, a moment of connection she takes with her inner world and generously shares it with the others. A circle as a womb where her soul can be identified, delimited by a black line, an egg, a place where inside and outside have an invisible link. The wise use of colours add layers of light and dark, looking at the artist’s paintings there is a feeling of waiting for something spectacular to happen. A birth. A golden light seems to be floating around the more circular line, like a lighthouse when the sun is rising, not too dark to be aggressively present, not too light to be useless. A gentle movement. Some of Bosse’s works have a stronger use of spatula, as to highlight the boundaries, raise the walls, more protection seems to be needed. These paintings can follow the idea of a new abstract expressionism, while the classic one was born around 1940, a new way of expressionism can live related to it. Not at a first sight maybe, but with a deep look into this author’s works, a certain rigidity of the hand and the use of geometry, although it is hidden, gives structure and allows a symbolic interpretation.
Art Curator Federica D'Avanzo
Elisa Bosse
Locked up(1)
Elisa Bosse
Locked up(2)
Elisa Bosse
Locked up(3)
Elisa Chupik “The advantage of a big city, move on a few meters and you find solitude again.” (Umberto Eco)
Elisa Chupik is an artist who lives and works in Argentina. The path that led Elisa to express herself with painting has developed in recent years, and is affected by Elisa's education as an architect. Her creative flair, in fact, finds a privileged dimension in the exploration of the urban landscape, and especially in the insertion of man in large cities. The work presented for Hysterica, entitled Stranded amidst indifference, is part of this trend, and imprints on the canvas the view of a busy street, a very common scenario that nevertheless captures the viewer's gaze. The artist captures the impersonality of a passageway, dominated by the gray and black tones of the concrete and the streets, which reflects its own cold essence in the gloomy and anguished sky. In representing the avenue traveled by cars, the artist performs a work of abstraction, crossing the boundaries of a realistic image to show the true essence of a dehumanized place, as well as the feeling of profound loneliness that oppresses the soul in front of a place that leaves even those who know he belong to it alienated, confused. The only sensation of warmth is given by the artificial lights of the cars and shops. It is an illusory heat, but it is also the only one possible in the city enveloped by an inescapable inner cold. The human being is no longer there, he is secondary, incorporated into the world he created himself to the point of becoming a negligible ornament, an empty shadow behind the windows of threatening skyscrapers. Elisa Chupik uses her interest in the urban scenario to create a suggestive metaphor on the oppression of human nature, supplanted by a deleterious struggle in the pursuit of progress. advancing an unspoken criticism of a humanity that increasingly loses contact with itself, reducing itself to a sad extroversion of its creations.
Art Curator Chiara Rizzatti
Elisa Chupik
Stranded amidst indifference
Emelly Velasco Works of art and art in general have the extraordinary and sometimes inexplicable power of being able to represent reality exactly, to be the means of expression that succeeds better than others in this thanks to its communicative immediacy. The works of the artist Emelly Velasco speak for themselves even at first glance, thanks to their expressive power. But for this exhibition it is the artist herself who gives us a key to understanding: "Ambiguous times, constantly changing situations, philosophical anthropology helps me find our strategies of existence, in an increasingly complex world. It is an intellectual art of reflection to solve our crisis of orientation. The philosophical understanding of man of himself will never be full or complete without the philosophy and vision of the feminine, such in all beings, women of different nations, different planets, are provisional outlines at the base of all work, where after Danto, now we continue to weave everyday and historical life. Pain and tragedy would be of no use if we could not extract from them a perfection of imperfect creations." Life is full of questions, it is up to us to find the means to be able to give us an answer. Emelly found it in art. The works presented here through different shapes, colors, intensities and energies respond to different questions and stimuli. Here too, the female figure and the world seen through the eyes of a woman are the absolute protagonists. And what eyes if not those of the one who for centuries represented the female figure par excellence, with all the beauty and sensuality of her: Venus, in the work entitled "Ojo_Venus". We are then captured by a veritable vortex of energy in "Ella quite". The materiality of the painting, the frenzy of the lines, which move dynamically on the canvas, and the energy of the colors overwhelms us. Finally, impulsiveness gives way to a more linear rationality in the work "Mater Klint". Here we see a new Emelly and a new means of expression: a work to be observed carefully, in depth, by which we are almost inexplicably attracted. The contrast between the brilliance of colors and gold with black. We can hear the dialogue between lines, shades of color, density of the paint and written words. Faced with this work, we can only ask ourselves questions and at the same time seek the answers within it.
Art Curator Silvia Grassi
Emelly Velasco
Ella quite
Emelly Velasco
Mater Klint
Emelly Velasco
Ojo_Venus
Emi Knight
“More important than a work of art itself is what it will sow. Art can die, a painting can disappear. What counts is the seed.” (Joan Miró)
One small step after another; plant a seed, wait for it to sprout and grow with you. Emi Knight is an American self-taught artist for whom art represents a life partner, a detachment from reality, a way to express her deepest inner part. Representing one's vision of what surrounds her through shapes and colors; to paint emotions on canvas that she has the desire to share with the rest of the world. “Aunt Josephine” and “Dichotomy” are two abstract works created in 2021 with mixed media on canvas. In the first, accurate brush strokes are combined with more instinctive strokes; warm colors such as red and yellow contrast with green creating a pleasant chromatic effect. The work is a story, a description of Aunt Josephine: a strong character dominated by sunshine, positivity, and some sudden flash of madness. "Dichotomy" is identified with a special representation of the oppositions that man meets every day: following instinct or rationality; make sentiment or reason prevail; prefer safety or take risk. The delicate colors of the background are interrupted by dark purple and black brush strokes: Emi visually represents in this way the two roads that can be taken at the beginning of a crossroads. “Mastectomy” was created in 2021 with the pen on paper technique. The title announces the profound meaning of this work. Closed eyes, melancholy expression; in the mind there are so many thoughts that the head is no longer able to contain them; a slender body, a bursting breast and a non-existent one. The protagonist is the spokesperson for a pain that has hit and affects many women every day: disease changes the body, disease changes people's souls forever. Art speaks to us, communicates messages that we need to grasp, arouses sensations in us and excites us. Emi through her works leaves an indelible memory in the minds and hearts of the viewers with whom she wants to share her magical world.
Art Curator Camilla Gilardi
Emi Knight
Aunt Josephine
Emi Knight
Dichotomy
Emi Knight
Mastectomy
Eric Laurent On the occasion of the multimedia exhibition "Hysterica", organized by M.A.D.S. Art Gallery of Milan and Fuerteventura, the French artist Eric Laurent presents the watercolour "Couleur d'automne" and the two Oils on canvas "Paris, île Saint-Louis" and "Un matin". In recent years, the artist has been working with oil on canvas, giving to his career a new twist. Just from the diversification of techniques and the evident skills of these paintings, it is clear that Eric has had a real artistic training. In fact, he attended the Fine Arts courses where he had the opportunity to train in drawing, sculpture and photography, while he remains self-taught in watercolour. Influenced by Turner, English painter, and engraver belonging to the romantic movement whose style laid the foundations for the birth of Impressionism (and forerunner of abstractionism), he was immediately able to distinguish and find a precise position in the figurative landscape. This meant that the artist was able to exhibit his works in his repertoire numerous times, with personal and permanent exhibitions. Although in his time he was seen as a controversial figure, Turner is now considered the artist who elevated landscape painting to a level that could compete with the more noble historical painting. Famous for his oil works, Turner was also one of Britain's greatest masters of watercolour landscapes, earning himself the nickname "painter of light". In light and water, Eric Laurent's art suggests, evokes but never copies nature. For him it is a freedom, a game of provoked and controlled possibilities that allows him to be everything, both expressive and casual, sometimes leading him towards abstraction. He tries first of all to create emotions, atmospheres through colourful and vibrant spots, which combined with the most disparate chromatic ranges, give us unforgettable moments: we enter a plausible but not entirely realistic world, which each of us is invited to visit.
Art Curator Carola Antonioli
Eric Laurent
Couleur d’automne
Eric Laurent
Paris, île Saint-Louis
Eric Laurent
Un matin
Erick Mota “There are no facts, only interpretations.” (Friedrich Nietzsche)
The painter Erick Mota strongly believes that an artist – before being considered that – is a human being with all the resulting experiences. He researches in these common and daily situations his own identity – human, cultural and artistic. The role of the artist is that of acting as a point of reference for the viewers, as a middleman between Arts and humankind. The artistic investigation of Erick Mota is not limited to an investigation of the concrete and real world but rather the artist allows himself to navigate in an inner an inhibited personal universe, going in search of the deepest truth – trying to break away from lies. To portray the vastness of the human consciousness and soul - in an accurate representation of his mind drawings - Erick Mota makes use of his psychological knowledge. The painter finds in oil and paper, simple colours and powerful combinations of elements the natural way to represent the many changing and unforgettable faces of man's nature. The human condition is characterized by whirlwinds of doubts and mazes of fears; what the artist Erick Mota wants to do through his artworks is to lead whoever is looking at the painting to a new interpretation of what surrounds him, suggesting a reading key to see the main subject, going beyond the appearance.
Art Curator Manuela Fratar
Erick Mota
The Devil Is A Liar
Erika Li Erika Li is a young and talented contemporary calligraphy artist. She has been studying Chinese calligraphy since she was a child, and the years of strict instruction have also determined her artistic and creative vision. What is most striking about her artworks is the juxtaposition of two contrary and opposite elements: the precision of the calligraphic line and the colour thrown onto the canvas in an energetic and spontaneous way. Two elements that combine to create extremely unique canvases. Erika meticulously reproduces traditional Chinese strokes in a precise and rigorous manner. Their black colour captures the viewer's attention, who is then immediately enraptured by the pigments in the background that come into contact with the Chinese character, often overlapping and juxtaposing it. The result is a play of overlapping colours that releases energy and passion thanks to the instinctive way in which the colour is applied to the canvas. The colour is incorporated into a classic visual scheme based on black and white. In just a few elements, Erika encloses deep meanings, food for thought and reflection, combining the word with art and making everything decorative and pleasing to the eye. In "Stay true to the heart" Erika places the Chinese calligraphic character meaning "heart" at the centre of her composition, immediately emphasising the focus of the painting. The black colour is muted by a veritable explosion of colour that hits the canvas but fails to change the calligraphic character, which remains true to its form and meaning. The chaos of warm pigment tones, among which red, orange and yellow stand out, is a metaphor for life. Full of surprises, mishaps, joys and sorrows that forever mark the path of a human being. What is important is to always remain true to our heart, without trying to change it. This is the message behind the artist's juxtaposition of instinctive traits recorded on canvas. In "Love, Most Ardently", the focus is on the feeling of love, an energetic and pure passion at the basis of life. In Chinese, the two characters mean "to love ardently".Love is the feeling par excellence, the engine of life and what makes us who we are. It always needs to be stimulated, to burn constantly. There is a clear reference to fire, which metaphorically alludes to passion, created with touches of intense red that relate to the Chinese character. The background, very instinctive and gestural, is enlivened by patches of purple, orange and red. The colours are intense, full of life, explosive. Erika paints instinctively, expressing feelings also through her brushstrokes. In "Vent Our Feelings" the focus is on the subjectivity of the individual and emotions. The Chinese character means "feelings". Venting our emotions, both positive and negative, helps us to improve ourselves, to become better people. We should not hide but always be ourselves. Anger, frustration and love are feelings that we all have in common and that we should express without fear of judgement from others. The colour tones are very bright and create a vortex in the background, an emotional whirlwind that is filled with every fear, uncertainty, disappointment, joy and happiness. The Chinese character is unaffected by the colour and remains in the foreground. An intense black. Erika proves to be a bold and courageous artist in experimenting with different painting media, which she often combines to create new and experimental artistic processes. She uses unconventional techniques on rice paper, thus discovering new interactions, original colour and visual games.
Art Curator Ilaria Falchetti
Erika Li
Vent Our Feelings
Erika Li
Love, Most Ardently
Erika Li
Stay true t the heart
Erika Nojiri
Images as a tool to produce a narrative. Animals as input to tell flashes of reality. In a society characterized by a rigid system of rules and a schematic social hierarchy, Erika Nojiri's works are a slap in the face to the state of the art of the situation, a shrill but formally elegant cry against the assertive faculty of each individual. And so it is that sinuous lines, golden backdrops and a stylistic approach with exquisitely Ukiyo-e dictates are borrowed to be an instrument of narration of contemporary society, of its dictates and rules. The works of the fluctuating world, so called in reference to the impetuous and dynamic cultural and socioeconomic context formed in the cities of Edo from the seventeenth century onwards, are here transferred to be the mirror of our contemporary culture and society. The absence of central or conical perspective, the use of pigment for the formation of large fields of uniform color, the contour line that separates the protagonists of the representation from the background and the compositional balance typical of ancient works are then assimilated to be proposed in a modern key in the works of Erika. This is how a big cat peeps out of the work. Its coat is whitish, softly combed and crossed in every part of its body by thin and graceful concentric lines. According to the physical conformation of the animal they seem to move, slow and inexorable. They are part of him and, like circles in the trees, they tell his story, the essence of the feline and his misdeeds. The animal is on its stomach, its paws are turned upside down and its face is painted in a grimace of irreverent despair.
Erika Nojiri
Its thin, snaky eyes keep company with a large, gaping mouth full of big teeth. Although the feline is naturally endowed with a murderous set of teeth and purely deadly nails, the latter seems to be at the mercy of events. A precious golden cloud rises above and below him, muddying the entire upper part of the work with brilliant wonder. The chromatic background is flat and inevitably spreads like wildfire. The cat is subjugated by the force of this precious cloud. Its claws and teeth are helpless at the sight of the impending nemesis. Submissive and helpless, he lies on his stomach trying to mitigate the violence of the golden robes. And yet the fault is his: the golden cloud seems to flow copiously from one of his orifices. The liquid gushes out, seeming not to stop. The soft golden cloud has now turned into an uncontrollable mass of bodily fluids. The preciousness of gold therefore acquires a completely different meaning, a completely different reason for being. A perfumed essence cannot hide the smell of putridity just as the ethereal aura of gold cannot hide the stench and repugnance of feline misdeeds. There is no gold or money that can hold, there is no social framing that can serve as an excuse for petty and imposing behavior. The cat is literally covered by his sewage and the fault is exclusively his. Pictorial metaphors of society's labels, formal mirrors of the hierarchical system that makes oppression its reason and its driving force, Erika Nojiri's works induce us to a visual blackout. The wonder of gold bewitches us, cuddles us. The sinuous line gives pleasure to our sight and then violently rejects on the face of the observer its real and mean nature.
Art Curator Lisa Galletti
Erika Nojiri
Statesperson
Erika Nojiri
The Strategy Conference
Florian Fiernow "I really believe that after all these years as a music producer in painting I have a new calling that has completely cast a spell over me" Florian Fiernow
Florian Fiernow has been creating art in various areas and stages for half of his life. Photography and music are the main artform of him, and they show off in his painting, Layer 1/03, at the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. As Florian says "I really believe that after all these years as a music producer in painting I have a new calling that has completely cast a spell over me". Layer 1/03 is the expression of Florian's moods and feelings, before he starts painting a picture, he rarely has a plan of what he wants to do. "I only work with spatulas, trowels and similar tools. Most of my work consists of several layers of acrylic paint and is applied with fairly large hand tools. Sometimes I also use filigree spatulas for smaller jobs. Brushes have been used only to apply the first layer of the background”. Layer 1/03 is a part of an ongoing series, which is expected to contain 10 pictures. Each of them consists of several layers of acrylic paint (6-10) which enables a rich abundance and combination of colors and color mixtures. Only spatulas, trowels and similar tools were used in the production process of this series. Matter and instinct are the basis of Florian's creation. Matter and colors emerge as protagonists and reflect the determined personality of the artist. They reflect his deepest instincts. Instinct and matter on the canvas create a harmony of shapes and colors, like notes that form a melody.
Art Curator Mara Cipriano
Florian Fiernow
Layered 1/03
Gabriele Monte Gabriele Monte is a Tv-director Vision Mixer and Video/Graphics Editor. He worked for the most important televisions like SKY plc and BBC for over 5 years. He is now based in Milan where he was born and raised. He always had the passion for Art made with computers. During university he started using 3D modeling software just for hobby. He is now trying to redefine himself as an artist, creating 3D paintings just using a computer, with the important add-on of a VR point of view, visible through a VR Headset. Gabriele wants to create 360 feeling artworks. Gabriele believes that in future art should be more immersive, interactive and engaging, offering first, a nice paint a good looking artwork, second, food for thought and last but not least a different point of view, like VR inside the paint. On the occasion of the “Hysterica” exhibition, held by M.A.D.S. art gallery, he shows his work entitled “World Beyond Wall” visible through VR and thus creating a virtual experience that allows viewers to understand first-hand his point of view. M.A.D.S. art gallery fits perfectly with Gabriele’s thought, and its digital set-up allows the vision of increasingly innovative artworks like this. The virtual experience created by Gabriele Monte transports the observer inside an open-air masonry structure. Although it is possible to see the sky and the foliage of the trees, the rest is not visible. Inscriptions appear on the wall and say: “To them I said: the truth would be literally nothing, but the shadows of the images, are you listening to it? Here there’s no way to see beyond. Don’t let a wall hide the lights anymore, even it the shadows are darker then ever — you can come back in your reality.” Gabriele invites viewers to reflect on the thought of Plato’s "Myth of the Cave". It invites viewers to seek the truth, not to dwell on appearances but to go beyond. The experience is completely overwhelming, leaving almost a sense of inadequacy accentuated even more by the final invitation, when he concludes by inviting viewers to return to their “own reality” as to emphasize that everyone has their own vision of reality, thus affirming the existence of multiple realities. Another interesting aspect of this artwork is that Gabriele Monte realizes an NFT of the work, following the path of innovation that art today is undergoing.
Art Curator Giorgia Massari
Gabriele Monte
World Beyond Wall
Georgina Hare “Life itself is the first, the greatest, of the arts.” (Oscar Wilde)
Georgina Hare is a young and emerging British artist with a gritty and instinctive style. The movement of the world around her, sound, music and dance have a profound influence on her and lead her to create works where movement, grace and sinuosity are the main elements. Georgina sees the creative process as a cathartic meditation that can release feelings and emotions and that leads to reflection on herself and the world. She takes inspiration from everything that surrounds her, from her travels, past experiences and reworks them in the form of visual experience. Elegant brushstrokes, interplay of transparencies and colour overlays are all characteristic of Georgina's fresh and lively style. The canvases are dynamic and lively, made as if they were performing a dance step, and this feeling is conveyed to the viewer in the form of compositional and chromatic rhythm. In "Jouney to Agadir", the artist reports the sensations that seize her as she travels through Africa. In particular, in this case, she focuses on Morocco from which she steals colours and atmospheres, freely drawing inspiration from her surroundings, environment and scents. The vibrant and perceptible character, the softness of the stroke and the orange tones are characteristics that give the viewer the magical and evocative atmosphere of Africa. Within the canvas, the brushstrokes are free, moving without an outline, creating abstract interactions between them. The colours are softly mixed, blending one on top of the other to create new combinations. The tones are warm and range from orange, red, yellow and pink. White traces strokes of light, outlines transparencies and creates dynamism with dark tones. These colour tones evoke flowers, plants and the exotic and fertile natural environment. The canvas exudes femininity, boldness and courage, all depicted in a harmonious and elegant manner. The artist tells of a journey, representing feelings and emotions that make her vulnerable, recording over time her reactions to her surroundings. The coloured haze is interrupted at times by small strokes of colour that contrast with the rest and bring out elegant shapes of small flowers that are arranged as if cuddled by the wind, free to move in space. Georgina deliberately distances herself from her routine to try to understand who she really is and what freedom means to her. The exotic character typical of Africa is enclosed in colours that almost seem ephemeral, insubstantial and light. With her art, Georgina lets herself go, frees herself from the burdens she carries and expresses herself completely without being afraid of appearing too bold or feminine. She invites the viewer to do the same, to free himself from prejudice, to move away from what he thinks is reality and to ask himself whether or not this is true happiness. In front of her artworks it is impossible not to feel joie de vivre, energy and happiness. Georgina opens up a world to the viewer. She offers a visual experience that encompasses much more than brushstrokes and coloured pigments. A celebration of life, freedom and femininity.
Art Curator Ilaria Falchetti
Georgina Hare
Journey to Agadir
Gesere "To like many people spontaneously and without effort is perhaps the greatest of all sources of personal happiness." (Bertrand Russell)
Gesere is an artist originally from Uruguay and residing in the United Arab Emirates. Gesere's journey into the world of art began in childhood, and was a constant background in her life. The youthful love for painting, set aside for university studies in psychology, was imposed again in her adult life, giving rise to an irrepressible desire to experiment with techniques and tools, but not only. The artist pursues an "experiential" vision of art, in which the finished work is nothing but the final sentence of the creative experience. Just like a story, Gesere's paintings seem to tell a story, made not of words but of layered colors, which chase each other on the canvas according to the principles of abstract art. The peculiarity of Gesere's artistic work is well represented by "Don't Breathe", the work presented by the artist on the occasion of the Hysterica exhibition. The acrylic colors spread over the canvas in vigorous brushstrokes, distributed vertically, except for the central part, which breaks the rhythm of the composition by attracting the viewer's gaze. Precisely in this portion of the canvas, you can appreciate the layering of the colors, which contrast with each other enhancing the shades of green and blue, yellow and orange. The elaborate technical execution, obtained with recycled tools and techniques such as craquelure and scratches, is at the service of the prolific and spontaneous artistic nature of Gesere, who lets herself be involved in the creative process until he is guided by it. The astonishing abundance of shades, enhanced by metallic nuances of golden bronze, projects the observer into the fascinating inner world of the artist, the bearer of a surprising depth of content. The artist, who among her many talents also includes a propensity for writing, succeeds in creating a real poetry in the form of textures and colors, which are summarized in a metaphorical reference to social constraints, bearers of a exhausting pressure, which takes the breath away. This is how the layer-by-layer processing of colors takes on a new dimension, and becomes the manifest of an oppressive horror vacui. Gesere uses the infinite potential of abstract art to create a complete work, in which the harmony of shapes, colors and textures is balanced with an uncommon sensitivity, offering a privileged point of view on the artist's interiority.
Art Curator Chiara Rizzatti
Gesere
Don't Breathe
Gorely "I killed the dragon, which with its many coils wrapped the golden fleece and kept it sleepless, and to you I raised the light of salvation." (Euripides)
Gorely is a professional artist residing in Georgia, where he directs the Ana Peradze art school. The long training career between Tbilisi and St. Petersburg and the academic teaching at the Academy of Fine Arts in Rome led Gorely to perfect himself in sculpture and painting, expressing himself through acrylic, pencil, tempera, oil, the watercolor. The great artistic quality of Gorely's works has received numerous awards, such as the permanent exhibition at the Harvard University Museum and the Moscow Museum of Modern Art. Gorely's ease in passing from one technique to another is one of the most appreciable characteristics of his art, although to this is added an extraordinary expressive capacity, which is found in the subjects of his paintings in the form of graceful and ethereal figures. Medea of Colchis, the work presented by the artist for "Hysterica", fits perfectly into this logic and amazes the observer at first glance. The work is inspired by the figure of Medea, princess of Colchis who, overwhelmed by love, helped the Greek hero Jason and the Argonauts to appropriate the legendary Golden Fleece. Gorely's representation is far from the canonical depictions of Medea as a barbarian witch thirsty for hatred and revenge (according to the inspiration of the Euripidean tragedy), and focuses on the most positive moment of the heroine's story, that of pure love, which elevates the soul. The artist seems to make this lightness visible with swirls of oil color that blend with each other to form the soft contours of Medea's dress and hair. The delicate contours focus the attention on the precious details of the jewels set on the headdress and on the face, as well as on the wonderful floral and phytomorphic motifs that envelop the figure of Medea in a single and sinuous movement with a bewitching rhythm. The serene expression of the beautiful face and the decorations on the dress are reminiscent of the elegant figures of the Art Nouveau, to which stylistic and technical details of great visual appeal are added. The young woman thus emerges in all her pure and ideal splendor from the swirling clouds of color that surround her, and becomes the symbol of an inner beauty that everyone can aspire to when touched by the light wings of love.
Art Curator Chiara Rizzatti
Gorely
Medea of Colchis
Günter Krenz
Günter Krenz is an artist who is able to give the viewer overwhelming visual emotions. Oil painting is his preferred medium for his original and imaginative creations that mix textures, shapes and sinuous lines. The subjects depicted emerge through interpretations and reinterpretations of different iconographic sources. Günter often depicts magical and dreamy atmospheres, surreal worlds, sometimes combining captivating, curious and mysterious shapes. The artist allows the viewer to immerse himself in the world of pure imagination, analysing different visual spectrums. His fascinating works are immediate, instinctive and spontaneous. Each creation is unique, tells a story, speaks of an experience. The compositions are not studied through a preliminary project as the artist likes to experiment, to completely immerse himself in the creative process without limits or prejudices. The viewer is captured by these bewitching, bold and provocative images. They often get lost within the shapes created by Günter, who deliberately creates visual labyrinths by interlocking elements and using different textures. Boredom is not contemplated in his works, which offer a valid, colourful and suggestive repertoire through which fantasy and imagination travel freely. The artist breaks down the boundaries of the real world, inviting the viewer to go further, not to dwell only on what is visible. It is necessary to go deeper, to look for meanings, to observe the world with different eyes and to be able to reinterpret visual experiences in an original and unique language. There are always countless details that escape the human eye, which is why Günter aims to show that there is another reality besides the one we see. Every experience, dream, journey we make and every emotion we experience, whether positive or negative, marks us in a particular way. We can learn from anything, especially from art, which is the true mirror of the painter's soul. In his repertoire of creative subjects and compositions, Günter elaborates on many versatile themes. In some canvases he concentrates on environments, perspectives and geometric elements, mixing reality and dreams and creating parallel, coexisting worlds, as in "In Zeiten des Genozid".
Günter Krenz
In other canvases he shows his most imaginative and vivacious inspiration, creating abstract worlds with a dreamlike and delirious atmosphere with disruptive and contrasting colours, as in "Psycho". Sometimes the warm tones take over the composition and this expedient allows us to concentrate on the subject created with the juxtaposition of geometric elements and assembled in a creative way as in "Brainstorming" or "Kopfgeburten". Each of his canvases conceals an intricate plot, a whirlwind of emotions that directly involve the viewer, as in "Bardo". The artist tends to create works by concentrating on a single colour tone, which he then develops in different gradations. Sharp contrasts or changes of tone are difficult to find in his canvases, especially in those where he concentrates his research on drawing and subject matter, instead of light and colour. The brushstrokes are varied, quick and rapid. The geometric and spatial element is fundamental to the artist, as is creating plays of lines of different thickness. He sometimes encloses several scenes in one canvas, elements of different worlds that collide and together find a balance, as in "Ein Traum von Stadt und Natur". It is impossible not to notice some influences and takes from the great artists of the past such as Klimt, with the work "Ein Kuss", and the eclectic Salvador Dalì from whom he draws inspiration for his dreamlike atmospheres and shapes such as in "Blue moon". Günter proves to be a versatile, highly skilled artist with surprising gestures. The painting process he undertakes then influences the final effect on the canvas. His subjects are captivating and his works are full of details to discover. It is impossible to get bored with his creations, which always offer food for thought.
Art Curator Ilaria Falchetti
Günter Krenz
Ein Traum von Stadt und Natur
Günter Krenz
Blue Moon
Günter Krenz
Ein Kuss
Günter Krenz
Psycho
Günter Krenz
Bardo
Günter Krenz
Brainstorming
Günter Krenz
Der dämon von Apulien
Günter Krenz
Die Braut
Günter Krenz
Kopfgeburten
Günter Krenz
Zeiten des Genozid
Hajime Mori “Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself.” (Oscar Wilde, The Picture of Dorian Gray)
The drive for life and death. Hajime Mori presents “Portrait 010” for the “Hysterica” Art exhibition at M.A.D.S. Art gallery. A masculine portrait is presented to reflect the idea of life and death, of Eros and Thanatos. In the artwork we witness the aggression of Thanatos covering parts of the masculine figure. Eros stands still covered by the action of Thanatos. S. Freud described this two drives as life instincts that coexist in our behavior. We are in constant battle with ourselves and sometimes it is very entertaining to find out which instinct will win. To connect and create we use the life instinct of Eros, which we feel inside and when we answer without connectivity or creativity, means we are calling Thanatos to express tangible aggression. In “Portrait 010” we witness how Hajime Mori captures two moments of the masculine figure as an Eros instinct, at the left side is far from us but on the right side is trying to reveal himself and accept the aggression to then recover the balance he once had. Black and white tones are imperative to focus on the still and aggressive coexistence.
Art Curator Karla Peralta Málaga
Hajime Mori
Portrait 010
Hana
Splotches of color stand out on the paper. Sure of their presence, they flood the space of representation, heedless of the pictorial expressiveness with which they are charged. It is a jet art, wonderful in its purity and simplicity. It is an art without boundaries, without limits imposed by tradition and academic rules. Dark blue flecks flood the medium in Kawai Piano. Their shape is almost rectangular and yet, the edges are anything but defined. There is no desire for perfection, there is no compositional scheme to which the artist must submit in order to create the work. Kawai Piano is none of these things. Hana's art is pure visual expression of the sensations of his soul, it is the river in flood of his creativity. Color is pure, uncontaminated water that flows from the source of expression. There is no pollution, there are no predefined rules to submit to. The beauty of those bluish rectangles lies precisely in the creative gesture that generates those shapes; it lies in the indefinite and broken contour; it lies in those reddish and greenish stains that - almost imperceptibly indelibly stain those rectangular shapes that are nothing more than the keys of a piano. Hana re-elaborates her sensations and throws them on paper; she reworks the moments of life lived and daily experiences to throw them impulsively on the support. It is an art that is violent in some ways. Violent not in content, not in meaning: violent in its expressive energy that indelibly stains the compositional space, aggressive in its purity of intent and reworking of reality through the eyes and mind of the artist.
Hana
Kawai Piano is like a river in flood and we are literally transported by its current full of creativity. Let's let ourselves be carried away by its flow and raise our eyes to the sky. The sun dazzles our eyes for a moment. A large orange spot stands out before our eyes. The shape is gentle, the edges are rounded. It is something that emanates warmth, something sparkling that accompanies us silently during our daily life. It is the sun, that star in the sky whose warmth we feel, whose light we taste, but never look at. It's the star that gives us life and is the cornerstone of our solar system, yet we forget, so busy with our daily commitments. Sun encloses in itself all the expressive energy of this star. Hana throws on paper her emotions and her pure amazement at the sight of that shining wonder in the sky. Hana's art is pure, devoid of any filter imposed by daily life. Tiny dots stain the orange patch. Tiny particles peep out from the large chromatic patch and become the protagonists of the composition. The golden specks are the apex of Hana's perception. They are the graphic representation of what is most brilliant in our sky. They are the proof of a world seen without filters; without the veil of impositions that, in adulthood, willingly or unwillingly condition our perception of the world. Hana's art is a hymn to purity of soul. It is an art created by a young heart that breaks through our timehardened hearts. It is an art devoid of restraint that founds its violent expressive power in the reworking of everyday novelty, of the wonder of life imperceptible to us adults.
Art Curator Lisa Galletti
Hana
Kawai Piano
Hana
Sun
Hanna Hromova "I do not dream of becoming a great artist like the old masters, but for now I just want to transfer on canvas those immense universes that are stored inside me. And if I’m even a bit like someone else, I’ll be immensely happy... “ (Hanna Hromova)
Ukrainian artist Hanna Hromova, based in Naples, is always looking for new stimuli and is prone to experimentation. From an early age she began to paint and she herself claims to be always in search of the extraordinary within the ordinary. This current of her thought is clearly expressed by the work that Hanna presents at M.A.D.S. Art Gallery in Milan and Fuerteventura and entitled "I’m not a fuxxxng Lady". The work has a complex reading. It is made of acrylic on canvas and is inspired by Tim Walker’s photography, a fashion photographer who captures with extreme elegance the clothes of the biggest Fashion Houses, inspired by his beloved fairy tales. The dress of the woman protagonist in the work of Hanna, presents the same lightness and the same bright lights of Tim Walker’s shots. The subject is clearly reminiscent of the Mexican painter Frida Kahlo: the united eyebrows and the red flowers are indistinguishable and iconic characteristics of the painter. The artist probably sees herself in her and for this reason she inserts elements that indicate rebellion, such as the tattoos and the pipe that the woman holds between her teeth. Various elements are in stark contrast to each other such as the elegant dress and tattoos but also the background, on the one hand white and pure and on the other dark and messy. This dualism best conveys what the artist wants to express: the desire to go against the patterns imposed by society, which in particular imposes on women a certain type of behavior. The whole is clearly expressed by the title that is also reported on the right side of the canvas: "I’m not a fuxxxng Lady". With this work the artist not only expresses her ideology but also demonstrates her technical ability to create realistic works and also affirms her propensity to provocation, just as Marchel Duchamp did when he retouched a copy of the Gioconda by adding her a moustache.
Art Curator Giorgia Massari
Hanna Hromova
I'm not a fuxxxng Lady
Hanne Margaretha Biedilæ
Hanne Margaretha Biedilæ is a Norwegian ceramic and visual artist based in Fredrikstad, Norway. She is educated in Denmark and Norway. Her works has a wide range and includes ceramic sculptures, objects, installations, paintings on canvas or paper from small to large sizes and works on large canvas in mixed media technique. Again guest at an exhibition organized by M.A.D.S. Art Gallery, on the occasion of “HYSTERICA”, Hanne exhibits two works that present a different communicative style. "Don't let anyone be the judge of your dreams" is the representation of a female subject who is extremely self-confident, the sinuous, soft lines, the proud, confident gaze, certain of its worth, involves the viewer in this state of mind that turns out to be seductive.
Hanne Margaretha Biedilæ
The work is full of numerous elements, figures found in the background, figures without facial features, but also inquisitive glances, and flowers, newspaper clippings. The atmosphere expressed by the work is that of a positive detachment of the main subject from everything else, the position and the gaze with which she was represented convey the same message of safety, which involves the viewer. "Spinning mind and racing thoughts" sees a completely different representation than the previous work. We perceive a close link with abstract expressionism whose evocative source draws directly from the artist's soul. The work turns out to be extremely psychological, it is as if the artist had represented the thoughts as they alternate in the mind. The possible interpretations are numerous, each spectator individually can see memories, thoughts, fantasies, fears.
Art Curator Martina Viesti
Hanne Margaretha Biedilæ
Don't let anyone be the judge of your dreams
Hanne Margaretha Biedilæ
Spinning mind and racing thoughts
Helen Hitchens “I feel I'm anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear.” (Cindy Sherman)
Photographer, film maker, painter and sculptor. Through Helen Hitchens’ art anything is possible. Transformation, alchemy and fairy tales. In the tradition of the great Cindy Sherman who has continued to transform herself, displaying the diversity of human types and stereotypes in her images, the artist is herself acting the part of an imaginary protagonist character of a reportage on family roles. Everyday life scenes and objects, a bed, a shoe, masculine clothes. This character questions the figure of the male prince, a hero in need of a purpose of protection. Mother and daughter, an inseparable combination of living creatures that can’t wait to live apart since the moment they both were born. A desire for independence that is unacceptable. The mother must live in the daughter’s life, the daughter must respect the mother’s will and intention to be a good woman, to raise a family, another one, to be protected by a man. Hitchens changes this vision through her photos, she invites people of any gender to wear the masculine mask and face the world. The images the author creates tend to have a very calm and peaceful glaze, the idea that this could be just natural is given. The classic male image is then defaced by a gender fluid character, traditional roles are overturned to restore a more natural order. The artist launched this ongoing project with the hashtag #MasculinityIsAMask. This kind of conversation that the works are bringing up, would have been silenced as hysterical and the woman who started it hospitalised.
Art curator Erika Gravante
Helen Hitchens
Other 1
Helen Hitchens
Other 2
Helen Hitchens
Other 3
Helen Hitchens
Other 4
Helen Hitchens
Other 5
Helen Lavelle
On the occasion of the multimedia exhibition "Hysterica", organized by M.A.D.S. Art Gallery of Milan and Fuerteventura, the American Artist Helen Lavelle paints an oil on canvas entitled "Pandemia Pieta". Not only does the title allude to a Christian reminiscence, but also the iconography itself: we are talking about a woman who mourns her dead son, holding him in her arms. They are represented alone, and the attention is all directed towards them. In fact, we immediately realize that the typical religious symbols, such as the blue-blue veil and the crown of thorns, bring us back to those of the protagonists of the Holy family. The position of the bodies and representation of inexorable technical capacity. Nevertheless, the intention of the Artist is to make us recognize ourselves in them, as if they were ordinary people. It was created in response to the horror and heartbreak left in the wake of COVID-19. The concept for the painting began to take shape when our death toll in the United States reached 25,000, to date, which have died over 751,000 Americans, with over 5 million deaths worldwide. The fulcrum of her painting, however, is not the lost life, but the pain of her mother, inexpressibly traumatized. She reaches out to him in her state of her more vulnerable than her so that we can reach out. Instead, her palette has a Munchian reminiscence: infact, the colours are quite similar to the warm / cold contrasts of the famous "Scream", and it is this characteristic that moves the painting, making it even more poignant and emotionally engaging. The background accompanies the whirlwind of sensations and poignant feelings that we feel in looking at the scene.
Art Curator Carola Antonioli
Helen Lavelle
Pandemic Pieta
Henryk “I don’t want ‘nice’ art. I want something that’s going to make my retinas bleed. Something that will make me feel something. Something to awaken my soul when I pass by it.”
Henryk defines a new way to make art. The Sydney based artist describes his works as immersive and intense. In front of his pieces, you’ll be transported in a new dimension, in which the only need you can feel is to touch the artwork. He gives a strong significance to the texture, as evidently realized thanks to the polymer, which is given on the board with a free stream, in which the artist follows the happening of the events. He states that all of his works are based on allowing mistakes and accidents, like co-creators of his own art, where nothing but colors are already determined. The observer enters in a relationship with an eternal time. It’s noticeable the movement of a hand, crystallized and stopped in its way of being. In the Ultra Matte series, he involves the use of bright colors, that catch the eye of who’s looking, getting its attention and focusing more and more only on the artwork, forgetting in a sudden the outside world. With a background in fashion photography, these colors are a tribute of the style embraced by fashion magazines. These artworks remind a time of carelessness, that we’re used to live in our childhoods, when we were allowed to touch things, to taste whatever we could find, to create with our hands, without caring about mistakes or, on the other side, precision.
Art Curator Beatrice Rabassini
Henryk
Ultra Matte 'Hot Mess' #4
Henryk
Ultra Matte 'Lime'
Henryk
Ultra Matte 'Ode to Yves' #9
Hiroki Taniguchi
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 something 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. Each event in our lives produces changes in the structure or function of neurons, either temporarily or permanently. Events create new synapses between neurons, essentially remapping the brain. The enormous number of possible connections gives the brain unfathomable flexibility: each of the brain's 100 billion nerve cells can have 10,000 connections to other nerve cells. Yet, the memory of past events is a double-edged sword. A memory can be so pleasant that you wish you hadn't forgotten even its smallest and most intimate details. A memory can be so painful that we want to erase any flashes of memory connected to it. Yet, our brains rework our lives as they wish, or as they see fit. Drunk Night Walk is literally the graphic transposition of Hiroki Taniguchi's personal memory. the artist makes a reinterpretation of what he has perceived, what he has seen and felt in a particular moment of his existence and throws it violently into representational space. Our sight makes us perceive real life as something sharp and tangible. Things are formed by volumes and everything is governed by a space-time that can be defined by mathematical laws. Yet, once the present has become the past, a change occurs in the tangibility of the world. Our brain reworks what has been seen and matter becomes smoky, the particle becomes ethereal dust. And this is how the memory takes shape, a rambling cluster of flashes of memory, of places and things at first glance. And yet, beauty is hidden precisely in this formal disarray. Hiroki knows this and distorts the photographs of his life into something that has never been seen in the stable world of reality. Sidewalks tilt, signs and advertising logos deform. The sky becomes concave and subway stops look like endless tunnels. It is Hiroki's memory, his own and personal. Only he, having experienced that memory, knows what lies behind Drunk Night Walk. Only he is aware of what happened that night, where he went, who he was with. And therein lies the beauty. In the tangle of digital images the sense of things lies within the mind of the artist. We can make an effort, we can invent stories and flights of fancy. We can pretend to identify and believe we were there with him. It doesn't work, the memory is personal, the memory is of those who had the privilege of having that experience. All we have left to do is imagine.
Art Curator Lisa Galletti
Hiroki Taniguchi
Drunk Night Walk
Hiroshi Wada
Hiroshi Wada is a Japanese artist, whose works have their roots in "shodo", traditional Japanese calligraphy. Wada's works of art are a bridge between what is past, classic and traditional, and what is current, present, avant-garde. Hiroshi Wada, with his works has the ability to make us travel through time, making something precious and delicate, like the shodo, within everyone's reach, taking care of the same preciousness and delicacy. Hiroshi Wada is now often a guest of M.A.D.S. Art Gallery and on the occasion of "HYSTERICA" he exhibits two works: "BEAUTY_02" and "ONE_03". Hiroshi Wada's works are not only aesthetically seductive, but they convey a real philosophical message. Of “BEAUTY_02” Wada says “This Kanji character [ ] (beauty) is consists of [ ] (sheep) and [ ] (great/big). [ ] represents animal sheep, and [ ] represents man stretching out one's arms, which means huge. Combining these two, this character shows a big and great sheep. In ancient China, sheep were the most important livestock, and then the concept of great and beautiful, and delicious was born from here. In Japan, Wabi-Sabi is known as one of the unique aesthetic concepts. Zen thought underlaying this concept of beauty. In Zen, people find beauty in simplicity, transience, imperfection, and humbleness.”
大
美
羊
大
羊
Hiroshi Wada
Beauty in simple things, and simplicity in beautiful things. “BEAUTY_02” contains in itself a world of meanings, symbolic and metaphorical images, it is beauty in its purest and most direct form, in which the superstructures are completely eliminated. "ONE_03" is the beginning of everything, it is the number that indicates the beginning, the departure. Wada explains “This Kanji character [ ] (one) originates from "counting rods" which is used to count numbers in old days. It represents the shape of one wooden stick. It has a meaning of "one", it also is used to mean "beginning" as it is the beginning of all numbers, and "all" as it sums up the whole. In other words, this character symbolizes beginning and connections and represents the origin of all things and a new start, which is a special number full of positive power.“There is that feeling of a new beginning that brings with it discoveries and novelties.
一
Art Curator Martina Viesti
Hiroshi Wada
BEAUTY_02
Hiroshi Wada
ONE_03
I-CHEN, LIN
I-CHEN, LIN presents “org”, “The Sun” and “All of the moons” for the “Hysterica” Art exhibition at M.A.D.S. Art gallery. Ink on paper describes each artwork and reveals us a decision towards femininity. Geometric forms take the space to enlighten us about female stimuli with “org”, female contrast: “The Sun” and in “All of the moons” we witness the female evolution in space and time. I, Kant states, “The man develops his own taste while the woman makes herself an object of everybody’s taste”. If a woman is seen as a vulnerable being to be judged and if men are in charge to describe what they feel and also are able to describe a woman, then it is understandable that if something is sublime it has masculine traits and if something is beautiful it has feminine traits. Imagine if an artwork is sublime and beautiful at the same time, where masculine and feminine traits are required to achieve a perfect balance, a perfect understanding. Men were believed to be more in control of themselves than women, but we must understand that Hysteria is feminine and masculine. Sublime is aggressive pleasure (not violent) and beauty is an aesthetic experience, both can coexist to convey an idea. The artist uses perfect geometry to portray a balanced existence. She uses beauty to explain sublime surroundings, sublime actions towards a feminine self. I-CHEN, LIN has outlined this coexistence, between beauty and sublimity, in three artworks from the feminine perspective with beautiful and sublime traits.
Art Curator Karla Peralta Málaga
I-CHEN, LIN
org
I-CHEN, LIN
The Sun
I-CHEN, LIN
All of the moons
Ignacia Fabry "If we do not understand the images of the unconscious, or we reject the moral responsibility we have towards them, we will live a painful life." (Carl Gustav Jung)
Colorful, bold and expressive: these are the characteristics of the imagination of Ignacia Fabry, an artist who manages to investigate his own being without falling into anonymity. His dynamic works do not respond to a projection of rational consciousness but explore his subconscious, returning an imaginary made up of faces, words, bodies and abstract lines. The most intimate and profound secrets of the artist's soul are imprinted on the canvas through symbols linked to the non-concrete, irrational world of Ignacia Fabry. What is returned to the observer's eyes is a perfect harmony of colors and shapes, which play with each other and alternate, generating visual sequences with a strong aesthetic and chromatic impact.
Art Curator Federica Schneck
Ignacia Fabry
To Hard
Ignacia Fabry
Tasty
Ignacia Fabry
Sunny Days
Iuliia Chudnova
Auguste Rodin believed he was lucky to have been excluded from the Ecole des Beaux Arts because, in this way, he had not been conditioned by the strict academic rules. Precisely these strict academic rules have in fact at first alienated Iuliia Chudnova from painting, but there is no way to separate two things that are destined to be together and so, in 2017, Iuliia Chudnova rediscovered her love for art through oil painting. Since then, as a self-taught, she has been experimenting and growing as an artist more and more every day. For her, art is not right or wrong and above all there shouldn’t be only one way of making art and that’s what drives her to create. She only listens to her heart when she paints, she enters a state of trance and forgets all the problems of the outside world. For these reasons her works strike us more than ever. They are pure, true, free. "Metamorphosis" is a work undoubtedly contemporary and yet, at the same time, linked to classical art. Heroes and young people transformed into plants, animals and constellations are very numerous in art; here, however, we observer a different metamorphosis. It seems that the metamorphosis is not yet completed, it seems to observer an inner metamorphosis, a fight between good and evil. The brushstrokes are firm and decisive, there are no visible hesitations: the artist is fully aware of her role. The woman represented is naked, but her nakedness does not make her vulnerable, but on the contrary is her strength. She is there, still and pure, and nothing disturbs her, not the tumultuous waves beneath her, nor the plants that seem to sprout above her. They change her, they transform her, this is undoubted, but they cannot change her in the depths. On the other hands, Metamorphosis means a mutation in which the form is changed but not the identity. Iuliia Chudnova is an artist with enormous potential and she is starting to show it to the world. She managed to turn the invisible transformation within each of us into art.
Art Curator Francesca Catarinicchia
Iuliia Chudnova
Metamorphosis
Jacob Joaquin Jacob Joaquin is a Californian artist and coder in a continuous creative mindset. His interests range from music to generative art and they lead to the creation of fascinating art projects realized through the use of algorithms and computer creative coding. Each work is a unique result of an iterative process which - as the artist claims - “seeks to manifest the subtle hidden forms that exist within algorithmic structures.” Jacob ensures to put the final touch to each of his projects in search of the most interesting visual compositions, combinations of colors and shapes. Indeed, nothing is left to chance in his art, an art which “has rules” - as he says - and which is always the final concretization of a specific clear goal that he has in his mind. His works seem to be in continuous evolution, even while you observe them once completed. For “Hysterica” Art Exhibition at M.A.D.S. Art Gallery, Jacob Joaquin presents a triptych based on a previous project. The three works, entitled “Prismatics 12.0”, “Prismatics 12.1” and “Prismatics 12.2”, have been created with Blender, a 3D computer graphics software toolset which allows the artist to focus more on the aesthetics of the works than on processing. Works are inspired by diffraction and motion properties of compact disc optical media, the result is therefore psychedelic. Colors, in the form of a rainbow, range from red to blue, it seems to see them change, passing from one shade to another, especially in “Prismatics 12.0”, which is a looping animation. There is an evident study of the color palette and a precise aesthetic choice which refers to the simplicity of the primary colors of Mondrian’s works. Simplicity works, and it works visually. The value of repetition is fundamental to Jacob’s work, but also the value of variability, which is where the creativity of a coder resides. His artworks perfectly show us how the world of art is changing, how technology is able to give, in the right (human) hands, new patterns to follow to implement an initial basic idea.
Art Curator Viola Provenzano
Jacob Joaquin
Prismatics 12.0
Jacob Joaquin
Prismatics 12.1
Jacob Joaquin
Prismatics 12.2
Janne-Matti Holm “To become immortal, a work of art must always overcome the limits of the human without worrying about common sense or logic.” (Giorgio de Chirico)
A silence that fascinates, a stillness of images that disturbs and catches the viewers’ eyes is what characterises Janne-Matti Holm’s paintings. Growing up exploring art history books and studying painting techniques, Holm developed his style and found his painting expression. “I especially enjoy combining classical subjects with surprising factors like humor or surrealism resulting to an outcome which is characteristic to me”, Holm says. It is this juxtaposition that makes his paintings peculiar, recalling a metaphysical painting style. “Forum Memoriam” is a silent painting where stillness predominates. The painting is characterised by order and compositional clarity and depicts recognisable objects and shapes placed in a well-defined space. The scene is crystalclear: at the forefront margins, a classical sculpture without head and hands is painted parallel to a big head with eyes up, alongside the wall of an arch. Further, another sculpture has its back to us, while a resembling greek temple stands at the centre and hills and houses ruins in the background. The cloudy sky with orange and grey tones make the atmosphere even more dramatic and solitary. The colours are cold and the forum is enlightened by the light of the setting sun that makes the chiaroscuro tones even stronger in contrast. No shadows, no semblance of living life emerges from the painting. Here, Holm depicts a crowded place such as an ancient forum and fills it with solitary and ageless figures such as sculptures and ruins, whose perfection makes the whole painting outside of reality. The forum, the place where public meetings were taken to discuss ideas on a particular issue now becomes empty and silent; Holm’s forum is a place where people no longer meet and communicate with each other. On the contrary, the artist seems to be the ruthless observer of a world that forgets the memories of the classical ages. “Forum Memoriam”, timeless and ageless, embraces a veil of mystery and odd unrealness, where the ancient memories of classical times are celebrated and remembered. Here, the strong presence of classical elements is accompanied by an enigmatic atmosphere. The stillness and crystallisation of the whole composition and the semblances of life evoked by the memory of a crowded forum create a beautiful contrast that remains suspended in time. “Forum Memoriam” thus becomes immortal.
Art Curator Martina Lattuca
Janne-Matti Holm
Forum Memoriam
Jasmin Omar
German based artist Jasmin Omar shows at M.A.D.S. art gallery, on the occasion of the exhibition "Hysterica", two works made with fluorescent acrylics on canvas. The use of fluorescent colors combined with black contribute to make the setting mysterious and out of the box, just as the concept of the exhibition foretold. Fluorescent colors and in general neon is often used in art to convey strong messages and at the same time to create psychedelic settings. The latter was precisely the case of the psychedelic artists of the late '60s who made "crazy" works capable of transmitting sensations out of the ordinary. In the case of Jasmin Omar, the works presented are completely different from each other both by technique and iconography. The first work analyzed here is entitled "Land of untold stories" and has a vertical trend. The canvas is narrow and high, the background is completely black, able to accommodate the bright colors that compose it. The dominant colors are blue, green and red that intertwine with each other. Jasmin realizes small signs, strokes and symbols. The set of all these elements create a well-defined plot that, as you go up, dissolves, leaving room for the background.
Jasmin Omar
The second work, "Tephra", is completely different. Here Jasmin Omar represents something specific and indicates it in the title. Tephra means clastic volcanic material, such as dust and slag, all that is expelled during the eruption. The choice to use orange in contrast to black perfectly creates the feeling of an erupting volcano. From an emotional point of view, the message that the artist wants to pass and that is undoubtedly enclosed in this painting, is in the analogy between the beauty of the lava that erupts but at the same time symbolizes destruction and the feelings of hysteria that are often considered a symptom of unease but that potentially are unpredictable and therefore valuable.
Art Curator Giorgia Massari
Jasmin Omar
Land of untold stories
Jasmin Omar
Tephra (UV-light / normal light)
Jasmine Di Benedetto "I like living, breathing better than working... Each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral. It's a kind of constant euphoria.” (Marcel Duchamp)
Jasmine Di Benedetto is a contemporary Italian artist whose works tell of the human soul while maintaining a link with the earth and its material characteristics. The colour is dense, dry and rigid at times, giving the surface of the paintings an almost sculptural feel. The artist appropriates an abstract language, completely abandoning figurative expressiveness to enhance a gestural style very close to American post-World War II Expressionism. The intensity of emotions and feelings, which is animatedly condensed on Jasmine Di Benedetto's canvases, opens the observer to imaginaries as dark as they are celestial. The materiality of these paintings allows a connection with the spiritual ancestrality of man, projecting the earthly dimension upwards. In "Respira", shades of brown envelop two brighter blue areas which, like two lungs, bring new oxygen into the darkness.
Jasmine Di Benedetto
The uneven surface reveals the weave of the canvas, giving a feeling of crumbling and aggressive weathering. Time also seems to have an important value in Jasmine Di Benedetto's artistic research, which investigates this concept with a soothing purpose. In fact, "Respira" wants to remind us of the importance of the act of breathing, which, being instinctive, is often forgotten. Remembering to breathe means remembering to be alive. "Calm down and breathe, become present to yourself again, quiet your mind and live consciously" says the artist. Breathing becomes the way to recall the present and overcome perdition. In a historical moment in which the act of breathing has been severely restricted, the artist wants to remind the observer of the fundamental importance of this gesture. Such a simple yet extremely powerful gesture.
Art Curator Francesca Brunello
Jasmine Di Benedetto
Respira
Jasmine Di Benedetto
Scars
Javier Sada
“Hidden Face” is a painting by Javier Sada, a multidisciplinary artist based in Spain. Trained in humanities, he uses different techniques such as oil painting, music and video to create works that are his personal and critical lenses of aspects of our contemporary society. Immersed in a completely dark background, “Hidden Face” depicts a face split into two symmetrical axes, while a second face emerges in the middle. Both faces are austere and solemn, their eyes are white and without pupils, and their lips ajar. No emotion transpires from the faces; it is like they stand indifferent, motionless and lifeless, by conveying a lost and creepy feel to the person looking at them. “The subject is deprived of all personality, thus becoming just another individual in the crowd”, Javier says. This lack of personality recalls the thought of Italian writer Luigi Pirandello, who believed that human beings tend to crystallise into individual forms, in a personality that they want to be coherent and unitary. Human beings, Pirandello claims, crystallise in masks that do everything to fit into social norms so that they can be accepted by the rest of society. However, not only do we give ourselves a specific form, but also we are attributed many different forms by other people in society. The mask is nothing more than an alienating symbol, an indication of the depersonalisation of the ego into multiple identities, and a form of adaptation in relation to the context in which a certain event occurs. It is here that the self loses its individuality, so from ‘one’ it becomes ‘one hundred’ and therefore, ‘none’. Here, the ego disintegrates, its certainties fall apart in the shipwreck of all certainties. This crisis is vivid in Javier’s painting through the representation of a split and soulless face, from which another one emerges. “The work symbolically reflects the cynicism of today's society and its empty values. We continually try to hide behind an even emptier and more superficial mask”, Javier explains. The disintegration of the ego is, therefore, strongly affected by the depersonalising tendencies of our society; a society where the individual is deprived of his/her/their morality and lives without any ideal, in a disenchanted world annihilated by futile pleasures. A society where the ego becomes one hundred and none at the same time just to fit and follow the powerful forces of consumerism and stereotypes of our contemporary society.
Art Curator Martina Lattuca
Javier Sada
Hidden Face
Jennifer Marie Collins "Art is to me the absolute most form of freedom and the physical representation of emotion. It allows me to convey exactly what is inside my head. It allows the inward out" Jennifer Marie Collins A Canadian artist, from Ottawa, Jennifer Marie Collins uses watercolour, oil, acrylic, digital art and more. She is inspired by the raw complications of both the human and natural world. By both the vulnerability and resilience of the mind and heart. The haunting depths and depravity of emotions and what it means to be human. She appreciates both refinement and hard edges, duality as she believes we exist in the world. She has been artistically inclined her whole life. Since she was able to stand in front of an easel she’s been drawing/painting. Jennifer shows her Le petite pitre #2 at the international contemporary art exhibition "ALDILÀ", hosted by the international art gallery M.A.D.S. "Art is to me the absolute most form of freedom and the physical representation of emotion. It allows me to convey exactly what is inside my head. It allows the inward out. As to not drown in my own feelings and thoughts. It is my lifeboat in the sea of madness. My ultimate self-expression. I truly believe life could not exist without art, in all forms. We wouldn’t truly be human" Jennifer's words expresses her feelings about her doing what she loves, making art. Le petite pitre #2 is the representation of a young girl. She has a clown mask on her face. The use of the palette and the artist's great ability to convey emotions reveal the girl's mood. The glassy gaze, which observes us, and the grin of the lips communicate with the viewer. Indeed, it does not just communicate, instead, it pierces the soul of the observer, who empathizes with the protagonist.
Art Curator Mara Cipriano
Jennifer Marie Collins
Le petite pitre #2
Jessica Stranger
Jessica Stranger is an abstract artist based in Australia. First interested in art when she was in high school, she started painting only eight years ago and has not stopped since except for a short period after the birth of her daughter. Her inspiration comes directly from the colours of which she has a natural understanding and which she skilfully juxtaposes on canvas to tell the story of herself and her worldview. The Matilda, the work the artist presents in this exhibition, tells the story of her daughter, born with multiple organ failure, and her battle for life. With this profoundly evocative title (the meaning of the name Matilda is literally "strong in battle"), the artist intends to celebrate filial love and the joy of living, rendered on the canvas through the variety and luminosity of the colours. Her brushstroke, almost a rapid comma of pure colour, recalls the Impressionist technique which, abandoning the academic rule, sought to reproduce the painter's feelings through colour. By choosing to present this work, Jessica demonstrates that she has interpreted perfectly the concept of this exhibition, which asks artists "to investigate their own deep disturbances, fears, emotional stimuli", and to imagine what form their unconscious would take if it were tangible. But Jessica does not only tell a personal story. Through strongly textured rolled brushstrokes, she also intends to pay homage to her land and its wild nature. In fact, the colours, applied to the canvas with rapid touches, are skilfully juxtaposed to suggest the idea of the endless expanses of natural wild flowers typical of Australia. The Matilda thus becomes a celebration of life in all its forms.
Art Curator Marta Graziano
Jessica Stranger
The Matilda
Jing Qiu “Paintings have a life of their own that derives from the painter's soul.” (Vincent van Gogh)
Real life transformed into a work of art that speaks to the viewer through a powerful and immediate language. In addition to figurative paintings, the Chinese artist Jing Qiu also creates videos and installations that tell us stories based on his reflections, on his observation of reality, on his personal experiences. “Hunger” is a project carried out in 2021 on the problem of food waste. Following a long and detailed analysis on the theme of hunger, famine, cannibalism during past ages Jing has come to reflect about the world today: how much food do we waste every day? When we do that, don't we think about how many people would really need even just that waste? The artist decided to develop an experiment that would put his hunger to the test for a week. In “Hunger”, several images follow one another quickly: at first news appears with frightening numbers that testify to the terrible consequences hunger and food waste can have. In a second moment we see several photo collages with Jing, who takes pictures of himself and the small dishes he ate during the hunger experiment that sees him as the protagonist. Finally, the artist focuses on each part that makes up the installation, the result of the project. Through the work, the artist wants to sensitize people to the very important theme described above: information, awareness and correct behaviour will make the world better. Jing through his art invites viewers to reflect, to take a journey into their own conscience showing gratitude for what we are lucky enough to have every day.
Art Curator Camilla Gilardi
Jing Qiu
Hunger
Joana Ribeiro da Silva “I create free and spontaneous paintings, following extraordinary music” Joana Ribeiro da Silva
Joana Ribeiro da Silva gives us two fantastic works at the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. Incertain Smile (The The) and Je t'aime... mois non plus (Sege Gainsbourg) are two amazing pieces inspired from songs she loves. Incertain Smile (The The) is inspired by Pop Art, and by the sexy Steve Mcqueen, an American actor who participated in films in the 60s and 70s with the nicknamed the "King of Cool". It is an acrylic on canvas, inspired by old photographs, stained by time. The image reflects the actor's mischievous and seductive smile and invites us to travel through time. Also Je t'aime... mois non plus (Sege Gainsbourg) is a painting with Pop Art influence, inspired by the beautiful Brigitte Bardot. It is an acrylic on canvas, inspired by old photographs, stained by time. The name of the work is the name of the song that served as inspiration, by Serge Gainsbourg, a lover of the beautiful actress. Joana works with portraits and abstract paintings. For this exhibition, she decided to show two portraits. Joana's extraordinary ability is to reproduce the representations of these two characters with extreme accuracy. Not only this, she manages to let the emotions shine through, she characterizes the characters. They are well-known characters but in that fragment of a moment that Joana captures, they become her creatures, they express deep feelings of the artist's soul: as if they were her alter ego.
Art Curator Mara Cipriano
Joana Ribeiro da Silva
Three colors chosen for these two portraits, white, black and red, the essential. This is because the protagonists of the works are emotions. If in her abstract art Joana expresses feeling or sensation through textures and layers. The result of her portrait is always a mixture of feelings that embrace and transmit life. She uses traditional techniques, mainly quality acrylic on canvas, mixed with everything. Joana Ribeiro da Silva was born in Porto, Portugal, where she lives. On the eve of entering college, she switched from the arts, which she attended in high school, to engineering, as it seemed to be a greater challenge. Later, she completed an MBA and is currently the CEO of an international fashion company. But her great passion is painting. It is in painting that she finds peace and balances herself, anxiously looking for new colors, shapes and textures. And it is with enormous discipline and inexhaustible energy that she reconciles all dimensions of her life. In her works we can find huge faces that convey feelings and large textured abstracts that reflect emotions. Her abstract paintings are a reflection of the strongest emotions she experiences on a daily basis and are the result of several layers of color, applied with different energy to the canvas, over several days. A punchy, edgy artwork born from several feelings applied by the artist. Her works have been exposed in different art fairs in Europe and are recognized by different art curators and galleries.
“My paintings are a mixture of feelings that embrace and transmit life” Joana Ribeiro da Silva
Art Curator Mara Cipriano
Joana Ribeiro da Silva
Incertain Smile (The The)
Joana Ribeiro da Silva
Je t'aime... mois non plus (Sege Gainsbourg)
Johann Neumayer Austrian artist Johann Neumayer, permanent artist throughout 2021 at M.A.D.S. Art Gallery, presents - on the occasion of the exhibition “Hysterica”- five works, emblematic of his two new series titled "Play People" and "Play Teen". As can be deduced from his titles, Johann’s works are the result of creative fun. In particular, from the series "Play Teen" you can see how the artist has experienced something new that is the insertion of photographs within his digital projects made with the program Rhino5. Photography is always the same: a girl dancing. The artist inserts it into spheres that distort the image and make it psychedelic. Psychedelics are also the three works from the series "Play People": the rainbow colors as opposed to white create an illusory effect accentuated even more by the multiplicity of lines used. The subjects are human figures, the classic ones proposed by Johann: a woman who supports books repeated several times within the world that the artist creates. The colors convey a strong hysterical sense almost to suggest to the observers a willingness to let go. The works of Johann Neumayer once again offer a strong psychological research and a component of innovation.
Art Curator Giorgia Massari
Johann Neumayer
Play people hyst006
Johann Neumayer
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Johann Neumayer
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Johann Neumayer
Play teen 003
Johann Neumayer
Play teen 017
Jolita Pundziuviene "Reality reveals itself by substantial, palpable forms, accumulated or dispersed in empty space. These forms are part of that space and the space between them appears as form, a fact which evidences the unity of form and space." (Piet Mondrian)
Once again we have the luck and the opportunity to admire the beautiful abstract paintings of the artist Jolita Pundziuven who manages to convey in an even different way a completely abstract world composed of fantastic elements. When abstractionism takes shape in the early years of the twentieth century, we still could not imagine all the barriers it would have broken through and today it is one of the strongest artistic expressions with which artists can convey a broad and elaborate idea. With the advent of Suprematism we see a new form of abstract art in which the work is characterized by a single color that fills the canvas. The artist Jolita manages to play on this current by modifying it according to her pictorial desire to add and enrich with her style and personal touch.
Jolita Pundziuviene
The lines that seem casual are a fundamental part of the work that gives the canvas its own and unmistakable character. This brings her closer to a new conception of abstract expressionism of which we have the greatest exponent in the artist Jackson Pollock and to which she approaches thanks to her technique who wants to express a concept far greater than the mere hysteria behind the use of random spots. . The dynamism of Jolita Pundziuveni's works is a strong characteristic of her and allows her to establish herself as a true abstract artist and her works always offer deep emotions and sensations.
Art Curator Letizia Perrieri
Jolita Pundziuviene
Kolibry
Jolita Pundziuviene
Gift
Jonas Ahrens "A painter paints pictures on canvas. But musicians paint their pictures on silence." (Leopold Stokowski)
Jonas Ahrens is a young emerging artist living in Germany. His interest in painting with acrylics was born in recent years almost as a "completion" of one of his great passions, music. The initial fun of creating on the canvas soon evolved into a powerful expressive tool to give shape and color to accents, rhythms and musical melodies, which thus end up "being translated" on the canvas in an exciting riot of shades and sinuous lines. The relationship between artistic process and musical inspiration is a focal point of Jonas' art, and is perfectly expressed in the work presented for "Hysterica", entitled Dragon of Eden. The work was created while listening to the music of Kevin de Vries, and is the inspired and spontaneous result of forms and images suggested by the music itself. To best express this union, Jonas finds his ideal dimension in abstract painting, as it allows him to make visible even the most hidden emotions, feelings and incorporeal thoughts. The painting is configured as a bewitching flow and alternation of geometric and spiral-shaped figures, which recur on the canvas in an apparently chaotic order. At a closer look, however, the observer can notice that all the graphic elements are balanced with each other and in perfect harmony, also underlined by the chromatic choice in shades of green, white and yellow, in a captivating optical effect that seems to give a circles and spirals their volume and three-dimensionality. The observer can only be captured by the artist's imagination, materialized in a mesmerizing flow, which sometimes also leaves way to a pareidolitic illusion. In this way the abstract elaborations of inner sensations seem to turn into figurative representations, among which it seems to see floral and phytomorphic motifs, human faces and animals. Jonas Ahrens creates a set of remarkable technical and visual impact, and succeeds in trying to capture the essence of a moment of inspiration in a complex and articulated microcosm, in which each element - however small - is a fundamental part, just like a single quaver in a piece of music.
Art Curator Chiara Rizzatti
Jonas Ahrens
Dragon of Eden
Jonathan Rush "I delete the words so that they can be noticed. The fact that they are obscure makes you want to read them even more." (Jean-Michel Basquiat)
Between the 50s and the 60s the pop art movement was born in the United States. This movement characterized by everyday themes and suitable for contemporary audiences has influenced many modern artists and famous graffiti artists including the famous Keith Hering to whom we owe the culture of murals as a form of artistic revolution. The culture of street art develops quickly especially in northern Europe where it is used as a means of mass communication aimed at demonstrating a need for expression to claim one's freedom of thought and inclusion. It becomes more and more important to impose oneself as representatives of pacifist and anti-prohibitive ideals rather than as real artists, for this reason in street art we encounter themes such as war, sexual freedom, equality between races and a new awareness towards your own me. The artist Jonathan Rush manages to become somehow heir to this movement by using these themes in his artworks characterized by revisited subjects and bright colors that manage to enter the mind and heart of the artistic viewers. His colorful but strongly contemporary painting technique conveys his inner intellectual struggle as an artist and as a person. The colored subjects influenced by a strong component of abstractionism recall in themes and traits the works of the artist Jean-Michel Basquiat who was an important exponent of the graffiti current. Jonathan's undisputed talent is evident in his works that manage to arouse strong interest and a great desire to discover himself in the soul.
Art Curator Letizia Perrieri
Jonathan Rush
DILEMMA
Jonathan Rush
MIND BODY AND SOUL
Jonathan Rush
NOTHING LASTS FOREVER
Jonathan Rush
PAIN OF SEPARATION
Jonathan Rush
RETURN OF THE KING
Josie Woods “I am a necessary part of an important search to which there is no end.” (Keith Haring)
The art by Josie Woods, a contemporary American artist, immediately draws the viewer into a psychedelic world of faces and bodies in bright, brilliant colours. Influenced by a style that is very close to that of Street Art, her works are characterized by a very thick black line that envelops the colour fields. The shapes quiver in space surrounded by unpredictable lines which, one next to the other, give the eye exciting movements that are psychologically deviant. Gazes turned towards an otherworldly horizon somewhere between intense pleasure and perdition. The eye takes on an important meaning in Josie Woods' artistic research, becoming an almost maniacal element for expressive purposes. It becomes something fundamental to be analyzed, to dissect altered emotional states. In fact, her works are a misleading concentration of conflicting emotions, telling us about a fickle and eccentric inner world. In "Self-Portrait", a green geometric body sustains an enormous head with red eyes that look as sensual as they are penetrating. A mane of softly shaped hair filled with bright colours absorbs the entire work, creating a sense of kaleidoscopic movement that captures the attention. Greens, yellows, blues, purples and reds, placed side by side, reveal the artist's personality, going beyond appearance to uncover the unattainable emotional substrate. In this self-portrait, Josie Woods shows herself fearlessly in the midst of her creative madness, manifesting her creative inner self with abysmal intensity. A stimulating journey to discover herself and her non-conformist psychology.
Art Curator Francesca Brunello
Josie Woods
Self-Portrait
JRN Artemis Biche “Life is a comedy to those who think, a tragedy to those who feel.” (Jean Racine)
The colour runs fast on the paintings by JRN Artemis Biche, a contemporary American artist, where more aggressive gestures alternate with gentler, enveloping movements. Turbulent canvases form the backdrop for brilliant tears, which cross the visual space, cutting it into unpredictable shapes. Contrasting feelings struggle with each other, in search of a balance and calm that seem impossible to achieve. Influenced by the American Expressionist movement after World War II, in particular by the abstract research, she approaches painting as a liberating act. Also inspired by the spirituality of Japanese kintsugi art, her works are therefore a union of distant visions which, although different, have elements in common: both speak of suffering and liberation, although one in a more aggressive way and the other in a calmer, more meditative way. In the triptych presented at M.A.D.S. Art gallery on the occasion of the HYSTERICA exhibition, we note an affinity with the concept of the event. The unpredictability of gesture and the inconstancy of colour and form speak of the lability of the human mind and its emotionality. In "Identity", greens, blues, pinks and whites are wrapped in a network of black colour, which contaminates their purity and brilliance, staining them. Furious brushstrokes drag the colours into each other, overwhelming the observer. This incessant succession of contradictory emotions is suddenly interrupted in the vicinity of the corners, where the presence of the three copper-coloured soldering gives an unexpected calm. The mutability of man, overwhelmed by his own emotions, is profoundly analyzed by JRN Artemis Biche who, by fusing the teachings of very different cultures, manages to materialize before our eyes a perfect description of the hysteria inherent in each of us.
Art Curator Francesca Brunello
JRN Artemis Biche
Dark Night of the Soul
JRN Artemis Biche
Identity
JRN Artemis Biche
Imperial Empress
Julia Orsini "Painting is stronger than me; she forces me to paint as she wants." (Pblo Picasso)
The idea that a set of apparently imprecise and random lines and colors can actually hide a precise figure and an artistic subject, was unthinkable centuries ago. Thanks to the courage and the experiments of characters in sight that made the history of the twentieth-century avant-gardes, we have the opportunity to discover worlds that we can only see through the eyes of artists. Artist Julia Orsini has a totally unpredictable way of suggesting refined and profound subjects as we can see in her works. Thanks to the advent of movements such as cubism and abstractionism we were lucky enough to find ourselves as spectators of art in front of works that apparently did not have a sense or a logical form, however we were fascinated and involved. With the advent of Cubism, artists were able to represent reality in a different way from the traditional one and with Abstractionism they were able to represent the very metaphysical sense of the things they wanted to represent.
Julia Orsini
Julia somehow manages to combine the two currents using a completely personal technique to be able to represent as she wants like the concepts that she is able to transmit thanks to art. If we take as reference the faces of women painted by Pablo Picasso we can perfectly summarize these concepts: we know that we are admiring a woman's face and yet this face has almost nothing human. The distortion of the features itself conceals the meaning of the painting and the expressiveness is enhanced in the way that the most important thing is not the perfection of the execution, but the reaction of the viewer. Julia Orsini manages to represent women's faces that remain etched in the memory. The elegant and enchanting features are enriched by contrasting colors and energetic brushstrokes, as if they wanted to come out of the canvases and come against us. The artistic hysteria of the protagonists of this young artist manages to give her works a positive charge and an overwhelming aspect that leaves one fascinated.
Art Curator Letizia Perrieri
Julia Orsini
Narrow Ridge to irrationality
Julia Orsini
Vibrant Flow
Julia Wiesmann
<<A subject that is beautiful in itself offers no suggestion to the artist. It lacks imperfection>>. This aphorism of Oscar Wild would be useful to understand the artistic language of the artist Julia Wiesmann. If we consider the painting presented on the occasion of the international art exhibition Hysterica we can see this intention of looking for something not homogenous. The pattern created is a melting pot of different beautiful shapes and colours. As if, the composition wants to be discovered in its details not just in the whole vision. This kind of choice communicates with the intention of the artist to find the element of imperfection capable of harmonizing everything. As it is said: <<Her flow is inspired by the emotion of wanting to be imperfection. Of letting go of all expectations and all layers - to become a free mind and a feeling that every individual is equivalent. She knows that every single artwork of her brings that freedom and vibe to your home.>> So the imperfection is also the equivalent of the idea of freedom to discover just in the end of the artistic creation, the painting not in the intention of the beginning. Maybe this idea can be connected with the concept of the exhibition. The hysteria could be seen as a moment of freedom where the mind and the body express in the actions and in the communication this need of freedom.
Art Curator Elisabetta Eliotropio
Julia Wiesmann
Gardening
Junija Galejeva "A painting is a terminus: it is an arrival (for those who made it) and a departure (for those who look at it)" (Salvatore Mangione)
The works of the artist Junija are intense, true, real and tangible. Signs, lines and colors become one, giving life to lively and strong works. The artistic work of junija is a starting point for the observer, from which to begin a journey of discovery and knowledge of one's self and beyond, also of the surrounding world. In the two works by the artist, the colours are vivid, the whole composition seems to have come to life and appears in motion. The signs and brushstrokes are decisive and strong, the observer's gaze cannot escape them, the colours that the artist uses capture the viewer's sight and soul. In fact, Junija's great ability is not only pictorial, her greatest ability is to be able to express emotions and feelings, but above all to move the viewer who manages to get in touch with the noble soul of the artist. The fleeting and intrepid brushstrokes, full of life move within the works in a balanced way, it seems that each of them knows exactly where to go.
Junija Galejeva
In a whirlwind of colours, in a din of brushstrokes, a calm and composure always reigns because nothing in Junija's works is given to chance. In fact, on the one hand there is a lot of movement but at the same time there is stillness and calm. The artist manages to set the observer's feelings in motion but anchoring him well to the ground, the spectator is able to feel, not only the sensations related to his own self, but also to the surrounding environment. Junija's artistic work has a clear abstract imprint, where colour and brushstroke are the only protagonists, the figures that refer to reality are non-existent, the only truth within the works is the freedom of expression and to experience sensations. The expressive capacity is the backbone, the works are free, nothing fake, no artifice, only Junija's hand expressing if, her thoughts and feelings. Quoting Carrie Jones "The secret of happiness is freedom, the secret of freedom is courage", a phrase that summarizes Junija's work because it is free and courageous. Encountering the artist's work means feeling free to get lost in feelings and emotions.
Art Curator Vanessa Viti
Junija Galejeva
A portrait
Junija Galejeva
Psyche
Kaleidoskopmaschine
“Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.” (Bridget Riley)
The coming of digital photography in the late nineties freed some authors from the fear of spontaneity, an infinite flow of
images that are easily accessible in anyone’s hands.Pictures that survive this flow are the ones that project honest emotions and aim to the delight to observe and get lost in apparently random colours and shapes.Inspired by the art of Afghan carpet weavers, the artist works on real life motifs that she digitally manipulates afterwards.The primal image becomes a spherical mapping, hidden in an enigmatic mandala.Abstract images that can be associated with Op Art (optical art), where graphic illusions open doors to the unexplored, the emotional and the spiritual.To focus is the main optical and mental activity in this art current and so is in Kaleidoskopmachine’s pictures.Patterns and geometries circularly repeated to lose sight and to allow leaving the framed space at the same time.
Art Curator Federica D'Avanzo
Kaleidoskopmaschine
Carmine
Kaleidoskopmaschine
Terracotta
Kaleidoskopmaschine
Blue
Kalena Leigh
The artist Kalena Leigh again participates in an art exhibition held by M.A.D.S. art gallery, showing the public her emotional versatility. Her works always maintain the same approach and the subject is always feminine, but each of it contains within itself a different feeling, a different emotionality. The exhibition "Hysterica" shows two works by Kalena Leigh entitled "Earth Travails" and "Innocence", both made in mixed media on canvas. The feelings are mixed. In the first canvas analyzed here, "Earth Travails", the suffering is evident. An angel is portrayed in the act of crying but what upsets is the color of tears: blood red. The suffering of the angel, however, is almost to be understood in a positive way, the angel is suffering because of a right but painful choice. The aura of pain is in fact surrounded by a light. The wings are bright and adorned with typical details in relief of the art of Kalena, the blond hair shine with a golden light.
Kalena Leigh
The second work, "Innocence", clearly shows what the title describes: the sweet face of a woman is the protagonist and around her two doves fly in the air. The dove is par excellence a symbol of peace and serenity. This element is in contrast with the crown, symbol instead of power. The colors here are bright, in the manner of the Fauves artists. What strikes the viewer is the look of the woman who is perfectly realized from the figurative point of view but which destabilizes because of the complexion of the woman who is an intense rose almost surreal. The figurative once again blends with different techniques including decorative and dripping, giving the works of Kalena Leigh a magical and surreal look.
Art Curator Giorgia Massari
Kalena Leigh
Earth Travails
Kalena Leigh
Innocence
Kallpana Shah
Born in Mumbai, Kallpana Shah is a self-taught Artist, Collector and Curator. Being a passionate connoisseur with a keen eye for contemporary art, she had already amassed a considerable private collection when she set up the prestigious Tao Art Gallery in the heart of Mumbai in the year 2000. Shah’s signature style of knife-work acrylic strokes on canvas brings innovative depth and body to the otherwise classically 2D art. Her works explore the theme of life’s highs and lows and the energetic consistency required to balance oneself throughout it all. The vivid colors and shiny strokes come alive and bring positivity and perspective to the viewer! She states, “Colours are emotions; strokes are the conversion of power or energy into form; layers are experiences and the weaving of structure is the end result of the whole movement.”
Kallpana Shah
On the occasion of the exhibition entitled "Hysterica" held by M.A.D.S. Art gallery based in Milan and Fuerteventura, the artist Kallpana Shah exhibits two works entitled "Seasons". Both are made on a circular canvas support in which the study of colors is fundamental. In both works is present the typical technique of the artist in which the canvas results in relief thanks to vertical brushstrokes interspersed with carved lines. The colors are clearly separated, following a pattern that visually reproduces dunes. Kallpana’s works appear as moons, as worlds, as parallel universes that enclose the colors of the seasons. Warm colors such as orange, red and copper, are accompanied by other colder colors such as blue and white that give balance to the canvases. The presence of white in one of the two canvases gives more light and probably refers to a brighter and warmer season, while the other, with colder tones, probably refers to a season like winter. From a stylistic point of view, the works of Kallpana Shah have different intercultural influences, among which certainly that of Mondrian with regard to the schematic division of colors and of Robert Delaunay with regard to circularity and analytical research on color.
Art Curator Giorgia Massari
Kallpana Shah
Seasons
Kallpana Shah
Seasons
Kana Hawa “Live in the leading—the spaces in between the rules.” (Stefan Mumaw)
Loneliness and distrust are the main themes of Kana Hana’s practice. Impressively dense two dimension artworks that tell the artist’s story and struggle. Why is the world like that and why am I in this world, these are the questions these digital paintings seem to be asking. Layers of conflicts intertwined with sorrow, a deep analysis of today’s society and its origins. The author is questioning the concept of authority together with the concept of instinct. The reflection is about the real possibility of a coexistence between the two. Whether we can attend to a society show of balance, the self is not relieved from the pain that this conflict causes. Ethic, philosophy and faith are created by a unique human thing that the artist calls nous after his researches and studies, and this idea of nous is what maintains order in human society in Kana’s opinion. However, nous fails on earth and generates capitalistic societies and governments based on censorship and suffering. This general conflict gives a view on the bigger picture that allows one to confirm the thought that humans cannot be trusted at all. A deep sense of loneliness and isolation irradiates the soul of who comes to this point, left with the need of sharing and perhaps finding someone to trust. The feeling of confusion and self doubt is what she is asking to deeply look at, the public here is called on duty. Hawa’s digital paintings can be voiced by Orwell’s 1984 or could be found as an illustration of any text on the hysterical mind of the subverted.
Art Curator Erika Gravante
Kana Hawa
Civilization
Kana Hawa
Ethics
Kana Hawa
Brain computer interface
Kana Hawa
Woman’s that I know
Kana Hawa
蚊殴裸我 Kana_Hawa
Kari Veastad
Kari Veastad is a complex artist; she is an artist who delves deep into the human psyche and spirituality that surrounds us, and she manages to carry them on the canvas with the right dose of awareness and freedom. Her art is consequently complex and profound, and the viewer remains tangled between her artworks. The colors, wisely juxtaposed, capture the viewer, but once he is captured, the swaying forms, as in a dream, completely enchant him and never let him go. Kari Veastad’s art is like hypnosis: looking at her art makes you forget about the outside world. You find yourself digging inside yourself without realizing it, you find your story and your thoughts on the canvas without knowing how it is possible. This is Kari Veastad’s gift. This is her power. Straddling between abstract and figurative, in her works we find large and light brushstrokes which make us occasionally glimpse the texture of the canvas below. The contour lines are visible, but never violent, and they are used to draw the essential traits; there is no room for the superfluous in the Norwegian artist’s canvases.
Kari Veastad
In her works, more than rational perfection, prevails the graceful and light rhythm of the forms, an elegance that smells of the past, but translated into a contemporary language. In "EGO" the artist wants to make us reflect how the constant fear of what other people believe and think about us, moves us away from what would actually be the best for us. To make all this, Kari Veastad places on the canvas a series of vaguely human figures that float and swell throughout the available space. From this point of view, it reminds us, in a certain sense, the baroque horror vacui, but here the final effect arouses discomfort. This, however, is precisely the feeling our ego feels when we live exclusively to please other people. Even in "Emotional connection" we can see human figures, but here they are more rigidly arranged, a bit like in a family tree. In this way the Norwegian artist makes the bonds that arise between people and how these can provoke in us different feelings. In these two canvases Kari Veastad shows that she knows perfectly how to bend art to better render a concept, even the more abstract one. She shows that she has understood art in its purest form.
Art Curator Francesca Catarinicchia
Kari Veastad
EGO
Kari Veastad
Emotional connection
Karine Taillandier “Do you recognize perhaps, also you, now, that a minute ago you were another?” (Luigi Pirandello)
Interweaving lines blend with twisting shapes, making the vision complex and intricate. The subject is hidden, only to emerge later. Initially the eye is guided by the colour, only to discover tales and stories that investigate the complexities of the human unconscious. The artworks by Karine Taillandier, a contemporary French artist, open the doors to worlds usually hidden behind the masks of everyday life. The artist constructs imaginary worlds in which the subjects move in a play of transparencies that dissolve the three-dimensional space. In the artwork "Never forget", presented at M.A.D.S. Art Gallery on the occasion of the HYSTERICA exhibition, we see an absorbed figure walking surrounded by thorny circles which, at times, pierce it engulfing it. A feeling of anguish and amazement pervades the observer, who is attracted by this almost psychedelic image and lets himself be carried away by the artist's spirit. Suddenly we find ourselves travelling through a new dark universe, surrounded by an infinity full of adversities from which we cannot escape. Karine Taillandier places her characters in scenarios where matter evaporates and takes them away with it. What remains are incomplete bodies that, at the same time, display such an unconsciousness as to become extremely fascinating and powerful. The need to exploit geometry compensates the lack of a profound order in today's social reality. In her artworks, in fact, man is almost completely annihilated. He is fragmented into a myriad of forms which, like a shattered mirror, reflect a multitude of different personalities. Karine Taillandier's art is about the human psyche. A twisted psyche necessary to survive the everyday life.
Art Curator Francesca Brunello
Karine Taillandier
Never forget
Kasia Muzyka
An “Hysterica” situation develops to be perceived at first glance as a problem, it actually is an opportunity to discover new solutions in new environments waiting to be acknowledged. The answer to solve an unknown problem is to risk it all and discover new perspectives, new ways of liberation. The artist is calling for hope in a new free world. Kasia Muzyka presents “Call2Love” and “Liberation" for the “Hysterica” Art exhibition at M.A.D.S. Art gallery. The first artwork depicts a renaissance into a new world. Cool tones carry the responsibility to represent the flow of new identities being created by connections with dynamic forces. “Liberation” is the answer after the turmoil. It has been helped by Creativity.
Art Curator Karla Peralta Málaga
Kasia Muzyka
Plato’s allegory of the cave, helps us to achieve the desire to learn what is true in a confinement situation. The cave and the outside world bring balance to the new world that will be created once the two realities are acknowledged. The pursue of enlightenment through darkness and turmoil often shows a new perspective waiting to be explored. Kasia Muzyka listens to herself and creates through the answers she has gotten while she was preparing for the new world to begin. The composition of both artworks recreates the magnitude of how vast was the impact in order to create a new world. The cave was an imposition which led Kasia to develop her own truth with creativity generated by discovering an opportunity.
Art Curator Karla Peralta Málaga
Kasia Muzyka
Call2Love
Kasia Muzyka
Liberation
Kat Fox
Kat Fox is an award-winning American photographer known for her whimsical and colorful conceptual portraiture. For the first time guest at an exhibition organized by M.A.D.S. Art Gallery, on the occasion of "HYSTERICA" she exhibits "Kinetic Dreaming" an almost mystical photographic work in which gravity and attraction alternate in a balanced and coherent way. The surrealist trend of photography is perceptible from elements such as the two moons, the excessive size of the stone towers. The dancer, in the center of the image, provides a unique sense of sweetness and spirituality, the solitude and freedom that she is experiencing allow the observer to experience a state of mind of incredible peace and serenity. The sinuous lines of the ballerina's body blend perfectly with the curves of the stones, everything is harmonious and perfectly balanced, as well as the colors and shades of the sky whose stars and moons appear even brighter.
"My photograph Kinetic Dreaming is a reflection of this inner world. A dark and foreign landscape belies a cosmic ballet, a world of grace and wonder with an optimistic horizon. It is a reminder to find light and joy even in the midst of darkness" (Kat Fox) Art Curator Martina Viesti
Kat Fox
Kinetic Dreaming
Kat Hamilton “Hysteria to me is a burst of emotionally charged behavior. Shock would equate to a series of unmeasurable laughter, sexual motion, wild movement and fearsome screams. Within my paintings, I used contrast, movement and femininity to express three of the different types of emotions during a hysterical outburst. Intense color to show depth and the subjects look away so you can feel their energy.” (Kat Hamilton)
Starting from this quote by the artist Kat Hamilton we can better understand the meaning of "Hysteria" (Hysterica) which is also the title of the currently exhibition at M.A.D.S. art gallery, in Milan and Fuerteventura. The artist explains how her art reflects the emotions felt during a hysterical attack. The play of light and shadow that Kat Hamilton uses in her works is strong and acts as a vehicle of emotions. This action was done by Caravaggio for the first time, using the chiaroscuro to accentuate gazes and facial expressions. The works of Kat Hamilton, exhibited at M.A.D.S., are entitled "Displacement", "Sensual" and "Uncontrollable" and are all three made of acrylic and oil on canvas. The titles suggest the feelings represented by them. They can be considered as a kind of journey through hysteria. In particular, the work "Displacement" recalls the darkness of certain paintings by Francisco Goya and watercolors by William Blake, such as the works of the cycle "The Great Red Dragon". The most colorful of the three works on display is "Uncontrollable" which shows a woman in the act of tearing her hair off or simply touching it while dancing. The dance in this sense can be interpreted as a liberating act and for this reason the darkness of the background gradually becomes bright, as if the protagonist was getting rid of her paranoia. Kat Hamilton is able to interpret emotions masterfully, allowing viewers to enter into strong connection with her works, almost in an empathic way, identifying with the characters and through them get rid of adversity. Therefore, works that at first impact transmit mystery and darkness, become therapeutic and are enriched with a strong positive charge.
Art Curator Giorgia Massari
Kat Hamilton
Displacement
Kat Hamilton
Sensual
Kat Hamilton
Uncontrollable
Katja Stechemesser
On the occasion of the international art exhibition Hysterica the artist Katja Stechemesser presents the artwork titled “Woman with yellow dress”. The painting is a portrait of a woman that involved all the composition. The artist tries to be really detailed in the representation of the face. In fact we can see a serene look facing the observer. It is easy for the viewer to feel really impressed and fascinated by this vision. The expression of the face represented calm and serenity. It is like seeing something capable of cheering up and stopping every thought. As if this figure comes to create a contact with the otherness from the other side of the canvas. It is a strange play in which the typical dynamic of watching art is overturned. The action of watching regards not just the viewers but also the image represented in the painting. As if we are listening the figure says: - stay here, I want to look at you too-. The dialogue created with the figure is a pretext for us to investigate also in ourselves. The facial expression of the face seems to be a mirror in which we can reflect on ourselves. This kind of suggestion is connected also with the idea about the art of the artist Katja Stechemesser. As she says: - For me painting is an intuitive way to give expression to what is inside and to get into deeper contact with yourself. There is such wisdom, clearness and creativity in the unconscious and it is worth giving it attention>>. After this consideration, we can say that the woman figure could be the description and the representation of something that comes from a deepest part of the artist and maybe from us.
Art Curator Elisabetta Eliotropio
Katja Stechemesser
Woman with yellow dress
Keenan Staffieri Keenan Staffieri is an abstract painter from California. His studies and his education do not concern only the arts, indeed he is a full time software and web developer as well as an artist. His art is based on a clear and precise ideology which sees a predilection for the non-representational. However, despite the apparent lack of figurative references, each Keenan’s canvas hides a specific real subject, turned into color to create an unmatched visual suggestion. The great power of his works derives from his material use of painting, indeed they are built on different layers of matter and drafts of colors. From a conceptual point of view, canvas is only a visual medium for an emotional experience which has to be new and sweeping every time you look at the work. Acrylics and oil paints are only a means to translate feelings and subjective perceptions of the real. Speaking about his art, Keenan claims: “I am a manipulator of paint. I believe paint in all its different viscosities should be pushed about the canvas with maneuvers directed by the subconscious mind of the artist”. The following three works, presented for “Hysterica” Art Exhibition at M.A.D.S. Art Gallery, are a clear example of his artistic thought. The structure is similar but each work has its own specificity and uniqueness. Colors mingle with each other as if they were on a palette, while some stronger brushstrokes and color drippings break the balance of the picture, especially in the “Swept Away” diptych, where indeed everything is overwhelming. In the last of the three works, “Swept Away 2”, some lines and shapes are added to the tangle of color that is the background giving the idea of small villages in the distance. The blue reminds of a stream of water and the general impression is of a natural disaster. The great ability of the artist is here to give back an experience, a thought, a reflection, but also to confront the viewer with a perfect balance of the composition, studied in detail. To gain a full experience of Keenan's works, the sense of sight is not enough, indeed he invites to touch his canvas as if they were a sculpture or a mountain landscape in relief. Every detail tells something, even on digital supports we can distinguish the heavier touch from the lighter one and enjoy the wonderful harmony of the elements.
Art Curator Viola Provenzano
Keenan Staffieri
Escaping Birth
Keenan Staffieri
Swept Away 1
Keenan Staffieri
Swept Away 2
Ketil Eriksen
Ketil Eriksen is a Danish artist who uses abstract painting as a means of communication. His art is pure and essential. The canvas is always left white, thus managing to balance the solids with the voids. The two works that the artist exhibits at M.A.D.S. art gallery in Milan and Fuerteventura are entitled "COMPOSITION" and have the same scheme. Both, as in most of his works, have two dominant colors of which one is always black. In the first work, black is accompanied by orange, creating a strong visual contrast. In the second work it is instead the red to accompany the black. Ketil Eriksen’s style is very reminiscent of that of the informal artist Jackson Pollock as the dripping technique is the common denominator.
Ketil Eriksen
Ketil makes circular gestures with the brush soaked in color and then splashes the color on the canvas obtaining vortices and weaves. The "chaos" created by Ketil is concentrated in the middle of the canvas, thus creating a small world of lines and sketches. The viewer’s gaze is strongly attracted to it and travels through the lines, remaining trapped within it. The difference between the two works is in the speed of realization and the amount of color used. In the black and orange opera the lines are faster, the strength is more evident, while in the black and red one everything is calmer and heavier. The most interesting aspect is that every spectator can imagine the shapes that are created between the splashes of color. Ketil’s works then become psychological, a kind of Rorschach test.
Art Curator Giorgia Massari
Ketil Eriksen
COMPOSITION
Ketil Eriksen
COMPOSITION
Kinga Malkus “What keeps my heart awake is colorful silence.” (Claude Monet)
Painting: a silent moment during which the colors that inhabit the heart are transferred to the canvas. No identifiable figure, no realistic subject, but only and exclusively color: color that arouses sensations in us, color that speaks to our and our emotions. "Autumn leaves" was created in 2021 with mixed media and is identified with the representation of the season from which the work takes its title: splashes of pink, orange and red acrylic paint represent a carpet of leaves covering a long path. Autumn is a season characterized by change, rebirth, and restart. Immerse yourself completely in this whirlwind of colors and travel with your imagination.
Kinga Malkus
"When the good in us becomes better" is an acrylic painting on canvas from 2021. The work represents a journey into the human soul: the good within us does not grow if we are not the first to work on ourselves. Observe what surrounds you and grasp its messages; increase your knowledge and listen to wise advice; don't repress your emotions but live them to the fullest. Energetic sketches arranged on the canvas without any predetermined pattern give vibrancy to the background painted with dark colors. These two apparently very different works have one point in common: both describe a moment of transition where a period ends and a new one opens. Kinga uses the language of colors to talk about her life and anything else she can't put into words.
Art Curator Camilla Gilardi
Kinga Malkus
Autumn leaves
Kinga Malkus
When the good in us becomes better
Kotetsu
A warm golden light floods our vision. We can feel the warmth warming our icy limbs, we can perceive the light flooding our planet with life. And this is how Mirror moulds, transforms and mutates the natural satellite dearest to us men: the moon. A white spot in the dark nights; sometimes a white and ethereal segment in the corners of the sky; sometimes a giant ball that stands out in the night sky illuminating every nook and cranny in the ground. We forget, yet she is there, splendid in her elegant white light. She is there and never looks away from us. She scrutinizes us, follows us, illuminates us wherever we go. Its expressive force is less aggressive than that of the sun, yet elegant and mysterious. The regolith, the heterogeneous mixture of sediments, dust and fragments of material that characterizes the outermost layer of the lunar surface, acts as a reflecting mirror of the sun's energy. Our star's daily presence is not enough. It is not enough for the sun to breathe life into desert lands, illuminate our world and warm us in its warm embrace. No. Its presence is actually detectable even in the night sky. The regolith absorbs solar energy so much that the moon seems to shine with its own light. Let's try to imagine what we could see if we could see the power of the sun through the image of the moon. And that's how Mirror unfolds before our eyes. That yellow that covers the entire composition is not characterized by a lunar tone. The coldness is not perceptible, nor is the feeling of ethereal tranquility that we perceive at the sight of the white moon. It is a bright yellow, vibrant in its rich hue. It is a warm color, burning, that amazes us with its powerful energy. The brushstroke is variegated and heterogeneous, we can see inside Mirror areas where the color is thicker and sedimented, parts where the color is instead stratified. A layer of yellow color on top of another layer of darker color. An uneven surface that therefore hides within itself reliefs, conglomerates of color and formally flat parts. Let's take a closer look at the work. Whitish spots peep out from the surface. They look like waves, or mountainous reliefs seen from an aerial perspective, from a telescope perhaps? These elements wind their way through the composition to form particles in relief that indelibly stain the representative space. Filaments of color, agglomerates of pigment are there, small and imperceptible, placed in every part of the work. A mirror essentially reflects a twodimensional image. It transforms tangible reality, which develops in well-defined space-time coordinates, into a flat reality, as thin as a plate. Yet Mirror, by distorting the planar image typical of the reflecting surface, succeeds in showing our eyes what we cannot look at directly: the golden sheen and the desired warmth emanating from sunlight.
Art Curator Lisa Galletti
Kotetsu
Mirror
Kouhei
An art that smells of expressive freedom. An art that breaks down the rigid rules dictated by the academic tradition to sink its roots in the creative genius of the artist. The color is pure expression of creativity inherent within Kouhei. Art, in all its manifestations, is the highest human expression of creativity and imagination, and is the only time that allows man to externalize his inner self. The meaning of the word "art" is not definable in a univocal and absolute way. Its definition has varied in the transition from one historical period to another, and from one culture to another. However, there is a universal language of art, which all men know, which takes shape and visibility through artistic and spiritual research. This language binds past, present and future, by means of a sentiment inherent in all men of all times in all places. A common feeling has been found among all artists, that of the motion of creation, which starts from the center of the artist and points directly to the emotion of the user, to the heart. The similarity and reuse of the same forms are most likely given by the universality of the inner artistic language, common to all. Every artist proceeds in an inner research, in a certain sense, a spiritual path, consciously or unconsciously. In every art form in every place, artists follow the same path, in ways that differ in culture and time, but towards the same end. Art is therefore the mirror of what we really are, it is nothing but the image of our inner self reflected on the medium. And this is how Kouhei's art takes shape. The color unwinds on the support, lapping at its limbs; it takes possession of a space that was initially anonymous and white to transform it into something determined and full of meaning. Deep Connection with Red Color is nothing more than the graphic transposition, through the power of color, of the artist's inner research and closeness to the creative act. We follow with our gaze sinuous and rounded lines that unravel occupying the entire compositional space. We linger on the depth of that dark color with its labile and smoky contours and we make our soul participate in the fusion between the black contour and the red background, the real protagonist of the work. A pseudo-human figure peeps out from the space of the work. The red irises seem to be on fire. The face is smiling, a painted smile arched so much that it touches the eyeballs. The character is serene, placid and yet so powerful. The expressive force dictated by that red color is so bursting that it reminds us of a fire just lit. Yet, let's look more carefully at the red parts. We notice some very thin lines, they remind of needles or maybe threads stretched to form a thick spider web. We have discovered the structure of the individual represented or, better said, he himself has made it possible for us to recognize his true nature. Now, let us treasure his example and we too, like him, let ourselves be overwhelmed by that red color, bearer of the truth within our soul.
Art Curator Lisa Galletti
Kouhei
Deep Connection with Red Color
Kouhei
Destiny
Kouhei
Just As It Is
Kyoko Mitani
To understand the painting presented on the occasion of the international art exhibition Hysterica by the artist Kyoko Mitani could be really useful starting from her consideration about the artistic invention. <<The inner worlds of human's characters fascinate me. My passion is portraying all of life and soul of various primitive pure energy, emotion and most importantly with humour to interact; the relationship with colour is my way of life and work of essential source>>. The painting titled Swimming on Mars reflects this kind of intention. The composition is a melting pot of different shapes and colours as if the artist after watching the reality put on the canvas the elements that fascinated her creativity. The process of artistic creation is a process of collecting things that from reality become meaningful for the artist. So we can see on the bottom a few different eyes that remind us of the idea of watching and the action of observation. On the centre stands an undefined figure. What is important to underline about this figure is the gaze that seems to fix the observer. As if this image comes from the fantasy to attract us to tell us about something new. The observer from the other sides of the canvas feels impressed and fascinated by this figure. Is like he wants to say to us: <<this is my world, what about you?>>. This means that watching the painting presented by the artist Kyoko Mitani is a pretext to investigate and finally find our personal human character.
Art Curator Elisabetta Eliotropio
Kyoko Mitani
Swimming in Mars
Laura Alicia Kalk "The world always seems brighter when you've just made something that wasn't there before." (Neil Gaiman)
Color is life, it arouses emotions, it tells stories and communicates messages. The German artist Laura Alicia Kalk has made color the hallmark of her works: taking inspiration from the shades of the world around her, from the light of day and night, she creates large-format abstract expressionist paintings. No pre-established or studied pattern, but only a brush that is guided by the flow of thoughts and the artist's instinct. The three paintings analysed were made in 2021 with the acrylic on canvas technique. In "Burst" an explosion of color in the centre releases great strength and a charge of energy that spreads outwards. The protagonist color is pink which is proposed in different shades. "Cold night": from above the light blue joins the blue, the color of the sky and the sea, a symbol of balance and peace. The evocative title allows us to travel with our imagination: the viewer finds himself immersed in a winter night in which thoughts, emotions and sensations come together, making that moment magical and unforgettable. "Steam": a feeling of lightness and tranquillity pervades the soul of the beholder. Vertical white and blue brushstrokes follow one another without precise distinction, creating a harmonious effect. The famous British writer Neil Gaiman writes that the world always seems brighter when you have just achieved something that was not there before. This light for Laura Alicia begins to shine when she finishes each of her works, the result of her creativity and expression of her deep inner world.
Art Curator Camilla Gilardi
Laura Alicia Kalk
Burst
Laura Alicia Kalk
Cold night
Laura Alicia Kalk
Steam
Lena Bergwein Lena Bergwein is a contemporary artist with a lively taste for the combination of colours and abstract shapes that make her artworks fresh and extremely contemporary. Lena's passion for art has become so prevalent in her life that she has decided to become a full-time artist, unleashing her creativity and creating original and fascinating works. Lena has full control over the painting media she uses, subsequently allowing herself to be inspired by her emotions and releasing them through colour and brushes. In the creative process, the artist disconnects from the world and then reconnects through the colours and shapes she creates on the blank canvas. Evident is the approach the artist uses in her art: the meeting of contrasts generates harmony, peace. The same chaos, if thrown out, can be disciplined.Lena is a daring artist who likes to combine different techniques and explore the artistic way not limiting herself to one single instrument. Between transparencies, superimpositions, layers of colour, emotions are released in a dance that alternates opposing sensations. Lena is involved in the world around her, in her daily life and in the stimuli that the outside world gives her. She combines nature with subjective experiences through the alternation of warm and cold tones, broad and fine lines. In her artwork 'Flow', this mix of influences and stimuli is enclosed in a canvas. The final effect is given by the different layers of colour differently applied. The artist starts with a softer, lighter base and then moves on to brighter shades of red and pink. There is a clear reference to the flow of life that strikes us every day, often cancelling our plans and reducing our priorities. We are too used to taking account of our daily commitments that we lose sight of our true essence, our being. With this artwork, the artist invites us to get rid of all the feelings we have inside, trying to bring our attention back to ourselves and our priorities. Lena's gestural expressiveness is evident, she skilfully handles colour but at the same time is spontaneous and free from any scheme. The combination of transparencies creates a harmonious and balanced chromatic movement. The artist's instinctiveness is evident in her choice to let the colour slip and drip onto the canvas. An explosive mix of energy, of life that overwhelms you. An emotional outburst that strikes the viewer with its overwhelming force. Lena invites the viewer of this painting to throw out all their emotions without caring about the judgement of others because art will be able to express your true state of mind. Left free on the canvas in an abstract and unpredictable mix created by overlapping transparencies and chromatic veils. Red is predominant, indicating strength, passion but also anger. A controversial colour that releases a mix of harmony and chaos. Lena is an innovative and extremely creative artist with a wealth of imagination. She lets herself be guided by her emotions and succeeds in conveying them to the viewer, who cannot help but be enchanted by the magical worlds she creates on canvas.
Art Curator Ilaria Falchetti
Lena Bergwein
Flow
Leticia Barral “Drawing things makes them seem more real and makes me feel more alive. It also makes me pin down and remember things - landscapes, season, weather, occasions, incidents, people - that would otherwise have melted from my memory.” (David Gentleman) A journey full of emotions, sensations, and profound reflections: for the Spanish artist Leticia Barral, painting means this and much more. Her abstract works are the mirror of her strong personality: bright colors, curious chromatic contrasts and strong brush strokes. “Detrás de sus ojos” (2020) is a riot of a thousand shades. Warm colors such as yellow and orange and cold colors such as light blue and blue overlap, creating a pleasant effect. The title allows us to give free rein to our imagination: what is hidden behind the eyes? Where does fantasy lead Leticia and where does it lead the viewer? The look on the world of each of us sometimes differs from that of the others for small details; in other cases, however, the perception of the surrounding reality is completely the opposite. Diversity is not an obstacle, but a source of beauty, wealth, and growth. In “Electricidad” (2019) the fuchsia background contrasts with the other colors present and with the large black cross painted in the centre. A shock, a great strength: the work releases energy, the same that the artist felt during the creative process and the same that she wants to convey to the audience. “Tornado” (2020) is a whirlwind of emotions. The work gives off a great light, thick and thin brush strokes alternate, light and dark colors are placed side by side. A tornado that shakes the soul, overwhelms it, and changes it forever. Leticia's works speak of her and of us; art has always been part of her, and she belongs to it.
Art Curator Camilla Gilardi
Leticia Barral
Detrás de sus ojos
Leticia Barral
Electricidad
Leticia Barral
Tornado
Lies Apon "The countenance is the portrait of the soul, and the eyes mark its intentions." (Marcus Tullius Cicero) Lies Apon is an artist who lives and works in Gouda, the Netherlands. Her art exerts a great fascination on her from childhood, when she watched her father as he painted. Although her professional career led her to work in other fields, her love for art, and in particular for painting and sculpture, continued to seek a way of expression. Lies has recently found a new lymph of inspiration in the creation of intuitive, abstract portraits, whose features correspond to suggestions suggested by the emotions of the artist herself. Therefore, it is not a question of simple repropositions on the canvas of a real face, but represents a unique opportunity to meet the inner universe of the painter, and to be amazed away by it. The poignant female faces of Lies' works are realized as a consequence of inspiring thoughts, feelings or experiences, as is the case with Aphrodite. After seeing a depiction of the goddess in Crete, the artist, struck by the immutable beauty of the ancient fresco, developed her own version of the divinity, capturing its essence. The acrylic colors in pastel shades of blue and pink emphasize the delicacy of the feeling of love, of which Aphrodite is the most sublime expression, and form graceful floral and spiral motifs that make up the hair of the beautiful goddess. From the idealized representation of Aphrodite, Elize depicts a young woman with her eyes clouded by anxieties and worries that are also expressed thanks to a contrasting chromatic choice between warm and cold tones. In the simplicity of the facial features, the observer immediately perceives the anguish embodied by the young woman, and cannot help but participate in that emotion, recognize it as his own and resolve it through the action of admiring the work, in an almost cathartic moment. The penetrating and meaningful gazes are one of the most valuable traits of Lies' art, and focus attention in a unique way, as happens in Girl no Rules. In this case, the heavily misplaced eyes seem to be an expression of the indomitable boldness of those who are free and self-sufficient. The woman realized with a mixed technique, among which newspapers and papers stand out - seems to demonstrate an uncommon audacity by intensely "fixing" her eyes into those of the spectator, in an almost defiant crowd. The artist also demonstrates a remarkable ease with representations with more disturbing tones, such as Mystery Moonlight, in which the figure emerges from a dark background to be caressed by a soft moonlight; or with Courtinsanes's bewitching triple portrait, in which three women come to life on the canvas, inspired by the pleasure girls who worked in Paris in the 19th century. The expression on their face, almost lost in the void, expresses an inner bewilderment in which everyone participates, rising from an individual perspective to become universal. The artist thus succeeds in the intent to speak directly to the emotionality of the beholder, going beyond the limits of reality to reach a perfect harmony between technique and style, beauty and depth of meaning.
Art Curator Chiara Rizzatti
Lies Apon
Aphrodite
Lies Apon
Courtisanes
Lies Apon
Elize
Lies Apon
Girl No Rules
Lies Apon
Mystery Moonlight
Lika Ramati
Lika Ramati, permanent artist at M.A.D.S. Art Gallery, for Hysterica, International Art Exhibition, retraced the history of the word ‘hysteria’ starting from its most ancient meaning. In these artworks, past and present collide and lead to a reflection on the role of women in Western and Eastern society. In "Moon Sycles" the reference is to the initial definition of hysteria, identify as a disease of the womb or a disrupted in reproduction. Putting in the center the red moon the connection to female cycle and reproduction is immediate. During the Middle Ages and the Renaissance, the symptoms of hysteria, led to the identification of demonic possession or persecution of women as witches. In the following centuries hysteria was reported as a mental disease connected to the nervous system, with "Crusifiction" the artist emphasizes the association creating a stylized form of the female uterus, which instead of weakening the protagonist gives her strength and fierce. The repression of the figure of women in expressing their needs and desires, takes visual in "NOT Silent as a Fish" while the condemnation for experience and express emotions in an intense way is in "Who is Afraid from Virginia Wolf”. Just because that goes against the impositions that society identifies as normal and correct, these not give permission on accusing and judging women for being they own selves and treat them with disrespect. To conclude "Phallic Fields” presents a double key of reading: the first concerns the invention of the vibrator by the surgeon Highmore, who proved that the orgasm, due to the stimulation of the female genitalia relieve women from hysteria; while on the other hand it is a consideration of how society is deeply patriarchal and continues to make choices on issues affecting the mental and physical health of women, continuing their repression.
Art Curator Alessia Procopio
Lika Ramati
Crusifiction
Lika Ramati
Moon Sycles
Lika Ramati
NOT Silent as a Fish
Lika Ramati
Phallic Fields
Lika Ramati
Who is Afraid from Virginia Wolf
LiMe Elisabeth Menten, aka LiMe, is a contemporary visual artist with a wealth of imagination and decorative taste, which is evident in her highly original and colourful works. Having trained as an interior architect, many of her works are structured around well-thought-out compositions, studied down to the smallest detail. The geometries relate to the colourful colour palette, creating unusual and curious combinations. Over the years she has specialised in her own style, Minimalist Kawaii, which combines clean, fluid Scandinavian design with the creative and colourful elements of Japanese Kawaii. Colour, light, lines and the combination of shapes create balanced, pleasing combinations. Simple atmospheres are perfect for highlighting brighter, more vivid details. LiMe is a dynamic artist who likes to experiment with different techniques and materials but always maintains a well thought-out structure and is inspired by contemporary pop culture. In the 'Elements' series that she has decided to exhibit at M.A.D.S Art Gallery, the concept focuses on natural elements. The symbolic values enclosed in painted canvases are hidden between symbologies and metaphorical use of colours. At the centre of all five works, the protagonist is Gilly, a friendly character with a fanciful shape that characterises almost all of LiMe's creations. Gilly adapts itself to the natural element it is meant to represent, changing colours, textures but never varying in form and essence. Gilly is a useful reading key for the viewer, who is guided through labyrinths of geometric lines and colourful hues. The likeable character is chameleon-like, adapting to any situation and fitting perfectly into the context. In 'Fire' the predominant colours are warm shades of orange, red and yellow. The colour is spread freely and spontaneously over the background and creates a dynamic texture, perfect to contrast with the rigid coloured and geometric lines that highlight the character in the centre. Gilly immediately captures the viewer's attention, who is enraptured by her Japanese cartoon eyes. Flames of fire dress and decorate her, immediately bringing out the natural element described. This artwork exudes passion, energy and life force. A surreal vision that is influenced by LiMe's eccentric style. In 'Water', the tones change to cold tones, showing off countless shades of blue and azure. The background is entirely decorated with a pattern of curved lines, creating a soft and fluffy texture. Gilly takes the form of a fish with gills, free to swim in the immensity of the water. The gaze is once again bewitching, but the cold tones make it softer. Water is a fluid, versatile element that can change shape, the origin of everything. In 'Air' LiMe keeps to cold tones but the combination of blues, blues and whites is decidedly more dynamic. The stroke is broad, instinctive and animated. Everything suggests wind. The viewer feels it on his skin. Gilly hides among the colours, blending in perfectly with her surroundings and almost disappearing. All that remains of her are a few well-defined and elegant contour lines. Nature reigns supreme in LiMe's series of artworks, manifesting its power and encompassing symbolic meanings to be sought in shapes and colours. LiMe's style is full of many different influences, which she reworks according to her own taste, creating an entirely personal artistic process with recognisable traits in each artwork. The viewer is intrigued by the unusual juxtaposition of geometric lines and more playful, decorative elements in bright colours. LiMe creates unique works that contain interesting food for thought.
Art Curator Ilaria Falchetti
LiMe
Elements - Fire
LiMe
Elements - Water
LiMe
Elements - Air
Lincoln Howard
Lincoln Howard is a self-taught Canadian artist that has recently begun to express himself through painting, drawn by abstract Art. The artist does not shy away from experimenting with both sculpture and mixed media, nor from integrating the different creative techniques together. In fact Lincoln approaches the canvas as a sculptural texture, always trying to find his own way to blurry the thin line that separates painting from sculpture. In occasion of the “Hysterica” exhibition, the artist presents “Things Are Looking Up”, an artwork realized by mixing acrylic paint and glitter on canvas. The painting conveys a nostalgic feeling due to its neon colour palette and its multilayered surface, an optical, vibrating pattern emerging from a rigorous grid. The crossed lines are an open, playful invitation to look through and beyond the texture and the flashing colours. This positive vibe is reinforced by the hopefulness of the title which suggests that anything is possible, even to discover uncharted territories, like the artist does by mixing painting and sculpture. The grid, a recurrent pattern in the artist's work, has both a functional and a reflective quality. “I put two horizontal stripes down first with a flat non textures application. I then did the rest of the background with my usual textured grid style. Adding some glitter to that base coat. I then applied my paste, my secret sauce I call it. I then applied more paint and glitter to finish off the painting.” Despite his meticulous, technical approach to the canvas, Lincoln is devoted to his spontaneous intuition during the creative process: after setting up an idea for the initial composition, he lets the painting guide him to the final result. Being already the canvas a grid upon which the artist creates, framing a grid is a referential comment on the act of painting itself. The artist both indulges and rebels against the structural parameters of the grid, pushing the painting medium forward, towards a new form. He (un)consciously chose to give depth as well as a three-dimensional quality to his work. From its material texture to its self-referentiality, “Things Are Looking Up” is an optical, abstract work that hypnotizes the viewers for its multifaceted qualities, capturing their gaze in an active and positive act of contemplation,
Art Curator Flavia Montecchi
Lincoln Howard
Things Are Looking Up
Linda Samuels
Linda Samuels is a Canadian artist whose artistic production is rich in color variations and contrasts, and with a profound emotional impact. Linda Samuels participates for the first time in an exhibition organized by M.A.D.S. Art Gallery, on the occasion of “HYSTERICA” during which she exhibits a triptych of works that viscerally express her being and her essence. "Acceptance" is a work with a satisfying atmosphere, the title lets you glimpse the message that the artist wants to express, a sense of self-confidence, one's deep acceptance, affection for oneself. Regarding the work, the artist explains “As she exhales her final burst of negative energy, she allows herself to accept her beautiful imperfections.”. The girl's face is bright, relaxed, her eyes closed and her lips half open allow you to perceive this state of mind. The background colors, dark and gloomy, seem to represent all the negativity present outside the inner world of the girl. "Divine Strength" represents the ability to keep fighting, the inner strength that allows you to move forward, despite the difficulties. The gaze placed outside the canvas, the illuminated face, make the atmosphere ethereal, full of pathos and details that allow the imagination to travel freely along all the elements that make up the work. Finally, "Survival" returns to represent a darker atmosphere, especially due to the background, which is very dark and gloomy, the atmosphere relaxes, then, looking at the figure of the girl in the center, illuminated, in a position that expresses delicacy , self-comfort and self-protection. About the job, she tells “Her arms envelop her body, protecting her soul from the pain, from the negativity thrusted upon her, allowing her to only feel self-love.” The use of mixed techniques and the collage technique gives Samuels the possibility to create works whose communicative power blends with aesthetic taste and technical skills, this ability allows her to get straight to the heart and soul of those who look at his works of art.
“I want to achieve a sense of purpose, of strength in my work. For when someone sees it, they can feel the emotion from the canvas direct to their soul.” (Linda Samuels) Art Curator Martina Viesti
Linda Samuels
Acceptance
Linda Samuels
Divine Strength
Linda Samuels
Survival
Luca Soulos
Luca Soulos is an extremely versatile artist, whose artistic production always takes new, innovative and avant-garde directions. One of the artist's last works, entitled "Welcome to the party", recalls those works by Picasso whose lines were the only figurative instrument. The stylistic experimentation brings these new works of art by Luca to enter the world of Line Art, in which the outlines are totally emphasized and the elements, the shapes, the different aspects are mixed. The details are multiple, infinite, each line brings with it a new element, a discovery, a novelty: we see cocktail glasses, necklaces, elements that transmit light. An almost ethnic atmosphere permeates the work, the subjects are represented without superstructural details, such as, for example, the clothes. The woman is the protagonist of Luca's works, we find her valued, told, gutted, in always different contexts and styles, undressed by what is imposed on her, natural in her essence, free to interact and express herself as she wants. The use of ink is, for the artist, a source of inspiration, there are no precautions or unintentional elements, the entire production of the work takes place in a completely natural and spontaneous way, instinctive and guided only by immediate imagination. of the artist. An emblematic element of this work is the representation of the eyes whose depth strikes the viewer and deeply moves him. The same ink on the paper in turn creates shapes, defects, details that push the viewer to investigate, deepen, analyze the work ever more deeply.
Art Curator Martina Viesti
Luca Soulos
Welcome to the Party
Luz Sánchez
The creative process does not always turn in a linear and fluid way, there may be times when anyone encounter obstacles due to a blockage for the influx of too many ideas or are faced with indecision on the direction to be taken. Luz Sánchez, permanent artist at M.A.D.S. Art Gallery, reported in her paintings these moments of stalemate, thus giving access to her mind, providing a connection between the audience and her art, she’s creating environments full of colors and creativity, representing the essence of her creative process. The first step is to face “Ideas che danzan”, the ideas that dance free in her mind, devoid of any connection between them, as in a dance by Isadora Duncan, without a choreography to follow but only their courses, until one becomes the protagonist. But there may be more ideas that take over at the same time as “Caos en mi mente” where the artist is in doubt about what’s the subject of the her next painting should be, here all her ideas are connected by a rainbow of colors and presented in varied subjects, giving a more deep perspective of her creativity. In the end the phase that sent Luz Sánchez into crisis was to find the right color to represent her emotions, in particular hysteria, with "A ciegas", the frustration emerges from the subject, the artist herself, that covers her eyes asking for help to Art, that takes shape on the background created by the rainbow of colors, while the palette and brushes remain,— for the moment—spotless, before they have to be used to complete the artworks.
Art Curator Alessia Procopio
Luz Sánchez
Caos en mi mente
Luz Sánchez
A ciegas
Luz Sánchez
Ideas que danzan
Maaike Anne Maria Steggink “We all have gold in us, over the years we have built up conditionings that help us through life. But all may we let go of old beliefs and pain and return to the gold, the source within us.”
(Maaike Anne Maria Steggink)
On the occasion of the multimedia exhibition "Hysterica", organized by M.A.D.S. Art Gallery of Milan and Fuerteventura, the artist Maaike Anne Maria Steggink chooses to present a selection of three Oil paintings, between iconic and abstract style, entitled: "Circle of life", "Rising up woman" and "Spread your wings". All three have interesting details, in ink or even in gold leaf as in her first proposal. Maaike embarked on a career, which she then put on hiatus to devote herself to the home, children and husband. This has allowed her today to cultivate an artistic passion that she has always had within her, since she was a child. She is inspired by everything that surrounds her and that is part of her daily life, and her husband supports her in her journey. Her thoughts are about knowing about ourselves, about our inner child, about the power and love that each of us has within and that we can release whenever a feeling of fear and darkness presents itself to us. The dualism between light and tender, very much fascinates Maaike, who she faces the world as a challenge, in which the winning card is always the smile, the positivity and the victory. These are all elements present in her works, which unleash a winning charge ready to infect every spectator.
Art Curator Carola Antonioli
Maaike Anne Maria Steggink
Circle of life
Maaike Anne Maria Steggink
Rising up woman
Maaike Anne Maria Steggink
Spread your wings
Mahima Chaudhury
On the occasion of the multimedia exhibition "Hysterica", organized by M.A.D.S. Art Gallery of Milan and Fuerteventura, the artist Mahima Chaudhury with the stage-name mvhvma, presents a selection of three avantgarde works of art. It consists of three digital paintings, titled "Self Destructing", "Stop Living in Your Past" and "You Bring Out the Worst in Me", each of which reveals a rather relevant side of hysteria. Her artwork of hers is a taste of her life experiences and the deep emotions she associated with those moments. Through the use of evocative ideas and emotional attachments, mvhvma creates a liberation from the norms of everyday life; and shares her art with the world to evoke a personal connection / reaction with her viewers. Mahima likes to constantly expand and explore different genres of artistic styles to avoid falling into a state of self-restraint. Her art of hers creates a relationship between her environments and dream concepts: mvhvma's inspirations derive from her perception of people, objects and emotions that she has experienced in her current life and that she observes carefully every day. She takes a cue from these moments and reinvents them in a prettier version of their realities, molding her fantasies into the realization of a utopian world, guiding her artistic concepts of hers. The boundary between illustrative realism and abstract surrealism makes mvhvma's art truly special - you can see both sides of the coin, works of art that you can relate to literally and metaphorically.
Art Curator Carola Antonioli
Mahima Chaudhury
Self destructive
Mahima Chaudhury
Stop living in your past
Mahima Chaudhury
You bring out the worst in me
Maiko Kikuchi “Daydreaming is one of the key sources of poetry, a poem often starts as a daydream that finds its way into language and walking seems to bring a different sort of alertness, an associative kind of thinking, a drifting state of mind.” (Edward Hirsch) Miko Kikuchi is New York based artist, she graduated in Theatre arts and Fashion design in Japan and finished her Sculpture MFA at the famous Pratt Institute of New York. This multidisciplinary author investigates the concept of daydreaming, how usual and common things can be mixed and placed differently to create the impossible and the unexpected. In the artist’s words, the purpose of her creation is to make visible dreams. Kikuchi’s works are the results of this research and the desire to share with the world her personal escape from reality.
Maiko Kikuchi
Collage and moving images as daydream’s aesthetic, letters, faces, blocks of colours, these works have the same spontaneous approach some kids’ drawings could have. Collage is a superb technique the greatest artists explored in the past, Robert Rauschenberg, Mimmo Rotella, Henri Matisse. To explore the infinite opportunities an image can give itself. Isolating and then reassembling one part with another, creating bubbly and melancholic words to be framed and titled. This work of art can be imagined as a steampunk greeting card prepared by a young Jane Austen daydreaming about a life without the restrictions of men while drinking a forbidden glass and smoking a cigar after one of those dances where women and men must meet and plan their vey normal future.
Art Curator Erika Gravante
Maiko Kikuchi
Crime Show
Maiko Kikuchi
May Day
MAJA MAJA, alias Mario Stroitz, is a Carinthian artist who focuses his production on cartoons: always fascinated by the world of Disney, Marvel and DC with which he began his first drawings as a child, he decided to start a training course to consolidate his skills in painting and researching new techniques that have led him over time to develop the style on which he focuses most today: the world of cartoons. Based on the style of great American modern artists with astute phrases and subtle remarks in the style of 60s pop art, his characters, part of the collective imagination, are each time individually reinterpreted and charged with personal memories and current events. In a multi-stage creation process, the artist “builds” the scenery - using different techniques, layer by layer and making his figures look like moving prints. At "HYSTERICA" exhibition hosted by M.A.D.S. Art Gallery, MAJA presents three works from the series of works "YOUNG, BOLD, FUN!"(2019-2021), in which he experiments the new influences of spray-art, using neon colors and partially applied glitter particles that elevate the classic elements of Pop Art to an effective, second level. As the title suggests, in the first work “Beep! Beep! " the figures represented are the famous protagonists of the cartoon of the same name, the coyote and the bird of the American deserts who chase each other in each episode, creating anytime hilarious scenes. The two characters are detached from the desert setting in which we are used to seeing them to be glued to a background of psychedelic colors that alienates them from the context, highlighting their expressiveness and their most characteristic features. To increase this sense of estrangement, the artist places other American symbols in the background that allude to the place of origin of the two characters: the statue of liberty, Mickey Mouse and the famous signs found on the desert roads. In "King of ca$h!" the protagonist is instead the famous very rich Duck who, greedy for power, aspires to have more and more money. Again, MAJA reworks the image, placing it on an ironically designer armchair and extracting it from its original context to place it on a background made of US dollars. The large writing creates, as for the other works of MAJA, a communicative context within the scenery: on the one hand between the individual protagonists, on the other hand from within the work, as an appeal to the viewer. In the latest work presented in the exhibition, "Why so serious!?”, the two figures represented are the famous characters of “Pink and the Brain”, two scientist mice who try to conquer the world always with unsuccessful results. Placed on a bright stage, The Brain is represented in the guise of Joker, who is in fact also recalled in the writing below "Why so serious?" written with neon spray, and in the laugh to his right, as Pinky is dressed up as a jester. The madness of the two therefore recalls the theme of the exhibition by M.A.D.S. Art Gallery.
Art Curator Matilde Della Pina
MAJA
Beep! Beep!
MAJA
King of ca$h!
MAJA
Why so serious!?
Maki Murakami Born in Japan and graduated in Fine Arts, Maki Murakami is a talented acrylic painter whose intent is to stir up something in the observer through her art. There’s a lot of Japanese design in her works, they are usually inspired by nature and they have it as the main subject: flower pots, trees, still life and small glimpses of green are very recurrent in her creations. Sometimes she also depicts human figures, often lonely and melancholic, or as a part of this uncontaminated nature which surrounds them. For the “Hysterica” Art Exhibition, the artist presents three works: “Forest Entrance”, “Pomegranate” and “White flowers and light”. The first work has the idea of being the subjective camera angle of an adventure film or the metaphorical visual representation of the incipt of a novel. The observer has the impression of almost being able to touch that tangle of leaves. If only he could enter the picture by stretching his arm he would start gaining space among the plants to enter the mysterious hidden path of the forest. The drawing is very precise and shows great technical skills and attention to details. The brushstrokes are small, almost imperceptible from a distance, with a reference to the impressionism approach but with a clear inclination to realism. As for the first work, also the second depicts a glimpse of nature. Pomegranates are indeed the main subject, symbols of life and fertility according to many different mythological and cultural beliefs. The color of the fruits varies depending on the light and even the leaves have different shades and are an integral part of the plant’s charm. “White flowers and light” has a slightly different visual structure. We have a colored background, a support (probably a table) and a more “controlled” nature, flowers in a glass vase. It’s interesting to notice how even in this indoor scenery nature seems to have a disruptive force, a vital energy which goes beyond any imposed limits, in this case represented by the glass vase. Maki Murakami thus gives us her personal vision and reading of the concept of “Hysterica” Exhibition, she looks at her emotional and deep inner world and she gives it to us as a magical gift.
Art Curator Viola Provenzano
Maki Murakami
Forest Entrance
Maki Murakami
Pomegranate
Maki Murakami
White flowers and light
MANA “Phobia is an inner struggle, between oblivion and a higher condition" (MANA) Daniele Cesetti, aka MANA, has been drawing since he was a child, without technique, certificates and a specific education. For Daniele painting is a personal mission, it relieves stress and allows him to throw on canvas the emotions he has inside. Like he says, “My art is a tale of me, it is the means I can use to communicate my opinion and my thought. My art is not a culture of beauty, of perfection but an expression of myself”. With his art, MANA wants to give society the opportunity to reflect, to observe the intimacy that is hidden in everything, and to make the observer travel on a carpet of colors and shapes, dissociating him from reality so that he can experience an emotion, both fascinating and happy and sad and regrettable. Just watch it and alienate. “LDSO # 0006” is the sixth pill of “LDSO” (Lethal Dose Sorrow Obtain) project. In a world that is now too hectic, anxiety and mental disorders are the order of the day: here then is that MANA composes the protagonist of this work with pills and tablets to be swallowed that overlap each other constituting the body. Eyes, nose, mouth, nails, torso, arms and belly are completely made up of tablets. The words “Human anatomy, vol. 1 "occurs on the right of the picture, giving scientific validity to the physical composition of the figure, as happens for the small yellow-faced figure above, which is made up of a chemical bond - its reproductive system is ironically drawn inside one of these ties.
MANA
What MANA therefore wants to do with this work is to confront us with what we are slowly becoming, with what the degeneration of our sick society is bringing. “This is who we are”, he points out. “LDSO" therefore contains all our pathologies and sufferings, fears and pains, it gives us the possibility to look inside, to dig deep and to comprehend how we are made. It gives us the opportunity to know ourselves well and learn to survive despite everything because life is a great and amazing gift. “PHOBIA” instead represents a naked man who screams at the top of his lungs at us - it seems to feel his strength from behind the painting. His cry almost deforms and melts him and takes him to another distorted dimension, as suggested by the beams of colored lights coming behind. "I seem to be escaping from a vortex that is sucking me in, I seem to be screaming my pain, trying to get attention", says the artist, recalling the famous "Scream" by Munch for its power and depth and violence of the gesture. In both works, therefore, the artist portrays a situation of discomfort and despair: however, they must not be seen as a resignation, an impossibility of change and an inability to move forward, but rather as a push to re-emerge, to face the fears and phobias that grip us, to accept them and revolutionize ourselves.
Art Curator Matilde Della Pina
MANA
LDSO #0006
MANA
PHOBIA
Mandy Singleton “The principles of true art is not to portray, but to evoke.” (Jerzy Kosinski)
Art transcends cultural languages and their social matrix; visual images have, in fact, the power to overcome barriers of spoken and written language, thus becoming universal. Any human being who engages with an image can decipher its symbol, draw emotions, feelings and thoughts from it. Similarly, any human being who creates an image can communicate thoughts and feelings through colours, lines and figures, which become means of self-expression. Inspired by flowers, fathers and landscapes of her favourite places, English artist Mandy Singleton finds art and creativity therapeutic. Using the canvas like a diary, Mandy explores emotions and feelings, cope with stress and anxiety, and gives free rein to her unconscious impulses, thus being a healthy relief valve. “Drowning in the Blues” is a painting made in 2020 with acrylics; it is “an emotional piece”, says the artist, “reflecting my own anxiety and spiralling depression”. The painting is a vortex of different shades of blue, from the lighter to the darker. A spiral vortex of sad emotions, a combination of thick lines that rotate in each other with neither a beginning nor an end, but perpetual and incessant spiral movements. Feeling blue means feeling sad, depressive and out of control. Depicting how the artist was feeling at that time, the painting perfectly evokes the feeling of being blue, a retable sensation for anyone who suffers from depression and anxiety. Through this painting, Mandy wants to convey the feeling of being overwhelmed by such emotions as if she was underwater, drowning in intense water of sad emotions, without having the possibility and the strength to rise again. Dark blue recalls the communication with our inner sad emotions, almost like a dive into the great chasm of our inner experiences. The lighter blue comes to Mandy’s help, it pops up among the dark blue vortex as a spark and light of rebirth, which gives the artist the possibility to express her depressive feelings outside herself. In this way, “Drowning in the Blues” becomes a therapeutic piece for Mandy that gives her the possibility to recognise and accept her blue feelings, and to translate them into visual images that can be understood and interpreted by who is looking. This is the power of Mandy’s art: through colours and images, she evokes sensations, feelings and memories that are relatable for almost everyone.
Art Curator Martina Lattuca
Mandy Singleton
Drowning in the Blues
Manuela Ghidini "I paint… simply… and every time the picture takes shape it is as if he were giving one to me. The initial idea never corresponds to the finished work, because the days are different, they are unexpected… they are surprising. Art is emotions and emotions are just us" Manuela Ghidini Manuela Ghidini is an Italian artist, she was born in Brescia. Her work stems from hidden, rediscovered or momentary emotions. Her dominant color is red: it corresponds to passion, courage, sacrifice and love… essential elements to fully live a life. She uses differentiates materials, from putty and spatula to a refined brush, because art can be as much in a simple and rough thing as in a sophisticated one. At the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. Manuela shows her Vivere come ridere and she says "It starts from black: what obscures and hides; we then move onto red, passion: what makes us move forward and makes us love what we are and what we do; the black then tries to dominate, but stops, returns; finally white, like a canvas, from which we start again… with a new painting". Colors are the protagonists of the work, just like the emotions of the artist. A color is linked to an emotional stage. From the artist's words emerges the cyclical nature of artistic expression, highlighted by the same forms assumed by the painting on the canvas. A painting that speaks of the art of painting, of creation that is stimulated by the artist's sensations.
Art Curator Mara Cipriano
Manuela Ghidini
Vivere come ridere
Marcel “Everyone is a moon, and has a dark side which he never shows to anybody.” (Mark Twain)
Marcello Baldari is an Italian visual artist and designer based in Turin. His animated works explore the dynamic between real and unreal, the normal and the supernatural. What is reality and what is imagination is the main question people have been asked in all the fields, what we can learn through art and by the so-called hysterical is that the two are often overlying and that is where the beauty happens. Digital sculpture is the perfect medium to introduce this kind of dualities, screens, filters, virtual manipulation of a given material that generates an impulsive storm of thoughts and spiritual intuitions. The video has the ability to pose questions about the links between dream, existence, reality and madness following a more established Philippe Parreno’ s body of works. Parreno’s videos capture the moment when fantastic dynamics happen in everyday life and underline them with slow camera movements and dedicated direction. Marcel’s animation has a renaissance feeling in its dark aesthetic, it’s the ghost of a past self that makes its appearance to tell its truth. A human face whispering, trying to breath behind a full wall of water, a fetus looking for their source of life. Water as placenta, nourishment before birth, health and beauty elisir after birth. Something to be desired, to be stolen. This short animated video comes with sound, an electric tremor, a far female voice, a high tone disturbing noise. This entire given image is telling a story on a precise moment: when the unreal hits the normal and usual life generating amazement and fear.
Art curator Erika Gravante
Marcel
MADeleine
Marcela Rodríguez César “One must always draw, draw with the eyes, when one cannot draw with a pencil." (Balthus)
Art is her world, and she will always want to live in it. Study, research, and experimentation characterize Marcela’s growth path, a Mexican artist and designer attached to painting since the age of five. After learning how to use different techniques including watercolour and acrylic, lately she is focusing on oil and pastel portraiture. "Leopard" is a work of 2021 created with the oil on canvas technique. In the centre of the painting, we see the protagonist of the work: elegant mantle, magnetic eyes, curious expression, and a branch between the mouth. What is it observing? Perhaps the prey it wants to capture or simply admires the nature that surrounds it? The excellent technical skills allow the artist to represent the animal in such a realistic way that it seems real. Her paintings are alive and speak of reality. What can the viewer understand by looking at a portrait? Marcela paints the soul of her subjects, be they people or animals: emotions can be read in their eyes, the character in their movement. The protagonists tell us their stories, it is up to us to understand their messages, to capture their meaning while giving a personal interpretation. Marcela through her art gives back her vision of reality: she represents what her eyes see, but at the same time she doesn't forget to give free rein to what the sensations suggest to her.
Art Curator Camilla Gilardi
Marcela Rodríguez César
Leopard
Marek Zgodka
<<Everything that is not obvious is exciting.>>. To introduce the artwork presented at the international art exhibition Hysterica by the artist Marek Zgodka would be an interesting start from this consideration made by him. This means that his compositions do not go towards the representation of reality but regard abstract intentions where the key to understanding many passages could be the unconscious. If we see the artworks presented at the international art exhibition Hysterica, it is easy to find a lot of connections with the abstracts and surrealism. Starting from the painting Argument. The abstracts in this case are used to blend the lines and flake the edges. As if we were at the end of a dream where the things get fuzzy and faded. Some shapes that created the composition can remind the idea of flowers or natural elements. The second painting presented is titled I love Hackney. The composition reflects the same process of the first one work. At the same time if we want to underline some differences between the first one and this second we can see that the composition seems to assume four dimensions in which the spots of colour become tactile, mostly in the centre of the composition. As if, the painting wants to create a real contact with the viewer. In the third painting titled Vortex Cluster the composition becomes more essential in the use of elements. On an homogenous background that reminds the idea of the water for the colours used, we can see a few densities of color that recall the idea of small swirls. Also this painting seems to be the transcription of the unconscious where the element could be sharp and clear because it comes from a deepest part of the artist. At the same time these elements have to be seen as the most meaningful elements that comes from watching reality. As if the painting for the artists is the pretext to investigate into the truth of the existence and want to tell us the results of this research. In this way the artworks of Marek could be also for us a pretext to discover something deepest about ourselves, that we never knew before.
Art Curator Elisabetta Eliotropio
Marek Zgodka
Argument
Marek Zgodka
I love Hackney
Marek Zgodka
Vortex Cluster
Maria Buhl Maria Buhl is a creative and imaginative young artist who combines sophisticated colours and attractive shapes full of interesting ideas in her works. Her style is chameleon-like, moving across the canvas in different worlds, creating artistic labyrinths where the viewer is able to lose themselves and then find themselves again. She is not afraid to explore art through multiple artistic mediums; she alternates between the use of different materials, often mixing them and creating new and unusual creative processes. Maria is inspired by expressionism, which frees the most hidden and imaginative part of herself, and then reconciles with reality through the realism of forms and materials. In her artworks she shows sides of herself that would not be possible to show except through art and its colours. She highlights vulnerability, courage and passion. All this combined with an overwhelming and exciting femininity. Each work is a world of its own, within it live different stories, abstract landscapes, swirling moods and lightning-fast emotions. In 'Bon Bon Land' her eclectic style is immediately recognisable. Maria guides the viewer into an imaginary landscape, a place of the mind that remains wild and unexplored. The colour is applied with different techniques, making the artwork as dynamic and lively as a dance. There is an interesting contrast between the dripping of the acrylic, its application with a spray can and the stroke made with a brush. A combination of textures reflected in the harmonious chaos of bright, explosive colours. The viewer is struck by the use of pink, which draws a sinuous line in the foreground and leads back to a brave, powerful and exciting female universe. The work's energetic charge and organisation in space are reminiscent of Kandinsky's abstract paintings. In 'Lolly pop' the tone is decidedly less bright than in the previous artwork, more sombre, reflective. Maria's spontaneous gestures are again the main element of the work. The marks left on the canvas are instinctive, pure energy. Lines that intersect, creating involving whirls, emotional whirlwinds in which the viewer is reflected. Touches of light and traces of black run after each other on the canvas, creating a pleasant play of contrasts. Between the grey tone that forms the background of the work, the traces of green, blue and red, it is again the colour pink that attracts the viewer's attention. A painting that lies between abstractionism and expressionism, revisited in a personal key and with a contemporary technique. In 'Rain on person' Maria shows the viewer another side of her multifaceted artistic personality. She focuses on the figurative while maintaining an abstract and evocative background. In the centre, the protagonist is a girl seen in profile with a braid and a reflective, introspective attitude. As if in ecstasy. Nature intercedes with the human being and creates a relationship with him. Water, sky and earth interact with each other and do not merely act as a backdrop but participate in the dialogue with the young woman. Behind her, we seem to see a shining sun that complements the shape of her face. The bright colours such as green, blue and yellow contrast with the darker coloured profile of the protagonist. It is interesting how Maria differentiates nature both in the colours and in the freer application of pigment, compared with the more graphic and detailed face of the young woman. The artwork appears to be balanced and absolutely reflective, a tribute to a woman as strong as the force of nature, energetic and uncontested. Maria proves to be a skilled artist with a varied and original style. She moves from abstract paintings to figurative and realistic forms that are excellently realised. Her ability to empathise with the viewer through colour and form is commendable.
Art Curator Ilaria Falchetti
Maria Buhl
Rain on person
Maria Buhl
Lolly pop
Maria Buhl
Bon Bon Land
Maria Faltis "The relationships in art are not necessarily ones of outward form, but are founded on inner sympathy of meaning.” (Vasilij Kandinskij)
Maria Faltis is a talented artist living in Germany. She graduated in geology and early childhood education, she has approached art in recent years, finding an ideal expressive dimension in abstract painting. Maria's curious and experimental nature led her immediately to try non-canonical ways, starting with the choice of materials that she uses as "canvases" of her works, such as tables or shelves that she recycles as a support for the paintings. The artist's indomitable creative flair thus transforms a throwaway material into a unique opportunity to make an amazing cascade of acrylic colors and metallic pigments flow, and finally give color and shape to her mesmerizing inner universe. The approach to Maria's art is therefore purely instinctive and spontaneous, born from suggestions, thoughts and emotions of the moment, which fill the artist's mind to the point of bringing it into a sort of creative limbo that touches the most intimate chords of spirituality. Eye of Phoenix - the work presented by the artist for "Hysterica" - arises from the intimate need to express her protest towards a world that makes one feel alone, misunderstood and alien even to oneself. The incessant swirling of colors and spiraling motifs fills the canvas with a horror vacui that suggests the growing power of a feeling in the making, a desire for revenge and self-affirmation that culminates in the central golden sphere, the eye of the phoenix, a metaphorical symbol of a renewed awareness. The use of golden and bronzed metallic pigments elevates the entire composition to a high, almost hieratic level and captures the viewer's eye in a bewitching play of light and shadow that makes the work "alive", different depending on the angle from which it is admired. But what makes the work even more unique is the musical inspiration that seems to pervade the trend of the represented forms, as if to make visible the melody and the rhythm that filled the artist's soul with an irresistible encouragement to transcend the limits of reality to arrive at an introspection never experienced before. Maria Faltis thus uses the universal language of art to document her own inner journey guided by a great driving force; but above all she manages to communicate to others a luminous message of hope, not with rhetoric but with a more direct way, which she speaks directly to the emotions of the beholder.
Art Curator Chiara Rizzatti
Maria Faltis
Eye of Phoenix
Marie Andersson “Nothing is impossible, and nothing is wrong when it comes to painting watercolour. It is the final result that matters.”
"I need to paint my inner landscape, the inner space and mysterious shapes. You cannot put Marie in a box"
(Marie Andersson)
On the occasion of the multimedia exhibition "Hysterica", organized by M.A.D.S. Art Gallery of Milan and Fuerteventura, the full-time but self-taught watercolourist Marie Andersson, presents a series of four paintings of snowy landscapes. She lives by her art of hers, selling original paintings, art prints, running errands and holding workshops as a teacher. Born, raised, and still living in Östersund in northern Sweden, she spent a lot of time in the Swedish mountains and Lake Storsjön. It is from here that she draws inspiration, from the uncontaminated places that surround her: painting the snow-capped mountains is one of her specialties and she can be seen precisely from the great technical ability thanks to which she manages to give a realistic materiality to nature.
Marie Andersson
Entitled "This is not the limit", "Stones to the dead fall","The longing for wintertime" and "Reflections on the first ice", the four watercolours recall the winters painted by Monet, on which the famous painter studies the variations of the light, the splitting of the colour and the touch that appears fragmented according to the rendering of the snow movement. The way it captures the special Nordic winter light is surprising, but even more positively impressive, is the immersion of the still images, which placed before us with their majesty, make us travel all the way to there, right at the point where which our Nordic artist walked and where she closed and reopened her eyes numerous times as if to immortalize and focus on every slightest movement of the snow. Marie paints everything that inspires her, from simple air, and in the studio from photos and memories, often themed. For this reason, her repertoire is so articulated: among her paintings you can find snow-capped mountains, city life, landscape, still life, portraits and even abstract works. The desolate landscapes express comfort for the artist, an apparent sadness that actually represents the awareness, strength, serenity and beauty of the natural landscape.
Art Curator Carola Antonioli
Marie Andersson
Reflections on the first ice
Marie Andersson
Stones at the “dead fall”
Marie Andersson
The longing for wintertime
Marie Andersson
This is not the limit
Marit Stang
If we consider the action painting, we can find out some peculiarities to give meaning to Marit Stang painting. It is easy to intend this picture as a certificate of presence, where the subject of the ontological speech chooses the figurative language to escape and self-assert itself. Starting from the first artwork presented we can see on a dark backdrop the strongest lines and different shapes. A series of black marks on the bottom seem to intertwine in a melting pot of strong actions to underline the other marks, more singular, made by light colours. A game of contrasts of shades that do not choose a gradation to emerge, but stand out to highlight the violence of the gesture in the figurative construction of the picture. It is the abstract expressionist logic that tries to evoke a singularity, which now, with the mark, in the composition, becomes an allegory of an emotional state. Also in the other two paintings we can see this process to make the composition. The vision is functional to understand the power of the gesture of the brush on the canvas. A post-expressive research, where the unconscious comes out by the vision, to try to understand itself. This means that the artist's will to assert himself, as a perceptive instance, a presence that exists and reacts to otherness in all its possible manifestations. If we want to use an expression to describe this concept, it is like to say after waking up: 'I don't remember much about the dream, but I could say that I was there too'.
Art Curator Elisabetta Eliotropio
Marit Stang
No title
Marit Stang
No title
Marit Stang
No title
Mark Eerik Neumann
On occasion of the international art exhibition, Hysterica the artist Mark Eerik Neumann presented his work titled Rhode2bA. Starting from the backdrop, which seems to recall the colours of the earth and the sky, or maybe the end of something. At the same time the end in ontological meaning, often coincides with the beginning, the birth of something else. In fact, the lines appear to lean against the background. At first, this line seems to be lighter and thinner. It seems to cut the background to create small slits from which to filter lighter, other colours. If we investigate the intersection of the lines, it is easy to give a shape to this first composition: it seems to mark a net, which emerges slowly, latent from the backdrop. An elegant abstract passage is meaningful. If we proceed in the exploration of the composition, emerge other lines, these one more decisive. The geometry of these intersections is less defined, more accidental as if it were a confused gesture. Something that concerns duration, a gesture that lies in becoming, in changing things. That is what the artist Mark Eerik Neumann wants to tell us on occasion of the international contemporary art exhibition ‘Hysterica’. A gesture that stays inside the experiences, that is always true and has a disarming energy. In this, the composition becomes a lucid tale of the artist's emotions. A pretext to facilitate the encounter with the observer and to share his thoughts.
Art Curator Elisabetta Eliotropio
Mark Eerik Neumann
rhode2bA
Martha de la Vega
Martha de la Vega is a Mexican artist with almost nine 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 “HYSTERICA” exhibition hosted by M.A.D.S. Art Gallery, Martha presents two paintings. “Ice Castles” depicts a young skater performing in an extremely elegant and refined pose; the colors that surround her are soft and delicate, creating a dream atmosphere. The girl, in the midst of her dance, seems so estranged from the context in which she finds herself, catapulted into another dimension where only she and nothing else exists, so much so that the artist places angel wings on her shoulders that make her even more beautiful and refined.
Martha de la Vega
To increase this dreamlike atmosphere, Martha cleverly inserts silver leaves in the background, guaranteeing greater preciousness to the scene as well as a certain spatial depth. “Perspectives” instead is a totally different painting from the first one. With a style of Fauvist derivation for the large backgrounds of bright colors that alternate with each other, Martha re-elaborates, according to different perspectives, Mexico City, through the overlapping of images and fragments of it that seem to belong to the artist's memory, having a special value for her. Although very different from each other, these two paintings therefore have the intention of fully representing the multifaceted personality of Martha, as reflective and calm as the dancing angel of "Ice Castles", so strong, passionate and full of emotions perfectly in the style of "Perspectives".
Art Curator Matilde Della Pina
Martha de la Vega
Ice Castles
Martha de la Vega
Perspectives
Martin Hildesheim “Love you will find only where you may show yourself weak without provoking strength.” (Theodor W. Adorno)
The digital gallery of contemporary art M.A.D.S. has the honor of hosting, for the second time, the works of the German artist Martin Hildesheim. The artist's sensitivity to the theme of the exhibition emerges from the beauty of his works. Through his creativity and artistic flair, Martin gives us two different visual representations of that strong feeling that we call "Love" and that, in some cases, has a positive meaning, in others, has a negative meaning. The first work is titled "Mother with Child - Afraid of the future" and belongs to the "EyesLook" collection started in 2021 by the artist. A mother holds her newborn child in a gentle embrace. The viewer's gaze is immediately drawn to the eyes of the two subjects. Their souls touch, around them there is silence. Their eyes speak. In the eyes of the son there is all the strength and desire to live, play, discover the world. They are the eyes of an innocent child, who knows no fear. He can only perceive a strong feeling of pleasure and protection in the safe arms of his mother. His eyes shine, his face is serene and his happiness is contagious. On the contrary, the mother's gaze reveals a deep feeling of fear for her son's future. Her eyes are dull, slightly downcast, and her gaze is thoughtful. Although fear seems to take over her, the woman is strong. Women love and children are the fruit of that feeling.
Martin Hildesheim
Despite her lack of confidence in the future of the world, her insecurities and fears, the woman has given her life to her son and will fight to leave him a better world. The artist uses charcoal, sanguine and white pastel on grey cardboard to create a play of transparencies that allows the viewer to enter inside them and read their soul. The second work is titled "Man and Woman" and is a visual representation of two psychophysical processes that occur when a woman and a man love each other. In the work, the man clasps the woman on his chest in a gesture of protection and care for her. The woman's gaze is serene: she trusts him completely to the point of giving him all of herself. But, the line between love and oppression is really thin. And here a genuine feeling, as love is, turns into a negative feeling of oppression and control of the woman. The man increases his grip on the woman, oppresses her with insults, limitations and bad actions. The woman no longer has control over her life and feels imprisoned. The man, however, underestimates the strength and intelligence of the woman. She knows how to break free from these chains, how to start over and return to life. Martin uses different pencil thickness on paper to create a flow of waves, suggesting the idea of recurring oscillation between love and oppression. Using more force with the pencil lead on the paper, the artist creates clever effects of light and shade that emphasizes the concept of light illuminating a relationship of genuine and mutual love, on the other hand, the darkness of a false and oppressive love.
Art Curator Alessia Ventola
Martin Hildesheim
EyesLook - Mother with Child - Afraid of the future
Martin Hildesheim
Man and Woman - Control !?
Matej Ruzicka Matej Ruzicka, an artist born in Slovakia with traits in Tenerife, takes us in a journey of three stages. The first stage is “Blue River”, a very special artwork that must be observed very carefully. If we look at the picture briefly, we see buildings with warm colours that collide with the grey sky, a fog that confuses the shapes and shadows of the buildings and that creates a very striking chromatic contrast. Although the colours are bright, this city landscape gives a feeling of cold, the image of a city glimpse during a moment of cold uncertainty. If we look closely, we can see that many characters wear masks that, unfortunately, for us will always be the symbol of the pandemic that has frightened and blocked the world during these two long years. But that’s not all. We see that who wears the masks forms a row, the sign depicted shows us the row of those who are waiting for the vaccine. Not far away we see other figures, these are not only without masks, but they threw them to the ground. This is the representation of the irresponsibility and indifference of the human species. Those who have already been vaccinated throw their masks away, feeling free from any risk, and contaminating the environment at the same time. These masks are taken to the nearest rivers, streams and water sources with the following floods and turn the water to tones of blue. The second stage is a quiet place, “Blue Winds” is a path surrounded by a serene and cool nature. In this context, the use of blue mixed with white and yellow gives a completely different feeling of serenity. The technique of drafting colour brings to mind an ancient, magical place. We see a lightflooded passage covered with Spanish moss leaves that protect trees from the rays of the sun. The third and final stage, is a place for some characteristics similar to the second but has something tormented and alarming. The application of blue and white here is different, characterized by more pronounced and agitated brushstrokes, which give the feeling of a landscape, especially the sky and the floor, in motion. “Nightmare” represents the feeling of powerlessness, forced immobility, it represents the difficulty of discovering the essence. Through these three works Matej Ruzicka makes us know his sensitive and attentive soul and makes us know reality from his point of view.
“They say there are two most important dates of a person's life; The day you are born, and the day you figure out what you stand on earth for...Mine was 3 years ago when I discovered painting is my call.” (Matej Ruzicka)
Art Curator Sara Giannini
Matej Ruzicka
Blue River
Matej Ruzicka
Blue Winds
Matej Ruzicka
Nightmare
Mathilde Victoire Brault “All art should inspire and evoke emotion. Art should be something you can actually feel.” (Chris DeRubeis)
An explosion of colours that embraces abstract shapes is what best describes Mathilde Victoire Brault’s artistic oeuvre. Coming from Montreal, Brault has been emotionally drawn to art since childhood when she first learnt how to hold a pencil and to draw. Now, she is a young, emerging artist specialised in abstract paintings who enjoys experimenting with different materials such as wood panels, mirrors and metal, and different techniques such as collage. Colours become Brault’s words through which she talks about herself, her mood, emotions and feelings. Colours are her absolute means of expression and communication. Every shade and nuance contains a world of meanings that the observer grasps in an emphatic exchange. We just need to open our eyes to realise that we are immersed in a vital flow of colours that through infinite shades, affect and reflect our emotions. Brault, in fact, “deeply enjoys the wonders and the colors nature has to offer”. Colours fill our days, enter our existence, create a whirlwind of emotions without which life would be made only of shadows and light. “Chameleonpalette” is the name she gave to her Etsy shop as chameleonic is her art. Just like the chameleon changes the colour of its skin as a manifestation of certain physical and emotional states, so Brault does with her art. In the black background of “Cracked Open”, bright nuances of red, blue, yellow and orange take shape in linear and geometric forms, whose points coincide in an almost maniacal and precise way. Nothing is left to chance: it is Brault that take control over colours and forms and guides them in their place. “'Cracked Open' is a painting exploring the concept of turmoil, of disturbances and fears, in an abstract way, with vivid colors and emotions”, the artist says. Just imagine that a beautiful black-coloured vase has a small and innocent crack; when accidentally the vase fells on the floor, the crack becomes so large that opens the vase by releasing a myriad of colours with the form of abstract figures. Here, Brault is emotionally engaged in showing the thin and deep crack that is now open and unleashes the artist’s innermost turmoils, fears and emotions, which inevitably interwoven with those of the collective.
Art Curator Martina Lattuca
Mathilde Victoire Brault
Cracked Open
Matija Genc "Art is my life, art is my love, I hope you like it" Matija Genc
Matija Genc is 27 years old, he's an artist from Croatia, based in Zagreb. He fell in love with art when he saw the paintings of Jackson Pollock, his idol and his favourite artist. He paints abstract art with motifs from normal life, movies and places where he has been. Most often he paints oil on canvas and acrylic on canvas with the drip technique. Matija Genc at the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. shows his Sad rich man. The work is the encounter between the artist's evident passion for Pollock's art and the representation of the reality of things as seen by the artist's eyes. Matija shows his ability in dripping, a form of abstract art in which paint is dripped or poured on to the canvas. But he is not limited to this, he represents a portrait. A portrait that has the origin of communicating with the viewer. The forms are simple and straightforward. He plays on what are the two communication channels of the face. Eyes and mouth, the title of the work suggests what the portrait subject wants to communicate to the viewer. About his art Matija says "I’m just a normal guy who loves art and all about art. I do paintings in my free time, most often oil on canvas and acrylic on canvas. Art is my life, art is my love, I hope you like it. Sad rich man is my own picture oil on canvas. I have a lot of pictures on that thematic, according to Jackson Pollock, my favourite painter".
Art Curator Mara Cipriano
Matija Genc
Sad rich man
Mahak Mittal “Look deep into nature, and then you will understand everything better.” (Albert Einstein)
Mehak Mittal is a self-taught artist based in California. Her works traveled across 3 continents and have been living in a permanent dialogue between nature and human nature. The artist’s primary material is watercolour, which fluidity better resolves her main theme and great inspiration. Vibrant colours and thick lines give a realistic depiction to her unrealistic choices of composition. Painting as a form to be alive. Mittal’s pieces show endless shadows and layers that manifest the artist’s intention to not just imitate nature but to give a personal view on what happens in one’s mind when touched by mother earth.
Mahak Mittal
Paint becomes a creature completely abandoned to the wind, it may take her to the moon, it may take her in the deepest sea, anyhow it will be part of a journey, a fantastic story of the people who can truly be themselves and find the beauty inside of them. Nature as an active part of the healing process, nature that through the colours and soft touch of the artist, can caress souls and open eyes to the greatest worlds of serendipity. Finding the fun and the healing like Yayoi Kusama’s polka dots and Carsten Holler’s mushrooms. These paintings are giving the image of a contemporary Walden looking for the most intimate relationship with the earth. The given landscape is surreal, water and the other elements are made of the brightest colours and the softest touches, in front of these images the eyes are dreaming .
Art Curator Erika Gravante
Mahal Mittal
Be Free and Fly
Mehak Mittal
We are the fabric of life
Michelle Bond “You use a glass mirror to see your face; you use works of art to see your soul." (George Bernard Shaw, Back to Methuselah)
Michelle Bond is an artist born and raised in Manila and living in San Francisco since 1980. Art has been in her veins, like a living force, since her whole life, from poetry, to music, paint and sketch. When she paints, she wanders in her vast and infinite mind and inner world, comparing herself to a fish that swims in the depths, and in a dream, always discovering new hidden spaces which hid portals to the open ocean. Creativity is Michelle’s oxygen, a mean to float in the reality of her inner room of the mind, where water tide is as strong as her artistic energy, giving the artist the strength not to drown but to gently absorb the power to outburst in creativity. Painting for Michelle is entering into a meditative state and at the same time it is a play, where to face challenges, being happy, confused, frustrated in a way that can liberate and reveal her inner life. Canvas and paper are not just two objects anymore. Filled with lines and strokes of colours, they carry emotional stories whose forms are inspired also by Picasso, Kandinsky, Miro, and Dali. For HYSTERICA Michelle Bond exhibits a Watercolor and Ink on Arches Hot Press Watercolour Paper titled DISTRESSING. Here smooth black and rapid curves intersect each other on a coloured background, transforming occasionally in wider dark spots and lines. A work that permit, with its twirls to enter the artist mind end empathize with her thoughts, stories and emotions.
Art Curator Sofia Ronzi
Michelle Bond
DISTRESSING
Miguel E “...we know what we are, but know not what we may be.” (William Shakespeare, Hamlet)
Miguel E is a portuguese artist living in Warsaw, his passion for art begins with his childhood and didn’t miss a day.
This kind of dedication can be clearly felt from his artworks. His practice aims to live completely and deeply in the beauty in every possible moment. The body of a woman, a natural map of pleasure and roughness, the abandonment of life’s schemes to enlighten the usually hidden fragilities. The scale of greys and whites are giving the feeling of being underwater, peacefully enjoying the rising from dereliction. A dip dive in some cold water, floating in a wet desert, alone with the self, eyes closed, lights only touch the protruding parts, taking a moment to enjoy this cold, finding the beauty and regenerative force. Looking at this painting, what must be seen is the figure and what that makes the eyes see. Perhaps a contemporary Ophelia, the famous Pre-Raphaelite painting of John Everett Millais, maybe a Sin City evil character, everything is reliable and trusted in the eyes of the viewer.
Art Curator Federica D'Avanzo
Miguel E
Nude8
Monika Belinová “Everything you can imagine is real.” (Pablo Picasso)
Monika Belinová is a Slovakian artist, Phd and art teacher. She works with different tools and techniques, from fine drawing to a more gestural painting. Her mental state determines all the choices made for the artworks. If on one hand the paintings appear to be incredibly fine and precise, made of a sort of rigidity that gives form to all the shapes, on the other hand, the composition and prospect unfold a desire of freedom. This urgency is typical and unites artists of all times. The need to liberate themselves, to ease the tension and lighten life. Belinová paints and she does it majestically, her touches are soft and accurate, a very strong aesthetic influence from eastern Europe.
Monika Belinová
We can also see some De Chirico influences or Kahlo’s as well, some sort of closure comes from this artworks that can actually almost reject the eye. In front of her works the public can find itself disoriented and confused. With the passing of minutes a magic aura comes from the picture and suddenly all is enjoyable and accessible. Bodies and faces that come to life through the use of precise textures like a wooden mannequin or a colourful ornamental fabric piece. The use of colour is a mood statement, a revelation of the artist’s heart, willing, fear and hidden pleasure. A faceted artist, complex and very direct at the same time, Belinová’s work thanks Picasso for opening the every-style-is-yourstyle way and going free with her own flow. Just like the mads.
Art curator Erika Gravante
Monika Belinová
Doll( Theatrum Mundi)
Monika Belinová
Dancing
Mt Connolly Creating a work of art is a way of making what you have inside, in your depths, tangible and visible to the eyes of others. Art and its rediscovery in a moment of isolation, difficult for the whole world, have been a source of comfort and company for the Irish artist Mt (Mary Theresa) Connolly. Her rekindled passion has become an integral part of her daily life. The body is the physical and visible tool that each of us has to express our emotions, what we feel inside us, which is often difficult to express in words, it is instead so natural and spontaneous to show it in a gesture. Above all, the female body, endowed with that innate sensuality and beauty, can be the most powerful means of expression that can exist, because the body is not only physical, but above all emotional and spiritual. It is precisely this emotional body, also in relation to one's own emotions, that the artist represents in her works. The works presented here seem to tell in succession a story of rediscovery of oneself, rebirth of body and soul. In the work "Evolution 1" the woman is ready to get back up, to give herself the necessary strength to rediscover herself. We see precisely the first step of her evolution. In the following work "Evolution 11" we see the development of this evolution. The woman is rising and releases an incredible strength and energy, represented by the artist also by the colors. She visually releases joy through color. Finally, in the work "Rise" we see the exact moment in which she recovered completely. Indeed, she tries to go even further, to climb higher and higher, to seek more and more. The three works juxtaposed in succession seem like a dance of rebirth. The very choice of colors well represents the different moods. The artist's hands, her gestures, guided by what she has inside, perform a dance on paper, until the strength that women have always had within them to face life, that innate energy, is visible and tangible, that the artist is thus able to convey in her works.
Art Curator Silvia Grassi
Mt Connolly
Evolution 1
Mt Connolly
Evolution 11
Mt Connolly
Rise
Nadav
Unrestrained exploration is needed to compel us to develop unknown feelings in order to achieve tranquility and stillness to listen what nature offers us. Nadav presents "Velvet fire”, “ Rust” and “ Path” for the “Hysterica” Art exhibition at M.A.D.S. Art gallery. The artist reflects water as a force for his compositions. Water is the purest canvas there is, it can contain a vast selection of colors and a darkness so deep even the human eye cannot perceive, that darkness is only reserved to nature because only nature can endure it. “Velvet fire” is an explosion of warm tones eager to support water to be rendered as strong and vital as possible. “Rust” is a secret view, is the reflection of human presence invading and moving nature’s reflection. Cool tones are needed for this secret invasion. “Path” is a decision waiting to be taken, you are witnessing the moment in which an “Hysterica” situation could evolve into a positive decision. Unrestrained exploration of stimuli is imperative to have a positive outcome. Leonardo started exploring in Arno, nature was his most treasured teacher. The flow of water, was for Da Vinci, his teacher of natural movement. The studies of water made by Leonardo brought him to develop his masterpieces. Nadav’ s exploration of the power of water has led him to create three artworks with unrestrained exploration to portray with justice what he witnessed while he listened the pursue of stillness that water was trying to achieve.
Art Curator Karla Peralta Málaga
Nadav
Velvet fire
Nadav
Rust
Nadav
Path
Natalia Gleason Alcantara
Natalia Gleason Alcantara is a Mexican artist whose artistic production focuses on the creation of sculptures. Natalia is again a guest at an exhibition organized by M.A.D.S. Art Gallery, on the occasion of "HYSTERICA" she exhibits two works of art made with glazed ceramics. "Disarmed Coronavirus" is a sculpture that reproduces the virion of Covid-19 in its rounded form, as we are used to seeing and recognizing it from 2020. The sculpture represents the disarmed virus that identifies a hope, a desire, the vision of seeing end a dark period of our lives. “Disarmed Coronavirus” is made with a material that reflects light in a very suggestive way, making it patinated, with a warm and shiny brown tone. Although the size is small (it has a diameter of 23 centimeters) it is impossible to remain detached from the symbol that has changed our lives.
Natalia Gleason Alcantara
"Doblez de la Vida" is made up of 25 squares that seem to recall the folds that life takes when we are too busy designing it, it is a work made with glazed ceramic, dark in color reminiscent of bronze, of such brightness that the chiaroscuro effect makes it dynamic, in motion, alive. The sculpture is represented as a series of paper handkerchiefs with crumpled corners, as if they had been pulled out of the pocket of an old pair of jeans. We crumpled that handkerchief and forgot it without realizing that we would find it some time later. So it also happens for life, the choices we make (or don't make) during life: we think they have no important repercussions in the future but we are wrong. We are too busy worrying about important choices and we don't realize that the choices we don't make determine changes. As John Lennon said in the song "Beautiful Boy": "Life is what happens to you while you make other projects".
Art Curator Martina Viesti
Natalia Gleason Alcantara
Disarmed Coronavirus
Natalia Gleason Alcantara
Doblez de la vida
Nicholas P. Kozis Nicholas P. Kozis exposes five sensational works (“Thalassa 1”, “Untitled Artwork copy 2”, “Untitled Artwork copy 6”, “Untitled Artwork copy 18”, “Untitled Artwork copy 23”) for the “Hysterica” exhibition at the M.A.D.S. Art Gallery, in which his unmistakable style with protagonist’s close-ups clearly emerges, embellished with very intense tones. His profound artistic research succeeds in strikingly balancing the juxtaposition of sinuous lines with bold colors, going beyond the mere representation of reality. The depiction of these faces seems to proceed towards a melodious sequence of curves that reveal an emotional and intimate humanity, often mysterious but at the same time bewitching. An analysis that leads Nicholas to emphasize the souls of the young women, up to the point of expressing every sensation through the immobility of the portraits and the enigmatic eyes depicted with that pure and exciting energy. The artist brings a pure aesthetic passion into his works: his characters are the symbol of sensuality and harmony in this unstable world. Moreover, his personal stylistic concept is perfectly in line and evolves with the viewer's interpretation. In terms of color, he uses boldly applied shades with the intention of reinforcing the contrast and creating shadows that highlight surprising details. Nicholas aims to represent the female universe in all its facets, from purely external beauty to deep and mysterious states of mind. Through his art, the artist wishes not only to draw the viewer's attention to the grace and sensuality of women, but also to underline the disturbances, madness, melancholy, astonishment, and the depths of the human psyche, characteristics that are fundamental for these paintings. In this way, we can see the multidisciplinary nature of Nicholas P. Kozis, who is able to go beyond the limits of the pictorial surface to accurately represent the juxtaposition of feelings and energy released by the figures represented.
Art Curator Alessia Perone
Nicholas P. Kozis
Thalassa 1
Nicholas P. Kozis
Untitled Artwork copy 2
Nicholas P. Kozis
Untitled Artwork copy 6
Nicholas P. Kozis
Untitled Artwork copy 18
Nicholas P. Kozis
Untitled Artwork copy 23
Nicolas Salloum “You don’t take a photograph, you make it.” (Ansel Adams)
Nicolas Salloum is a former French doctor who decided to resign to pursue his great passion: the visual arts. Gifted with a taste for juxtaposing shapes and colours, he offers an original and creative concept with an artistic process that is constantly evolving. His artistic projects focus on the world of photography and digital composition. Nicolas likes to focus on detail photography, dwelling on elements that often escape the human eye but undoubtedly prove to be extremely interesting. This passion manifests itself in his creations, which often have as their starting point elusive, sometimes overlooked details that Nicolas is able to capture and reassemble in an original way, often reconstructing a surreal and original object. The artistic process behind his creations is very interesting and is itself part of the artwork. In "Baldur", the artwork is divided into two parts by what appear to be two shiny metal fragments. On the right-hand side, a series of signs creates a decorative play of repetition through endlessly repeating symbols, creating a surreal alphabet. The red, blue and yellow symbols contrast with the monochrome black background, making them stand out like stars on a summer night. On the left hand side, coloured sections hurl themselves against a surface as if they were meteorites. The visual reference to the space world is interesting and immediately strikes the viewer. Here, too, the bright colours contrast with the background. In "Jocasta", Nicolas creates a game of shapes and textures, dividing the space at his disposal into two more parts. The colours change, the protagonists being bright pink, luminescent, black and reflective metal. Nicolas creates a play of light and reflections that underline the three-dimensionality of the creative objects represented. On the right-hand side, the viewer's eye is caught by the depth of the pink rectangle which gives the feeling of falling into oblivion. It is surrounded by an object with a surreal shape. On the left-hand side, which is given less space, a strange element reminds one of an hourglass, thus drawing attention to the passing of time. In "Vortex" a heart shape but extremely original and revisited occupies the right side. Nicolas plays with volumes, space and lines, creating extremely bold and intriguing optical illusions. The particular object on the left, with its shiny plastic texture, seems to want to encompass the other element and seems to push it towards itself. The alternation of bright pink, purple and black is interesting. Light is again reflected in the objects, giving them volume and identity. Nicolas reworks micro and macro photographs through an original creative process. He ranges through parallel worlds, using shapes, colours and light that together offer new and captivating visual experiences. Intriguing images created with the intention of attracting the viewer's attention. Surreal labyrinths in which the mind wanders undisturbed and solves mysteries. He deconstructs and constructs emblematic and enigmatic images that arouse the curiosity and intellect of the spectator, who remains extremely fascinated and involved.
Art Curator Ilaria Falchetti
Nicolas Salloum
Jocasta
Nicolas Salloum
Baldur
Nicolas Salloum
Vortex
Nicole Schmiedecke
Nicole Schmiedecke is a multidisciplinary German artist, who works exclusively with oil paint, varying techniques depending on the expressive, emotional sphere she desires to convey on the canvas. As a musician, a dancer and a painter, Nicole has challenged her limits with self-awareness, always discovering new ways to express her creative mind and her true self. At the “Hysterica” exhibition, held by M.A.D.S. Art Gallery, the artist unveils a unique and delicate self-portrait, an oil on canvas entitled “Melancholie der Jugend” (Melancholie of Youth). Nicole realised the artwork using as reference a photo of herself at the age of 17. Behind this peculiar choice and its fine realisation in oil paint, the nostalgic portrait resonates with a series of existential questions. “What does this photo of me do to me, what feelings, memories does it evoke in me? All the big questions of a young woman who doesn't yet know where she stands in life and who she is. Who, what, why, where to? Who am I?“ The artist painted her young self with an intimate delicacy, capturing the uncertainty as well as the unlimited possibilities that usually surround the younger generation. The head, slightly bent, and the enigmatic apathetic expression of the subject are framed by strong lines, elegant floral elements and words, carved directly in the thick layers of paint. The central dark silhouette is enriched by a variety of thin, colourful brushstrokes which convey a singular depth through the opposition of shadow and light. The girl stands in contrast with the light-blue, yellowish background, a layer of thick paint that has been carefully rendered with the palette knife in multiple, meditated steps. Five white Calla lilies surround the female figure - the melancholic Youth in full blossom encircling her in a protective, familiar embrace: the choice of this particular flower is significative because it stands as a symbol of immortality as well as the artist's personal memento, a meaningful constant in the her past and present life. Painting a younger Nicole, the artist reflected upon time and growth, not so much of the body but of the soul: after years of experience one may have been lifted by the burden of earlier fears and desires and while some of the latter lasted, new ones arouse, but so did the selfawareness to embrace them.
Art Curator Flavia Montecchi
Nicole Schmiedecke
Melancholie der Jugend
Nilsu Alanyali “A story only matters, I suspect, to the extent that the people in the story change.” (Neil Gaiman) Everything changes its shape, its essence. Whether it is evolution or involution, change is an inevitable and essential condition for the human being, as well as for all things in the world. Metamorphosis is a concept that has its roots already in the ancient world, Ovid exalts its power in one of his best-known works, which starts from the origin of the world starting from primeval chaos. Nilsu Alanyali is an emerging artist from Turkey and her interest in philosophy and visual arts leads her to present her video Metamorphic Thoughts, where five rocks naturally different from each other in shapes and colors, slowly expand in front of the viewer's eyes. At an almost hyptonic rhythm, he observes their melting in a unique mixture of nuances, reminiscent of the final stage of the rocks destined to become magma and which, in fact, are generated precisely from this last phase. The concept that everything is always a continuous change is expressed here in a very characteristic way by the video of this young artist that makes us understand how even the elements that seem the least scratchable, in the end have their own evolution and mutation.
Art Curator Chiara Isella
Nilsu Alanyali
Metamorphic Thoughts
Paal Bugen Norwegian artist Paal Bugen creates two works on the occasion of the “Hysterica” exhibition, held by M.A.D.S. Art Gallery. The first one is entitled “Hysteria” and the second “Marilyn, Medusa or Cruella Deville?”. Both follow the classic style of Paal: his works hide secrets, mysteries, images that must be revealed only through a careful look. The work "Hysterica" contains the echo of the screams. Many figures are represented in the act of the scream, remembering in a certain sense the echo that leaves in us the work of Pablo Picasso "Guernica" and on the other the famous "Scream" by Edvard Munch. The latter work is clearly honored: the figure in the center has the same shape as the face of the protagonist of Much and, moreover, the sky has yellow and red stripes echoing the colors of the original. Here, however, the scene is much more crowded, perhaps indicating that after more than 100 years the situation has not improved but only worsened. The scream of nature against humanity. The scream of a desperate man.
Paal Bugen The second work taken here in analysis is more complex from the point of view of the details, they are multiple and hide between the brushstrokes. As mentioned above, the works of Paal Bugen need a careful close analysis but at the same time it is also interesting to look at them from a distance and discover the figure that will appear. This work, as the title suggests, represents three subjects in one: Marylin, Medusa and Cruella Deville, leaving ample room for spectators. Blue is the dominant colour of the work, in strong contrast with the magenta and yellow that stand out like rafts in the sea. The magenta details are the freer ones, not premeditated, while the yellow ones are made with precision, using a black contour line, the most interesting is pac-man, a strong symbol of the 90s. On the left of the canvas are present, positioned one above the other vertically, human figures, male, who look in an almost frightened way at the subject. The works of Paal Bugen through the aura of mystery and restlessness convey the meaning of the exhibition: letting go of their impulses and seeking within them their essence.
Art Curator Giorgia Massari
Paal Bugen
Hysterica
Paal Bugen
Marilyn, Medusa or Cruella Deville?
Pablo Cousteau
The procedure used by Pablo Cousteau for his particular art pieces can be defined as “abstract photo painting”, since its work is a hybrid between photography and painting. Not dedicating himself on nice landscapes or sunsets, Pablo focuses his work on versatility and the freedom to find inspiration wherever and whatever it is, trying to extract a different (abstract or conceptual) kind of beauty to transform it through colors and forms. At “HYSTERICA” exhibition Pablo presents two artworks with this particular technique. “The twilight of leaves and lives” shows a set of orange and red leaves during the autumn period flying and falling down. The environment is black, it enhances the brightness and beauty of the colors. The leaves represent our lives: getting older, our life seem to reach an end, our appearance change, we elude loneliness, friends and family members are passing away…the obscurity symbolizes this fact. We are falling down from the tree of life, but we are still there, maintaining our dignity. Our hope is to have a calm and peaceful trip from the branches to the ground and to increase meanwhile our authenticity, our generosity.
Pablo Cousteau
“Urban beautifulness: just be cool” shows a beautiful young woman watching us with some arrogance. She is posing, even if she looks informal. She is wearing a casual dress but the brand is always there. The artwork depicts how an apparent laziness or even apathy is only a superficial posture, every detail of her clothing has been perfectly studied. Young generations are imprisoned even if they look free; their style are scrutinized by other fellows, social networks are judging them, the number of likes reassure their psyche. So being cool is a need, not an option. Exclusion of our peers is a threat. But more bravery is needed to follow our own path and aspire to freedom.
Art Curator Matilde Della Pina
Pablo Cousteau
The twilight of leaves and lives
Pablo Cousteau
Urban beautifulness: just be cool
Paul Michael As a complete autodidact without any background in studying art or art history, German artist Paul Michael found his own unique way to use colours and other materials, such as wood and aluminium, to create mainly collages and assemblages facing many topics like love, ambition and ambivalence and also society’s issues. Most of the artworks of Paul Michael are finished with glittered colours to symbolize the sheltered life he is living since he was born. The glitter is a kind of layer between the real life outside far away and the life of the artist and also symbol for the careless western civilization. Paul Michael exhibits three works at M.A.D.S. art gallery on the occasion of the exhibition "Hysterica". The works all have a square composition and contain strong social messages. The first work analyzed here is "AMBII’S WORLD" which presents a double color: red and black are the dominant colors. “Ambi stands for ambition, ambivalence and ambience” - says the artist - “These are three important kind of feelings for the artist and his way of life… Specially the phases of AMBITION and AMBIVALENCE can be accompanied with “Hysterica” and unrest feelings.” The work shows through words and symbols the soul of the artist. The style used by Paul Michael is very reminiscent of the African ritual symbology as if the artist’s intent is to imprint events and emotions on the canvas forever. The second work analyzed is entitled "IMPRINT OF A HAPPY SOUL". It is more sudden, dynamic and without mediation. As the title suggests, the work shows the concept of happiness. The brushstrokes are fast, full of power. The dominant colors are light and bright but there are also black and darker traits, symbolizing that even in happiness is always present the shadow of sadness. The last work is the most schematic of the three, the most reasoned and thought. It is titled "SKY WATER WORLD" and has two dominant colors: blue and light-blue. The work is made in mixed media, the artist in fact applies relief inscriptions that indicate the word "blue" in various languages. "This should show the connection and equality of all human beings independent of their colour, background or language." - says the artist. The work communicates that everything is connected and everything exists only thanks to these connections.
Art Curator Giorgia Massari
Paul Michael
AMBII'S WORLD
Paul Michael
IMPRINT OF A HAPPY SOUL
Paul Michael
SKY WATER WORLD
Peter Bobbet
“have i gone mad? i’m afraid so, but let me tell you something, the best people usualy are.” (Lewis Carroll, Alice in Wonderland)
The magical paintings of self-taught artist Peter Bobbet are a declaration of love for beauty. The delicate but decisive use of colors and circular lines give the composition a healthy feeling of resurrection. Faces and flowers float in space as in a vivid dream of personal ascent. Bobbet's life was marked by several difficult moments. But this did not stop him from continuing with his art. Indeed, he let himself be inspired by this energy which prompted him to convey a sense of authority and brightness of himself from his paintings.
Peter Bobbet
Britney Spears' floral watercolour painting sale scandalised the art world, a tiny, naive, pinky and childish worthless image everyone wanted. As in Peter Bobbet’s works, Spears’ watercolour success is not about the celebrity as author but it is about healing and letting themselves go and reach the spectacular beauty of the obvious. Healing to not erase the madness, healing to be part of the mads, consciously loving that deep part of the soul that drives art to be closest to the truest of the feelings.
Art Curator Federica D'Avanzo
Peter Bobbet
Calmness in Chaos
Peter Bobbet
Finding Freedom
Phillippa Clayden "Everything may come about by chance but nothing is accidental. However much the hand, which makes the surface, may seem to be acting autonomously, the mind evidently puts in what the mind subsequently extracts. These are definitely modern myths, the product of a modern sensibility. But the great unconscious that they are drawn from belongs to everybody" (John Russell-Taylor)
The world of myth and the unconscious is the distinctive key to Phillippa
Clayden's art. Fantastic settings, almost unrecognizable, fantastic characters with mysterious features and a chromatic choice that prefers colors such as blue and green is what makes the difference within her artistic poetics. Through her art, Phillippa Clayden reveals her fantastic imagery of her, within which strange and unusual individuals dialogue and relate to each other, arousing in the observer a particular and unusual involvement. Dream or reality, imagination or concreteness, nothing in her art can be safely reconnected to the real world. Rather, what we find before our eyes is, perhaps, an ideal, imaginary world.
Art Curator Federica Schneck
Phillippa Clayden
Homeward Bound
Phillippa Clayden
Bluebottle
Phillippa Clayden
Sleep Over
Phoebe Maier
Phoebe Maier has always been interested in and surrounded by Art, in all its aspects, which has led her to experiment with it and study it in all its fields, from painting to photography, with the latter her work is focusing on the search to make manifest the tension between instant and eternity—tempus fugit—the constant flow of time. “Hoppípolla" is the artwork she’s presenting for Hysterica, International Art Exhibition at M.A.D.S. Art Gallery. The title is inspired by the homonymous song of the Icelandic band Sigur Rós, in Italian the term identifies with the action of 'jump in the puddles', and precisely for this reason the artist’s intention was to capture the movement of the game, while a voice in the distance shouts ‘DO NOT JUMP IN THE PUDDLES!'. We are placed to observe a reflection of the water, an image in motion, there are no definitions, in fact what at first can be identified as the subject, appears as an undefined spot, because the real protagonist of the work of Phoebe Maier is the gesture, the action, the movement of freedom that rebels against the rules imposed by others. And that’s what happens to every individual looking for theirselves within a society that imposes limits and restrictions on the freedom to express oneself, forcing us to conform to the community that does not always represent our uniqueness, the individual turned into the mass, and the suffering become hysteria.
"Believe in yourself, and find ways to express yourself, and find the discipline to keep growing." (Michael Feinstein)
Art Curator Alessia Procopio
Phoebe Maier
Hoppípolla
Pinar Ture Gursoy “When I know your soul, I will paint your eyes.” (Amedeo Modigliani)
An enveloping mysticism characterizes the artworks by Pinar Ture Gursoy, a contemporary Turkish artist. Her entire artistic repertoire is pervaded by women and men whose latent corporeity is compromised by an unstable emotionality. Evanescent backgrounds make it impossible to define a time and a place, provoking a sense of anxiety in the observer. The artist appropriates a figurative language which, in some cases, tends to almost completely abstract the subject, showing a deep knowledge of Art and of its masters. The subjects often have no eyes, recalling the artistic research of Amedeo Modigliani. Pinar Ture Gursoy seems to find many interesting hints in the master's teachings, as well as in his search for a purely earthy colour. Deep influences also derive from expressionism and from Greek and Ottoman iconography, condensing on the canvas a magnificent interpretative combination and a new, entirely contemporary vision of the human psyche.
Pinar Ture Gursoy
On the occasion of the HYSTERICA exhibition, the artist is showing two works at M.A.D.S. Art Gallery: "Awakening" and "Deux Filles". In the first, we see two figures that seem to be fighting with the surrounding space to get up from the ground. The alternation of light and shadow and the frenzy of colours in the background communicate contrasting sensations. Reds, blues and ochres struggle on the surface, transforming the canvas into a magnificent emotional container. On the other hand, in the second painting, two almost completely naked female bodies, show themselves resigned. The indefinite faces, accompanied by an absent nudity and a colour palette between red and black, narrate an aseptic and worn corporeity. Pinar Ture Gursoy tells us about feeling. About intense inner turmoil through imagery, where the empty body fights to survive.
Art Curator Francesca Brunello
Pinar Ture Gursoy
Awakening
Pinar Ture Gursoy
Deux Filles
Pirjo Partanen “I paint objects as I think them, not as I see them.” (Pablo Picasso)
Pirjo is an emerging contemporary artist who juggles abstract and figurative artworks, emphasising shapes through colour, light and shadow. She is a bold artist who also likes to experiment with new artistic mediums that are not limited to brushes and acrylics. Prirjo experiments with recycled materials to create installations and environmental art. She paints on different surfaces, exploring new creative processes and investigating through her feelings and emotions. Her interest in nature, its appreciation and protection is also reflected in her artworks, both in the subjects and the colours. She investigates the relationship between human beings and nature in a special way, not representing the human figure but focusing on natural phenomena with micro or macro details. Pirjo studies, through his creative art, the relationship that man has with different aspects of life, from nature to music to everyday life. In "Hystery of Music", the artist creates a combination of the abstract and the figurative, guided by rhythm. Music is a fundamental component of Pirjo's art and she often draws inspiration from it for her creations. She lets herself be guided by the rhythm of the notes and moves across the canvas, creating harmonious shapes and lines between them, as if creating a mysterious dance. The artwork does not seem to be studied, but lets go of the instinct and spontaneity that strikes the artist when she comes into contact with the world of music. Forms and combinations emerge in her mind, elements that interact with each other in a space outside of reality. Against a dark background, lighter, contrasting objects take space. Blues, yellows, oranges and greens play with the background and interact with each other independently, leading to the formation of different reading levels. Between them, Pirjo creates shapes that in the human mind find associations with real objects. White is a dominant element within the composition: it draws contours, delimits spaces and infuses life with its brilliant light. The elements seem to flow, to dance harmoniously and sinuously, often overlapping and interacting. There is a reference to the cubist art of Picasso with the interpenetration of spaces, but there are also elements that recall abstractionism, expressionism and surrealism. Pirjo mixes different cues together, revisiting them through her own unique and personal style. The colour palette is quite cool, there are no colours that overpower others but they are all in harmony with the same undertone. An aura of mystery and magic hovers between lines, objects, dots and geometric shapes. A harmonious chaos that reflects a state of mind that the artist would like to convey to the viewer. Pirjo proves to be extremely versatile and able to create relationships between her artworks and the viewer through the inclusion of elements congenial to her that are part of everyday life.
Art Curator Ilaria Falchetti
Pirjo Partanen
Hystery of Music
Piyokun
Expressiveness applied to the canvas. The creative genius grouped in splashes of color and in the vigor of the brushstrokes. Art has always been a vehicle for the representation of human emotions and sensations. The brush and the color as favorite tools to tell the vicissitudes of human existence. Color becomes a feeling, form is elevated to the significance of the entire representation. And so it is that the art of Piyokun stands out on the canvas with an incredible expressive power, the mature fruit of the creative genius of the artist who, heedless of the cornerstones of academicism, soils the white canvas irremediably. Color that boils, which takes with force all the space it needs to be represented at the best of its expressive potential. Elongated, crawling forms, dripping from blocks of pigment, form a chromatic veil carrying the artist's creative energy. Stay Free is a warning to freedom in the purest sense of its meaning. It is a hymn to being free and heedless of what creates discomfort, of what blocks our instincts. A background composed of solid blocks of color houses a face, probably the face of a female figure. The skin is pale, almost yellowish; a thick layer of black pigment gives soul to the hair foliage. Under the outlined and arched eyebrows one can make out the gaze or, to be more precise, the outline of a single eye. And the other? It's covered by a thick opaque blanket of color. Red pigment rests inexorably on the eyeball and covers it beyond repair. The stain is red, just as red is the writing covering the face. In memory of a graffiti, a tag written on the wall with a spray can, the writing "FUCK YOU" unfolds before our eyes.
Piyokun
A bolt from the blue, a wave of aggressive energy full of creativity shows itself in all its splendor. The can releases on the canvas - and on the woman's face - a transparent shade of red, with an almost liquid consistency and a strong expressive power. The can is used so close to the support that it produces heaps of pigment that inexorably drip downwards. On the other hand, one cannot overcome the force of gravity. The background is subjugated by the woman's face, the female face is obscured by the impending writing. The cry for expressive freedom is therefore deafening. Yet, let's try to look back into the history of art. Doesn't that woman's face with raven hair and arched eyebrows remind us of Leonardo's Mona Lisa? The joined hands placed in front of her chest and the pose of the shoulders as well as the face placed in an almost frontal position certainly remind us of Leonardo's masterpiece. Yet here the Mona Lisa has changed, filtered through the filter of contemporaneity and expressive freedom. The skin is not perfect and diaphanous. Now it is characterized by solid and robust pink, yellow and ochre brushstrokes. The hair does not rest gently on the shoulders, it is no longer vaporous and ethereal. Now they plummet toward the earth, a raven blanket of heavy weight. And then there is the writing "FUCK YOU". But fuck who? Piyokun sends academicism to hell, the adherence to the rigid scheme of pictorial rules that has always influenced art. The artist, with her cry of freedom, extends the warning to be free not only in art, but also in one's own existence. The Mona Lisa, freed from the soft shading and the impeccable brushstroke can now, at last, breathe.
Art Curator Lisa Galletti
Piyokun
Stay Free
Piyokun
The Great Mother
PL ARTISTE
We will not pray for anything. Nor will we seek help from anyone. Never again will we fight under another's flag. We will keep on fighting only for what we believe in, under only OUR flag, as long as we live! Under MY flag! (Captain Harlock)
PL ARTISTE is an artist from Canada, her studies in Marketing Administration massively influence her work, researching on the use of colours as a way of communicating helped her be honest with her intention and the artwork’s inner message. The big range of materials the author is using suggest the classic idea of bas relief technique. Textures and surfaces are protagonists of this painting, the use of plaster and epoxy resin give the artwork a 3D aura. The glow over the dark parts given by the resin add more time to be admired and properly understood. The reflection of the viewer’s image can be quickly spotted and the inner landscape of the man easily shifts to anyone’s inner agitation. The subject of a man from the 50s, probably whistling and walking away from a transatlantic ship, riding his own feelings like a silent hysterical crazy horse. Like every complex character and thought, this painting can also be seen as a new Captain Harlock’s illustration that comes from the past, the motto and motivational speech can even be heard while admiring this work.
Art Curator Federica D'Avanzo
PL ARTISTE
Back in Time
Quynh Klaus To depict an anthem. Chasing new paths and point of views due to the need of exploration. New surroundings to walk by. Can you restrain yourself? or Can you let yourself go and be guided by unrestrained stimuli to the point you listen to their anthem? Sometimes is just enough to create pleasant emotions from memories activated by the energy around us. This energy carries a rhythm to walk with and if you pay attention, an anthem will be heard. To find your own pace can take you a very long time. The walk is amazing. To listen the anthem is even harder. Taking a walk with new rhythms is what the artist Quynh Klaus presents. Her artworks "Green Spirit”, "Königin der Nacht”, "Ohne Titel - 1”, "Ohne Titel - 2” and "Polargewitter" are showcased for the “Hysterica” Art exhibition at M.A.D.S. Art gallery. An “Hysterica” situation portrays unrestrained stimuli often guided by strong rhythms. Quynh welcomes the purity of one of the most reliable principles of art, which is rhythm. The artist embraces unrestrained stimuli, which exist in surroundings to explore, led by unheard anthems. Quynh’s pace describes a positive outcome with bright decisions and open compositions. She relies on existing anthems to depict her own unrestrained pace. The green spirit is the Queen chasing the night, while she walks by two different paths at the same time, a stroke of luck happens and a storm begins. A decision must be made without fear and the Queen chooses one path. The storm made it an easy decision, it led the Queen recognize that the anthems heard were actually only one and that one anthem was always inside her and with it, the answer. It always belonged to the Queen. Unrestrained to listen herself.
Art Curator Karla Peralta Málaga
Quynh Klaus
Green Spirit
Quynh Klaus
Königin der Nacht
Quynh Klaus
Ohne Titel - 1
Quynh Klaus
Ohne Titel -2
Quynh Klaus
Polargewitter
Rania Elsalamony “Art isn’t what you see, but what you make others see.” (Edgar Degas)
Rania Elsalamony is a very original and imaginative artist who through drawing and painting aims to improve self-confidence by
conveying positive feelings in dreamy, timeless atmospheres. The settings of her artworks are often dreamy, with contrasts of light and shadow, soft and evocative energies. Rania is extremely versatile, ranging across different styles and iconographic influences. Being also an architectural engineer, many of her paintings focus on constructions, buildings and urban environments, then revisited through colour and line. In "The Secret Door", Rania paints a fairy-tale, enchanted atmosphere. She sets the story in a richly wooded forest, where light leaks through the leaves from above and creates a special, magical play of reflections. The positive energy and joy conveyed by this painting is amazing. The viewer immediately feels sheltered, immersed in a feeling of happiness, tranquillity and silence. On the right, the artist places the secret door also described in the title, a small wooden door set in a centuries-old tree trunk and reached by a few steps. The relationship between man and nature that Rania harmoniously establishes in the artwork is very interesting. Above it, a small lantern creates a halo of light. Hanging from a branch of the same tree is an umbrella with bright, twinkling stars inside. Other elements present that characterise the environment are the swing with climbing ivy on the left side and mushrooms on the grass below that draw a zigzag path. The viewer is invited to take part in the magic. The artwork speaks of an escape from an often too oppressive reality, towards a place of silence and peace where one can hear one's own inner voice. Rania paints a safe place, a refuge from life's frustrations. It is a painting full of symbolic references such as the suspended stars that refer to desires, to dreams. Immersed in nature, man can find himself, enclosing doubts, fears and uncertainties beyond the secret door. The colours are bright and help to involve the viewer. The green of the forest meets the blue of the sky; the red and white mushrooms are a touch of vitality in the monochrome grass and pick up the colour of the umbrella. The brown of the tree is intense, rich in veining to restore the material of the wood. The composition is studied, especially in terms of the perspective rendering and the arrangement of the elements. The play of light, the real protagonist of the artwork, is interesting. A light which also symbolises hope, joy and life. The perspective is realistic and the setting is correctly constructed on a perspective plane. Two worlds, the real and the imaginary, communicate with each other, creating a timeless atmosphere, suspended in time. Rania is an artist with amazing artistic skills, she has an imaginative and creative mindset which she pours into her creations through unique and dreamy worlds. She encapsulates emotions and moods in colours and shapes that strike the viewer and leave him speechless.
Art Curator Ilaria Falchetti
Rania Elsalamony
The Secret Door
Regina Dantas “Sound is the vocabulary of nature... noises are as well articulated as the words in a dictionary... Opposing the world of sound is the world of music.” (Pierre Schaeffer)
Regina Dantas is a Brasilian artist born in Belo Horizonte where she graduated at the Guignard School of Visual Art. She currently lives and works in Rio de Janeiro. Through the technique of screen printing the artist investigates the empty space, the voids in the recesses. Her works are a primitive dance, the interlude of a well known music. We can call them concrete paintings, like a sibling of concrete music where silence is one of the loudest instruments. According to Pierre Henry, Concrete music is the interest in ‘plastifying' music, of rendering it plastic like sculptures, a completely different mental framework of composing. Dantas works have the ability to escape the frame and the paper, the figures seem to jump out of the given space to take it all over. Impulsive signs live together with more defined shapes and forms, the use of colours red, white, black and grey speak directly to the inner souls.
Regina Dantas
The two screen prints break the rules of 2D prints, there is no such thing as feeling of flatness, the image is shiny and indeed plastified. The artist’s lines dance with the earth, looking for the deepest perturbations and the absolute self through a state of trance.Whether the dance can be static or silent, the author creates a relationship between ground and fire, water and air, the elements are satisfied and all the senses are in control. The musicality of Regina Dantas’ works is absolutely clear, the Hahnemuhle paper becomes pentagram of a choral ballad nobody knows and everybody loves. Silence and noises combined together with holes and blocks and figures and shapes, the sound of multiple heartbeats that align themselves and make the earth throb 180 bpm.
Art Curator Erika Gravante
Regina Dantas
Earth in a trance 1
Regina Dantas
Earth in a trance 2
Ric Conn
Ric Conn is an internationally known and award-winning expressionist artist. Ric Conn's artistic production focuses mainly on the emotions that the world arouses within a person's soul. The artist explains that "Distortion, exaggeration, and fantasy are the filters through which I paint the modern world.". Ric Conn's works of art, as he himself claims, are not linked to traditional or academic painting styles, rather his artistic production creates a new way of making art, disconnected from conventions. Ric is now a confirmed artist at the M.A.D.S. Art Gallery and on the occasion of "HYSTERICA" exhibits a triptych of works that perfectly follow the leitmotif of his artistic messages. Conn is deeply committed to recounting the social inequalities, the psychological difficulties that derive from them and the commitment to be able to overcome these difficulties. "Carousel of the Mind" is a distressing work, full of details that allow you to perceive the psychological distress that the subject of the work is experiencing. The hallucinated, frightened expression in deep crisis perfectly reflects the emotions that Conn wanted to convey. The monsters represented by the artist represent the monsters that are around the subject, but also in his mind. This work turns out to be an emblematic transposition of what happens in the most hidden places of the mind. "One Step Beyond" represents a woman who looks at herself in the mirror, her gaze, the position of her face, let us glimpse the particular attention that the woman has for herself. The work investigates the desire to discover oneself, study oneself, analyze oneself and then come to accept oneself. Of the work Conn states "Originally entitled Strangers, this painting reveals the act of going into oneself, exploring the inner realm of yourself and facing whatever turn up". Finally, "The Green Fairy" represents the human being outside of himself, reality outside of reality, the absence of facial features eliminates the sense of identity and focuses attention on the essence, on the body, on the soul. Conn explains that the title of the work refers to the hallucinogenic property of Absinthe and adds "it takes the drinker out of reality and into the realm of his mind and the altered states of reality".
Art Curator Martina Viesti
Ric Conn
Carousel of the Mind
Ric Conn
One Step Beyond
Ric Conn
The Green Fairy
Ricardo Kim
Ricardo Kim is a visual artist and graphic designer, first generation of a Korean family, born and raised in Argentina. He has always taken different forms of artistic expressions as an intrinsic part of his development, from music to visuals to graphic design that contributed to his production of digital artworks. Also influenced by pop culture, he sometimes takes references of some iconic artworks to create and “play”, applying surreal methodologies and abstractions to express and show his work. At “HYSTERICA” exhibition, Ricardo presents two of these artworks. "EYE ALPHA” is a short video in which a pink sphere on an equally rosy background opens and closes rhythmically, as if it were a photographic lens, for a metaphysical, estranging and almost psychedelic result. In this work, far from being figurative or telling a story that follows a chronological line, the artist wants to represent visual pollution, what we today, due to the society in which we live that imposes a life and a communication of frenetic information, are forced. Terrifying news and situations, uncomfortable moments, but also movements, straightenings, mistakes, learning, growth and development. This is what “EYE ALPHA” represents.
Ricardo Kim
The second artwork presented by Ricardo is “In Search of Identity - You”. Against a background of bright colors from purple, yellow and blue, two yellow shaped profiles stand out that look at each other and seem to communicate despite having no eyes. What is striking is the gesture of the left figure, which delicately caresses the cheek of the right one. Using the influence of being bicultural (Argentinian and Korean), the artist here searches deep concepts such as identity, the influence of the context in humans (both natural or artificial) and the sense of a community, among others. "Thinking about the concept of individual hysteria and collective psychosis, I wanted to express in this artwork the importance of not only the search of our individual identity, but also the search of a community-being with an other. The search of a state of respect of individual forms and collective societies ", he says. The work is therefore a symbol of hope, discovery and reconciliation between people, now subjugated by a system that deprives us of our sensitivity, not so much towards ourselves as towards the others.
Art Curator Matilde Della Pina
Ricardo Kim
EYE ALPHA
Ricardo Kim
In Search of Identity - You
Robin Fougeront "Throughout the creation process, I am at the service of my work. I have the feeling that it is the work itself that decides when my work is finished." Robin Fougeront
"For Portrait aux personnalités multiples I used a black lacquer with a mirror reflection, it reinforces the unstable side of the character. I always work by superimposing layers of paints (I mainly use oil and acrylic paints), I pay a lot of attention to the vibrations of the colors. The subject treated in the work becomes almost secondary, it almost disappears behind the perspectives of coloryometric vibrations". These are the words by Robin Fougeront about his artwork Portrait aux personnalités multiples at the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. The mood, or better still, the different moods of the represented subject emerge clearly on the paper. The artist represents the discomfort of the subject through the drawing but mainly through the choice and use of colors, through the brushstrokes. Before he paints, Robin always take time to meditate. His work is the encounter between an a priori thought and the relationship with his emotions and with the paper. He starts with a basic idea of the finished work, during the whole process he remains attentive to the energies released by the work, it then becomes an entity with its own energy. Throughout the creation process, he's at the service of his work. He has the feeling that it is the work itself that decides when his work is finished. From a technical point of view, he never uses black, he uses instead a very concentrated Prussian blue. He pays particular attention to the superposition of the layers because it allows him to increase the visual depth of the work and the impression of the spectator's immersion. The spectator then becomes a fullfledged actor in the work. The paper, thinner with more absorbent properties increase the feeling of fragility and sensitivity of the work.
Art Curator Mara Cipriano
Robin Fougeront
Portrait aux personnalités multiples
Romain Bellet “Impression — I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it … and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape.” (Claude Monet)
Self-taught painter and creative, Romain Bellet refuses a classic academic education in order to protect his imagination
and stay true to his emotions, feelings and inspirations. His abstract paintings are a sublimation of light, the quick
like birds and flower’s petals flying in the wind of brushes and spatula movement glow in a natural landscape opportunities. Impressionism and the famous Salon started a conversation on light and temperature, lines can completely
be missing, colours and shadows intervene to give a natural order. Looking at Impression, Sunrise of the great master
Monet, the return is an idea, a feeling, the fugacity of a moment indeed impressed on canvas. Bellet’s work is telling about an inside landscape that through the impression of nature dances and seethe in the viewer’s eye. The artist's interest and approach can be as sculptural as well, his attention also goes to how the picture will look in an indoor environment. He specifically painted outdoors to ensure the canvas to get that specific light and warmth, that will properly be released and irradiated once exposed.
Art Curator Federica D'Avanzo
Romain Bellet
Birds
Rosa Laura Josendi
Rosa is a self-taught, neurodivergent artist born into a lower-class family in Uruguay. Conceptual, contemporary, and pop art speak to Rosa the most. Corita Kent, Barbara Kruger, Jean-Michel Basquiat, Banksy, and Mark Rothko are her chief influences. Music also plays an important role in her artwork and in her life. It influences moods, ideas, colours, and shapes in her paintings. Her sensitivity makes her feel things deeply. While dealing with her own mind, she`s constantly questioning the human condition, the struggles of the world and our collective future. In her creative process, Rosa draws inspiration from her subconscious mind and the world around her. Through her work, she expresses her way of perceiving the world, her emotions, thoughts and passions. Rosa, at the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S., shows her Inner noise. A work that enters directly into the soul of the beholder. A work that makes us feel fragile and naked, exactly like the painted subject. A first glance, summary and distracted, captures the main elements and makes us feel feelings of discomfort. The naked room, like the protagonist, white, with a checkerboard floor and graffiti on the wall. A woman reduced to skin and bones, on her knees, from behind. This is enough to upset the sensitivity of the viewer, combined with a spectacular use of color and shades that makes the scene disturbing. By continuing to observe further details are noticed, the messages on the wall, the faces on the wall, hinted at, in profile, or screaming. By associating the words with the drawing, we understand the cause of the woman's state. The suffering is caused by the pressure of a hypocritical, hysterical capitalist society, which hinges on false myths, which is in a hurry, which does not dig deep but is satisfied with superficiality or even lies. This creates an unconscious conflict in each of us and the artist has the courage to bring it to light.
Art Curator Mara Cipriano
Rosa Laura Josendi
Inner noise
Rosana Kossatz
At the international exhibition “Hysterica” at the M.A.D.S. Art Gallery, Rosana Kossatz exposes five works (“Answer the call”, “Crazy”, “I can’t take it anymore”, “Mother Nature Calling”, “Under the skin”) that have a strong energetic and emotional charge, which perfectly reflects the theme of this event. Rosana uses the digital medium to emphasize in and attitude or an innovative way of doing things that lies outside the everyday life. In these paintings, one can see the presence, visible or not, of three fundamental elements that immediately draw the viewer's attention: the mouth, the eyes and the hands. The mouth is mostly gaped or hidden by the color scheme, the gaze that directly intercepts the viewer's one, while the eyes are wide open and as well as the hands. In addition, there is also a clear contrast between the use of bright, shiny, almost fluorescent colors and the light skin tone. Every detail precisely identifies the symptoms of hysteria and madness: everything is tense, as these images take on the value of a study of reality. No traditional pose is depicted, but Rosana wishes to emphasize expression, feelings and the intellectual and existential despair of the human being. These works are poised between the representation of a non-tangible feeling of the artist or the viewer and the painting typical of 19th-century Romanticism, intrinsic of wonder and torment. By depicting strong emotions and sensitive reactions to the presence of the human body and mind, the artist builds a bridge to establish a behavioral model of each individual with reference to instinct. It allows us to go back to the origins of this mental disorder to unhinge many prejudices, with the aim of accepting humanity itself.
“In order to dissolve symptoms, it becomes crucial to go back to their origin, to refresh in our mind the conflict from which they arose from and with the help of those driving forces that were not present at the time, in order to direct it towards a different end.” (Sigmund Freud)
Art Curator Alessia Perone
Rosana Kossatz
Answer the call
Rosana Kossatz
Crazy
Rosana Kossatz
I can’t take it anymore
Rosana Kossatz
Mother Nature Calling
Rosana Kossatz
Under the skin
Rosanna Carlino “Pour yourself a drink, put on some lipstick, and pull yourself together.” (Elizabeth Taylor) The team M.A.D.S. Art Gallery is honored to host during the international art exhibition "Hysterica" the works of Rosanna Carlino. She is an Italian artist, she studied at the Art Institute of Turin and later she improved her artistic knowledge attending the School of Nude and the School of Painting of the master Sergio Albano. For Rosanna, art and painting are the cradle of her soul. A parallel world where she takes refuge to relieve the burden of life, to overcome difficult moments, but above all to offer her audience a visual representation of how she perceives the beauty of the world. The favourite subjects of the Italian painter are abstract floral and female figures. In particular, Rosanna Carlino, has dedicated herself to the creation of a collection of paintings depicting the Divas of the 50's. The works with which she participates in the exhibition belong to a second edition of the "Dive" collection. The artist loves the 50's and how can you blame her? These were the years of rebirth of Italy, after the end of the Second World War; the country has a new Constitution; the Autostrada del Sole is born; the first model of the New FIAT 500 is created, while young people speed on their Vespas; Rock and Roll is born; for the first time the Italian Song Festival (Sanremo Festival) is broadcast on tv; the fashion and style of the post-war decade are marked by creativity and innovation. Some women of the 50's became world famous actresses and icons of style and fashion. For example, Marilyn Monroe, Grace Kelly, Sophia Loren, Elizabeth Taylor and Rita Hayworth.
Rosanna Carlino
Rita Hayworth was an American actress, dancer and singer. She is considered among the most beautiful and seductive women in the history of cinema. Through her fantastic work, almost life-size, Rosanna Carlino gives us a demonstration of the beauty and charm of this diva. Here she is portrayed in the guise of Gilda, the bursting character she successfully brought to the screen in the 1946 film of the same name. A long green dress enhances her natural Latin charm, her harmonious and athletic physique. The artist embellishes it with elements of fabric, aluminum and paper to make the work more dynamic and threedimensional. The second work represents another icon of 1950s cinema: Liz Taylor. She was a British actress and fashion designer, considered the last great diva of Hollywood's Golden Era for her acting skills and singular beauty. Rosanna Carlino painted her leaning against the doorframe of a door with a cocktail in her hand, capturing a famous scene from the film "The Cat on the Roof that's Burning" shot in 1958. Her body is harmonious and the light blue color of her eyes contrasts with the brown of her hair. The artist creates a skillful play of light and shadow that seem to bring her to life. The beauty of Liz Taylor and Rita Hayworth are disarming and at the same time they are delicate and never vulgar. The divas of the 50's have left their mark and have become models of reference for subsequent generations. The message that the "Divas" made by Rosanna Carlino convey is: intelligence, strength, resourcefulness and desire to achieve success only counting on one's own talents.
Art Curator Alessia Ventola
Rosanna Carlino
Rita Hayworth
Rosanna Carlino
Liz Taylor
Roussa Neonaki “A world that continues to grow and evolve and somewhere in there I am endeavouring to understand it together with myself, creating my art” Roussa Neonaki
Roussa Neonaki gives the viewer a special message into a wonderful work. At the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S she brings The last flower is gold. "The earth was destroyed. A girl found the last flower. The last flower is gold. Stay golden, Stay green! I imagine the last flower is like gold.. Precious and we have to keep it safe" these are her words about the artwork: a great message, she creates a plausible apocalyptic scenario, in which only one flower is saved, so we understand how important nature is. Another thing to be saved is the humanity of the character presented in the work, who has the feeling of understanding how precious nature is. A message of hope towards mankind presented by what can be considered the artist's pictorial aler ego. A similarity between the purity of the girl presented and the flower is a must. Sensitivity, fragility, sweetness will save the world and the artist reveals herself to be a visionary in communicating it, in the best possible way, to those who look at the work. A great communicative charge characterizes the artist's works. Roussa Neonaki is a visual artist from Greece. She participated in the exhibition “Hysterica” with an artwork of her collection Odd and Old stories. Stories in which female odd figures with bizarre forms and shapes dominate. Full of curiosity they travel through the pictures of her city, Athens. She enjoys blending her works with naïf painting, photographs, antique vintage items and her stories. The blend of all these elements portrays the way she perceives the world around her, a world full of contradictions, feelings, colours and stories.
Art Curator Mara Cipriano
Roussa Neonaki
The last flower is gold
Roya Hassanizadeh "I love the freedom that abstract art gives me and I hope that my paintings evoke calming, yet positive responses. I am always exploring new mediums, textures and inspiration" Roya Hassanizadeh
Roya Hassanizadeh is a professional painter living in Shiraz, Iran. She has loved painting all her life. She adores bright colors, and she paints constantly pushing color combinations to the max producing stunning results that dazzle and demand attention. She enjoys painting large vibrant abstracts which are full of movement. Small intricate circles feature in her work. She is inspired by Persian miniature, to create something that is a little bit different with a modern outlook. She is an explorer by nature and she lets her curious personality lead her to new journeys in art. Oil is her favorite medium although she occasionally paints in acrylic. She believes her paintings possess a zest for life and she hopes her art gives others a glimpse of joy and happiness that they provide her. At the at the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. she presents the three Persian miniature (Shahname). They are three collages which take various forms, mainly the subjects belong to the animal and plant world. Roya is a great experimenter, her works fully convey her inner state of calm and serenity and in this case she submitted atrworks that consist in the juxtaposition of materials of various origins also not strictly related to artistic production such as newspapers and photos. In this case she can be associated with a surrealist artistic current, in a context where design, illustration, photography and graphics open up new unprecedented scenarios, even if the analogue collage still retains its charm and elegance in a world where reproduction in art has become the norm. Roya's collages are particular and positive, colorful. The works of this artist allow the viewer to travel into this new, fantastic parallel world represented by the artist's creative interiority.
Art Curator Mara Cipriano
Roya Hassanizadeh
Persian miniature (Shahname) 1
Roya Hassanizadeh
Persian miniature (Shahname) 2
Roya Hassanizadeh
Persian miniature (Shahname) 3
Ryutaro Teshigahara
Small spheroidal elements introduce us to what is literally a journey inside the human interiority. At first whitish, they turn into elements characterized by different colors, by concentric circles that follow one another. Are they eyes that scrutinize us? Are they evanescent bubbles or particles of matter? Questions that have no answer but that conceal within them the eagerness for knowledge that Inside instills in the spectator. Where do these bubbles aim at, where do they come from? Let's go into this journey inside ourselves. A white space, a man sitting with his legs held tight to his chest. Darkness. A flash of light. A multiform kaleidoscope stands out in front of our eyes. The man again, with evanescent features. More kaleidoscopic images that follow one another. A frantic dance of images stimulates our sight. White, the man has approached us. Darkness. From the dark backdrop we glimpse an image that gradually becomes sharper and sharper. A face? No, it's too angular to be a face. It's a gas mask, the filters on the sides of the object are extremely visible and emphasized. What does it do? What is it trying to protect and what is it trying to repel? Two eyes peep out from the eerie mask. They are closed, the sense of sight is not needed to make the journey inside ourselves. Darkness and then more reflected images and kaleidoscope. After a feeble return to reality, the journey began again in all its expressive power. The rhythm is excited, the music is pressing. Breathing is fast and the flashes of light caused by the mirrored images remind us of the electrical impulses emitted by neurons. Are we inside our brains? No. Probably Inside does not tell of a physical place, it does not tell the description of bodily physiological processes. Let's go back inside the work. Flash upon flash, flashes of color upon flashes of color, by now our wandering has turned into a whirling, excited dance that transports us further and further into ourselves. Darkness. Once again, the gas mask with its blurred and indefinite contours stands out in front of us. Its physiognomy contrasts with the disturbing nature of that object. Its blurred, multicolored edges resemble the outline of a soap bubble illuminated by the glare of sunlight. Yet it is a gas mask, and unlike the impalpable bubble, its texture is absolutely tangible. Kaleidoscope. Mask. Kaleidoscope and again Mask. The human face is still visible within the latter. Yet, an eye is watching us. Could something have awakened in our consciousness? The mask vanishes, disintegrates, implodes on itself and turns into tiny particles that are lost in space by the force of the explosion. The man now has both eyes open and is free to breathe. He opens his mouth, screams and struggles. Ryutaro has finally arrived at the innermost point of his soul, he discovers its secrets and is shocked. Although free of the gas mask, the weight of his inner self is felt. Ryutaro fumbles in this new place, in this infinite universe in which he seems to be sinking. Yet there it is. A friendly hand. The return to reality. The journey is over, the artist - and ourselves - have returned to the real world made of objects and matter. Yet if we close our eyes we can still see those fast images, we can still glimpse the agitated and obscure rhythm of our soul.
Art Curator Lisa Galletti
Ryutaro Teshigahara
Inside
Saishiki
A muffled atmosphere unfolds before our eyes. There is silence, there is nothing to disturb our state of mind. There is warmth; as if we were enclosed within a cocoon that protects us from external agents, from the influences of real life. There is semi-darkness, a semi-darkness that allows us to slowly squint, heedless of the rest of things. Our body temperature cools down, our breathing becomes slow and regular, our body prepares itself to carry out all those tasks that only sleep can accomplish. Memories and moments of daily life are reworked, the body balances are restored in anticipation of a new awakening. Everything is calm, everything is at peace. We slowly detach ourselves from the world of reality to reach another dimension. The sounds we perceive in the distance don't interest us, they don't even bother us; the blanket of darkness has fallen over us and we can do nothing but accept it. And so it is that the eyelids, without any effort on the part of the individual, begin to close. They open and close more and more slowly until they welcome a state of drowsiness. This is the moment of our daily life narrated by Goodbye world, I sleep. The work transcribes through images the physiological instant of the beginning of sleep that cyclically characterizes our lives in an automatic way. Ethereal spots appear before our eyes: the refined expressiveness has to reckon with an extremely fluid and transparent chromatic medium. The chromatic palette is all played on dull tones: blackish patches punctuate the entire upper part of the representation, a bright blue spot peeps out in the center of the work. The rest of the composition is characterized by whitish blocks and red spots. Everything is labile, the boundaries are extremely undefined. Color as clouds of smoke, color as water vapor entering the atmosphere. These forms that we see are insubstantial, impalpable; labile elements in the sea of oblivion. Bright, rectangular flashes jar with the muffled backdrop. Reminiscences of real life? The eye is about to close, we abandon our limbs to sleep; we let our mind travel in the sea of oblivion. The state of consciousness derived from rest completely detaches us from reality, from the frenetic daily life that suddenly unfolds before our eyes. Visual, luminous and sound stimuli bombard our daily life every moment: we are addicted to them, we can neither do without them nor ignore them even though we have will power. We are constantly receiving influences from outside, an infinite amount of information that is amassed in our minds. Yet, although human existence has turned into a frenetic existence governed by personal unnatural rules, sleep is always there waiting, undisturbed. The state of torpor is, without a shadow of a doubt, that moment in our lives when, beckoned by the night and the silence of darkness we let go of our worries to be lulled into oblivion. We need this obnubilation of consciousness, we long for the calm that it brings, we long for that warmth and that muffled atmosphere that takes shape in our mind. Thoughts are as confused as the chromatic spots in Saishiki's work. Let's accept them, let's observe them in their wonderful chromatic expansion on the porous paper, let's taste the intensity of the color and the propagation of the color particles on the paper. Let us close our eyes.
Art Curator Lisa Galletti
Saishiki
Goodbye world, I sleep
Sam Bergwein “Life itself is the first, the greatest of the arts.” (Oscar Wilde)
Sam Bergwein is a promising young German artist who entered the art world as a self-taught artist. With his original artistic and creative taste, he creates extremely decorative and harmonious abstract canvases. In his pleasant, abstract compositions, one can sense that there is a young artist behind them who is able to create fresh, dynamic artworks full of vital energy. A lifelong lover of art and architecture, he brings his experiences into his works, gathering artistic influences and reworking them through innovative artistic processes. The influence of his mother, a talented artist, has certainly been a point of reference for Sam. He has also been influenced by his studies and travels around the world. Sam is a bold contemporary artist, mastering different techniques and often working with mixed materials. In "Chaosmind", the artist is using the canvas to clear his mind by extrapolating emotions and feelings that have been locked away for too long and that he feels the need to share. Today's fast-moving society has instilled in us a strange mentality that we don't have the right to focus on ourselves because we have to think of others and other "more important" matters first. But what is more important than ourselves? Our state of mind, our fears, emotions, joys and sorrows? In this work Sam takes time for himself, inviting the viewer to do the same, to focus for a moment on his inner world. He pours fears, doubts, envy, negative feelings all into this canvas in an attempt to exorcise them through the beauty of art. Colours have always been a safe environment for the artist, a parallel world away from a reality that often proves oppressive. Sam unleashes everything he feels in this canvas, clearing his mind to make room for positivity and vital energy. He alternates red and blue with the undisputed protagonist: the colour white. The colour white has several functions: it creates points of light, it manifests itself in a pure way and creates contaminations with other colours, creating new combinations from which pinks, greys and blues are born. White is a colour that refers to purity; red to energy, anger and passion; blue is the colour of mystery, of reflection. The gestures with which he moves across the canvas are astonishing. "Chaosmid" is a dynamic but at the same time balanced work, thanks also to the skilful use of white. Through scrapings of different sizes, Sam is able to give the viewer different textures, games of transparencies, superimpositions. In expressing this whirlwind of sensations, the mind finds peace, tranquillity and silence, preparing to become more aware of itself and its own abilities. Very interesting how this colourful chaos reflects the real state of mind of the human being. This allows the artist to develop a relationship between the painting and the viewer. Sam proves to be very skilful in the use of different artistic tools, empathising with the viewer and creating an indissoluble bond. Through his colourful canvases, imbued with intense feelings and emotions, he enters the mind of each of us. The contemporaneity, novelty and freshness of his creations are something new and surprising.
Art Curator Ilaria Falchetti
Sam Bergwein
Chaosmind
Sandy Tao "Splitting up back to back, break-up couples share the same bed with different dreams, which refers to the the broken, cracked, mottled and bruised relationship. In addition, the spray bloodstain symbolizes break-up couples’ bleeding hearts during the period of parting.” Sandy Tao
What is Love? Drawing heavily on the Socratic philosophical approach, Love is lack and search. Love is the desire lived in the condition of poverty. It is not tender and sweet, but strong and sometimes cruel. Inside Love, in fact, there is madness, because it was generated among the gods. Love is therefore a bridge between man and chaos, between the misery of the living being and the power of the divine. It is a leap into the otherworldly, to peek at what lies beyond ourselves. When we fall in love, we change, we transform, we often lose ourselves. Perhaps, then, this is what we seek in Love: to dissipate for a moment in order to dive into the totality of madness, certain, however, that the lover will not let us whirl forever in the divine. There is therefore an intrinsic force that drives us to seek another person. It is not a desire for sweetness or familiarity. It is literally an uncontrollable impulse that entangles us in the tight grip of passion. Sandy Tao, with his series Stages of Relationship, wants to examine this issue by going deeper into the theme of love through the tool that more than any other can make the inexplicable explainable: art. Brush and oil color are therefore at the service of that whirlwind of feelings that ignite, inflame and shake up the human being and his entire existence. The vital impulse, the positive and ecstatic momentum is all concentrated in Fall in Love. Wonderful symphony of two bodies touching each other and falling in love, multicolored omen of a rosy destiny.
Sandy Tao
The bodies seem to dance in unison, the limbs are soft and the chromatic rendering is varied. At times nervous, at times docile, the color is spread on the canvas through extremely thick layers of pigment. And so it is that, in a Chagallian manner, the complexions of the lovers merge into one another, even spilling over into the background. Their love has come to light just as the purple flower peeping out of their embrace has blossomed. And yet, love stories are like windows in spring: they open easily and ever so willingly listening to the scent of a summer - hopefully - to come. Yet at some point, the snow falls. Spring is over. Break up is icy, yet nostalgic in its cold detachment. The bitter awareness of an ended love that leaves behind its footsteps remnants of memories is personified here by the blob of red pigment placed at the bottom of the work. A bloody indication of something gone wrong, of a love that is no longer love. Perhaps affection, that certainly. A relationship that has certainly lost the luster and vitality of what it was. And so it is that, the two figures once embraced, now find themselves back to back. Between them the unbridgeable, the abyss. Cracks in the color unravel from the center of the composition separating the bodies more and more. The oil color does not lose its vitality, but is transformed. The pink, warm and orange tones give way to an extremely acid and pungent chromatic palette. Yet there is nothing dull, nothing dead. In the air there is nothing but nostalgia and fragments of life spent with the person once loved. A bitter smile spreads across lips.
Art Curator Lisa Galletti
Sandy Tao
Stages of Relationship - Fall in Love
Sandy Tao
Stages of Relationship - Break Up
Sanja J. "I think it's important to be open to nearly everything like our mind is to our dreams..." Sanja J.
"The dreamer": this is the meaning of Sanja J.'s name in Serbian/Croatian. As if her parents already knew her gift. She brings her feelings, dreams and occasional visions to the canvas in a variety of styles, making each of her artworks a surprise. And here she is, at the at the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. Abstract bohème is the amazing artwork she submitted. Sanja is a german artist with serbian roots. She was born and raised in Germany, she started painting from an early age and learned a lot by herself. Sanja Impressions of another world, being different and devoting oneself to one's own feelings makes her art. Abstract bohème is as unconventional as the bohemian lifestyle and its non-traditional way of life. Painted with various techniques with acrylic paint, it tells us that we should follow our own ideals. A delicate palette to express a strong concept, an ideal. Sanja represents on the canvas a lifestyle, the bohemian one: the simplicity of the shapes exactly embodies the life choice of the bohemians, that is frugality and "voluntary poverty". Bohémien is an epithet assigned to those poets of genius who experience the laceration between themselves as a writer and artist, and therefore an individual, and society, due to the latter's lack of understanding of the value of their art, with a consequent and a spontaneous instinct for provocation, for the desecration of pre-established values and common sense, for a self-annihilating, destructive and asocial attitude. Society constitutes a prison for the Bohemian: it demeans the fantasy, the will, the imagination, swallows and forgets every spark in superficiality and emptiness; the result is a rebellious attitude that places itself in systematic opposition to every value and custom of common sense, the only way to rediscover a form of freedom.
Art Curator Mara Cipriano
Sanja J.
Abstract bohème
Sara Dee
On the international art exhibition Hysterica, the artist Sara Dee presents three artworks with an artistic language coherent. At the same time, the way in which it is declined according to the theme is different. Starting from the first one titled Imprisoned we can see on a dark background, red spots of color that are created not just with a gesture of the brush but also with the ends and other objects that seems to help the artists to express freely her emotion and her thoughts. At the same time this dualism created by the using of the red and black tell us about a polarity that involved the sensibility of the artist. As if she wants to tell us about the feeling of imprisonment when you can’t let you go at the events. Is like that the red colors want to invade all the canvas but there is the black color that blocks this flow at the board of the painting. This abstract language is used also in the third canvas. One more time the use of the red as if this color was the key to understanding what the artist wants to say. The flow of this color reminds the idea of the lava, an element capable of invading and burning everything. Is an essential element that is used to reflect the emotion of the artist at the moment of the creation of the canvas. The third painting is similar to the first two and at the same time presents some different elements. In fact, we can see in the center of the composition a sketchy body that seems to be imprisoned in the shapes created by the colors. The title ‘trapped’ describes this stylistic choice. Watching this painting it’s easy to feel the feeling of being trapped by something. Maybe a common sensation that we can feel in everyday life. So the paintings made by the artist Sara Dee are an occasion to reflect about our life, express sensations and emotions that we feel every day, maybe without realizing it. These artworks are an opportunity to stay with us one more time and understand more about our life.
Art Curator Elisabetta Eliotropio
Sara Dee
Imprisoned
Sara Dee
Inferno
Sara Dee
Trapped
Sarah Han “I think that everything around us is art and we take the original things such as nature, human beings, and life experiences and imitate and create art out of those things. We create art out of art.” (Sarah Han)
Sarah Han, Korean American artist, aims to create a connection between artist and viewer. She lets herself be guided by the creative instinct, free to observe and move according to the stimuli that the outside world gives her. The artist creates “Concealment”, an enigmatic work, which represents only half of a face that is black squares and rectangles. The rectangles and squares are intertwined with brushstrokes characterized by their own colour and, in some stretches, overlap them. These not only surround the face, but also cover the eyes, representation of thoughts, sensations and all the mental processes that take place every moment of life within each of us, but invisible to the rest of the world. Sarah Han decides to represent something hidden: different thoughts, more framed, like rectangles, or more instinctive, free, like brushstrokes. The author’s second work is “Façade”, a work reminiscent of portraits in vogue during the eighteenth century in France, portraits characterized by simple but very effective graphics: follow the contours of the profile halflength of a person. “Façade” is a portrait of two people who are perhaps two aspects of the same person. In fact, we can see that the shape facing the left side is superimposed, in part, on the one facing the right. Behind the two templates you can see two types of background, one lighter and the other darker, as well as the two templates. The paler silhouette is erect, while the darker one is bent, looking down. This work represents the façade that we show to the outside world, and, at the same time, it also represents who we are deep inside: the hidden person that each of us is but must control. Sarah Han’s third artwork is “Rose-Colored glasses”. For the first time, Sarah uses a different colour tone from the previously used brown and grey tones. The artist represents particular glasses: inside the lenses there are roses. The background is also characterized by images of roses, the symbol par excellence of love. Roses are the absolute protagonists of this work. This work represents the idea of love, the eyes with which those who seek it look and perceive the world, dreaming. Sarah Han shows us very deep and true aspects of people’s humanity, through a clear and simple graphics, characterized by few colours and many dark tones. Sarah Han represents the soul and sensitivity of every human creature in a unique and wonderful way.
Art Curator Sara Giannini
Sarah Han
Concealment
Sarah Han
Facade
Sarah Han
Rose - Colored glasses
Se_6
What is real? What do we consider to be part of the sphere of reality and what does not belong to it at all? According to two important exponents of the sociology of knowledge, Berger and Luckmann, reality is nothing more than the derivation of a set of beliefs and values, organized in a sort of conceptual conglomerate typically called "common sense", thus expressing its intrinsic communitarian and social origin. The authors point out, in very acute pages, how everyday reality is defined starting from an infinite series of signs and linguistic references which reveal the intentions of those who have impressed them, thus defining its intrinsically social structure. The social construction of reality as it has been conceived by sociologists derives from Mannheim's reinterpretation of the Marxian concept of "ideology". With this concept we mean, precisely, the set of those political, religious, philosophical and moral beliefs that have a close relationship of dependence with the economic relations of production and work, showing that they are functional to the defense of the interests that prevail at every stage of these relations. And yet, we stop thinking, we stop associating whatever our eyes see with an already present thought, an already assimilated information. Although the past is made up of fragments of the present, this does not mean that the present must necessarily be anchored to the past. The here and now has its own autonomy of meaning, the "now" exists in this moment, heedless of all that has happened and all that is to come. By virtue of a vision of the present anchored in the precise moment of time that is passing in this moment, Se_6 develops the art in an energetic, instinctive and free way. Freeing himself from the veil of preconceptions, from the obnubilated vision of a reality filtered by the filters imposed by human society, the artist composes works that smell of new visions, of fresh and original sensations and emotions. The preferred medium to try to express a real without prejudice is therefore paper and pigment. What irretrievably muddies and stains the white support are extremely impalpable spots of color, inconsistent in their form and not referable to any visible element of the world. The color spreads on the paper, penetrates into its pores and stains its purity. The pigment swims within the representative space, extends and spreads according to the creative instinct, the genius of the artist's mind. And this is how Se_6's works take shape. Free from any allusion to dull and opaque reality, these works shine for their purity, their executive energy and their expressive strength. The system of rigid rules does not apply to art. There are no ideologies to undermine freedom of expression. Paper and brush are the purest and most versatile tools to tell a clear world, free from any attempt to apply prejudices or filters to reality. Having reached the end, we ask ourselves: what is reality? It is enough to look at the works of Se_6 to have a taste of the true order of things.
Art Curator Lisa Galletti
Se_6
Fanfare of joy
Se_6
Pray to love everything
Se_6
Wish to lose everything Wish to forget, in this
Shannon Dearth "When I walk the wind blows away my negative thoughts and makes the positive ones bloom" (Rosa Ramirez)
Shannon's artistic work is a concentrate of colours that chase each other within the works and create great dynamism. Colours that come into contact and contrast with each other but at the same time give life to a great balance. Brushstrokes and lines that run one behind the other create lively and fleeting works. The artist lets himself be guided by his personal instinct and creativity, along the path that leads to the discovery of his own self and of the most intimate feelings. Shannon, through his artistic work, expresses himself, his inner world, he manages to bring out feelings and emotions. Shannon's art is strong, well-defined and anchored in vivid thoughts, his work reveals courage and fortitude. The choice of colors and lines make the works of great impact, both visual and emotional, in fact the observer is pervaded by strong emotions. Shannon's art appears as a great intersection in which colours, shades and brushstrokes converge. The observer's gaze is totally captured and travels along those paths made of colours, hues and emotions. In a continuous succession of sensations, sometimes calm and balance, other times of trepidation and restlessness, the observer is able to experience new emotions. Shannon's artistic work is purely abstract, there are no figures or shapes that refer to reality, only free and unrestrained color and brushstrokes, there are no obstacles, in fact Shannon's works pay homage to the great masters of abstraction. The artist's works are imbued with passion and sentiment, it is evident that through art he follows inspiration, he listens to his spirit and gives vent to his emotions in total freedom. For the observer, meeting Shannon's work means traveling on the paths traced by colors, it becomes a path to discover the soul of the artist and also his own. Shannon's art becomes a bridge, it is the bond that unites the observer to the artist, it is the way to meet the thoughts and feelings of the artist and at the same time it is the way that the observer has to know himself.
Art Curator Vanessa Viti
Shannon Dearth
Autumn spice
Shannon Dearth
Golden memories
Shannon Dearth
Sakura
Shay The Surrealist “Make not your thoughts your prisons.” (William Shakespeare) Shaylin Wallace is a digital artist from Wilmington. Her stage name "Shay The Surrealist" suggests her great skill, which is to create surreal compositions by manipulating stock photos using Photoshop. Her fame keeps growing and the M.A.D.S. team is happy to have seen potential in this great artist early on. It is a pleasure for us to exhibit her art in the gallery for the second time. "Overthinking Too" and "Under The Weather: Rain" are the two works with which the artist participates in the international art exhibition "Hysterica". The artwork is a representation of the lack of control that sometimes manifests itself in the minds of women in their continuous and daily thinking, doing, saying and acting. This is because women are constantly putting themselves on the line. They are strong, reckless, and resourceful, but they also experience hard times. As the artist suggests, when thoughts take over us, we begin to question everything: we doubt ourselves, our strengths, what surrounds our exhistance. We feel a sense of helplessness caused by the crowding of negative thoughts that cloud the mind and take away our clarity. So the worries take over, the thoughts increase and we totally lose control. In a few minutes a fire of thoughts breaks out, often untameable and impossible to put it out. Shay The Surrealist with her incredible skill and experience is able to make tangible the psycho-physical phenomenon that the woman is experiencing. The unstoppable storm of thoughts envelops the woman and seems to bend her with the weight of irrationality. But she is strong. Her body is arched, but she resists. The artist carefully chooses the colors: a black smoke powder that starts from the woman's mind, in contrast with the light colors of the bridge and the sky.
Shay The Surrealist
A continuous contrast between light and darkness, between certainty and insecurity, between what is rational and what is irrational, between what we can control and what is untamable. The second work "Under The Weather: Rain" analyzes in detail an emotional state linked, once again, to the overlapping of endless negative and cloudy thoughts in the woman's mind. Everything around the woman seems to be still. The world does not seem to notice her, so no one can help her. She is the only one who can free herself from this psycho-physical state. There is an Italian saying "Avere la testa fra le nuvole" (Having your head in the clouds): the artist literally replaces the girl's head with a cloud. The mind represents our emotional epicenter: from here all our emotions, perceptions, thoughts and actions start. This work is a visual representation of what Shay The Surrealist calls a mental rainstorm of despair and sadness. Our being is overwhelmed by the power of this storm and we convince ourselves that we cannot find a way out. But just like the clouds, the bad thoughts will shift, the rain will end, and despair will give way to peace and optimism. Also in this work the contrast between light and darkness appears, suggested by the choice of pastel colors mixed with the dark green of the background that highlights the loneliness of the woman in front of the disregard of the world. The message that Shay The Surrealist conveys with this masterpiece of digital art is very important: it can't rain forever. One day the storm will end and the sun will return to illuminate the mind and soul.
“They say that one must beat one's wings against the storm in the belief that beyond this welter the sun shines.” (Virginia Woolf) Art Curator Alessia Ventola
Shay The Surrealist
Overthinking Too
Shay The Surrealist
Under The Weather: Rain
Siegmund Angyal "To become immortal, a work of art must always overcome the limits of the human without worrying about common sense or logic." (Giorgio De Chirico)
In 1920 in Europe developed those that would become the most important avant-gardes for modern civilization, to the point of influencing common thinking and the very way of looking at reality. The poetic idea that the dreams and the unconscious should occupy more space in the common awareness, prompted many writers of the time to work so that a real movement, that had these themes as protagonists, was recognized. The Surrealism was born, which set itself the aim of: "Pure psychic automatism, through which we propose to express, with words or writing or in another way, the real functioning of thought. Command of thought, in the absence of any control exercised by reason, beyond any aesthetic and moral concern." as Andrè Breton wrote in the Manifesto of the movement. Representing reality through the hidden images of the unconscious is not an easy mission, but the artist's talent also lies in being able to demonstrate that what he imagines can accomplish exactly as he has it in mind. Many artists over the centuries have given us fantastic worlds and wonderful contexts, just think of the wastelands of Dalì, the metaphysical cities of De Chirico and the visual illusions of Gosalves. The artist Siegmund Angyal is not an exception in these artistic representations of his reality and gives us direct glances with his unconscious, thoughts to unravel and wooden arms that we would like to embrace as if we were also present in the painting. Siegmund's technique and style represent a revolution in the modernity of Surrealism and he succeeds in a complete and suggestive way to invite the viewer into his amazing world.
Art Curator Letizia Perrieri
Siegmund Angyal
Interconnectedness
Siegmund Angyal
Observed
Siegmund Angyal
Branchwork
Silvia Larrañaga
Silvia Larrañaga is an Uruguayan artist based in Barcelona. Initially a writer, a teacher of literature, she later become a self-taught painter. As the artist herself explains, her art is free from any technical decision made a priori, spontaneity and instinct is the cornerstone of the works created by Silvia Larrañaga. On the occasion of "HYSTERICA" she exhibits a triptych of works with clear assonance with abstract expressionism. "Calcination" is a work that recalls "Mural" by Jeckson Pollock especially as regards the choice of colors, but also "Blue poles" for the vertical elements that stand out throughout the work. "Calcination" seems to represent a bush of brambles, intertwined branches, the atmosphere is gloomy, dark, it seems almost dangerous, the red lines recall blood, as if someone had tried to cross the obstacle and was injured. "Hazardous", shows a different climate, a hybrid between a dark representation and a luminous representation, in this work it is as if the dark leaves room for light, color and its manifestations. “Hazardous” is reminiscent of Willem de Kooning's “Composition (1955)”, and it is violently expressive too. Finally, “Last joys” vaguely recalls the works of Arshile Gorky. This work is a perfect combination of abstract expressionism and abstractionism, very powerful from a chromatic point of view and very rich in elements that seem to be figurative, almost reminiscent of primitive art and rural representations. The works of Silvia Larrañaga on display are the maximum expression of spontaneity and an artistic spirit free from any rule.
Art Curator Martina Viesti
Silvia Larrañaga
Calcination
Silvia Larrañaga
Hazardous
Silvia Larrañaga
Last joys
Sînziana Cadar
Sînziana Cadar presents "A journey through the sacredness of hedonism” for the “Hysterica” Art exhibition at M.A.D.S. Art gallery. The artist represents a map with different paths to pursue and to live by. Each place depicted on the map is filled with hope of something new and it is left after turmoil occurs to bring in enlightenment once it is finished. To achieve this enlightenment, it is imperative to transport any negative thoughts away from the transformation of turmoil into hope. I am witnessing the fiction of different paths coexisting to represent a sublime self. It is a depiction of different directions on how to achieve relief. When you hold a map, it is usually because you need directions to go somewhere. This map in particular is not telling you where to go, it is telling you what you will feel on each different place you will visit on this endless journey. Sînziana Cadar creates a map of stimuli, where each place depicted is a new source of enlightenment, brought by an “Hysterica” situation. Agreeable stimuli is a characteristic of aesthetic appreciation, like Kant stated, it foregrounds a natural aesthetic value to find the sublime in a formless object. It is Schopenhauer’s decision to state that turbulent nature comes with a sublime sensation, for him sublime pleasure comes from threatening power carried by hostile objects. The higher the magnitude of the threat, the higher the sublime pleasure. This masterpiece represents a map of stimuli guided by unrestrained sublime pleasures.
Art Curator Karla Peralta Málaga
Sînziana Cadar
A journey through the sacredness of hedonism
Sirgo "my creative path is the result of the inner search physically and intellectually combined with the peaceful sense of the meditation for me to see the images that I paint" Sirgo
Sirgo Medeles Pimentel Mexican Artist born in Cuernavaca, Morelos (1979), who has been painting for almost all his life and professionally lived by it for twenty-five years. His contact with the artistic world began when he was five years old, at the moment, he discovered a box of his father's oil paintings in the attic. He spent hours looking at art books, playing with oil paintings, and listening to classical music. Later he took drawing and cello classes. At this very young age knew that he wanted to be an artist and at the age of ten sold his first painting. At the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. Sirgo shows his Ego/Hábito, his work is studied in the smallest detail and derives from a great idea and an internal process of the artist, of meditation and reflection. Sirgo feeds on a very strong symbolic language. The man presents himself in a plausible domestic environment. He is blindfolded and holding an unlit light bulb and his electric cable. In the painting there are two power sockets, one belongs to the environment, the other is on the chest of the protagonist. He is naked, with a tattoo that reads hábito: the meanng of the artwork is revealed by Sirgo,he describes it like that "Our ego lives in habits, in the daily repetition of beliefs, trapped in his comfort zone, blindfolded, holding a burned-out lamp, ignoring all the light around and forgetting his own internal connection".
Art Curator Mara Cipriano
Sirgo
Ego/Hábito
Sisko Määttä
Sisko Mӓӓttӓ is a self-taught painter who has always grown up in an artistic and manual environment, which encouraged her to take up the path of an artist. Painting was born as her great passion and at the end of her versatile and multi-professional working career, she decided to devote herself entirely to the creation of creative and fascinating paintings. Art is part of her, as is a taste for colour combinations and a keen eye for the combination of shapes and colours. She is inspired by the world around her and produces often abstract artworks that start from a real idea. Nature is the subject she reproduces most. Through an abstract and unique style, she brings back her visual experience with dense brushstrokes of colour that establish light games, contrasts between the various elements of nature. The disruptive force of the sea, the rustle of the grass, the scent of the wind are brilliantly conveyed to the viewer in the form of a visual experience. Sisko connects man with nature through her creations, seeking to establish a strong and lasting relationship. Sisko captures the most fascinating, energetic and often elusive aspects of natural elements. The invisible becomes visible in her paintings. The intrinsic spirits of nature find an outlet in the artist's colours and shapes, dissecting the deepest and most hidden emotions of the human being. In "Leimuaa Its Blazing" there is a clear separation between heaven and earth, even though the vigorous and spontaneous brushstrokes struggle at the edge of the horizon in a chromatic dance that aims to unite the two forces. In the lower part, in a vision somewhere between the real and the imaginative, is a meadow whose blades of grass seem to be moved by a whirling, whirling wind. The blue, pink and purple flowers contrast with the green and yellow tones. The technique used seems to come close to the impressionism of the great painters such as Manet and Monet through the rendering of a perceptible reality. Fast, energetic brushstrokes of pure colour immediately record what the artist's eye sees. The sky is dynamic, surreal and abstract. Different shades of blue and violet mix together and are coordinated by the inclusion of white pigment. Nature manifests its power here. In "Jossain Some Whre", Sisko shows a more realistic side to her painting. Here the landscape is well defined, less abstract but imbued with a magical and evocative spirit. The dry tree in the foreground is bathed in sunset light that colours the sky an astonishing bright pink. Between the bushes Sisko places animals, here representing both flora and fauna. Different types of trees, shrubs and plants dominate the scene, creating a well thought-out and spatially ordered composition. The trees give depth. Here, the Impressionist influence is present in the application of pigment and the juxtaposition of small coloured touches with colour tones that influence each other. The sunset light infuses calm, joy and tranquillity, as does the rustling of the plants depicted. In "Meren Purppuraa", the title guides the viewer into an abstract landscape, detached from any conventional drawing lines or realistic shapes. Sisko paints an impression, a visual experience that she tries to convey to the viewer with shapes and colours. The pigment is dense, creating incrustations that give volume and movement to the whole scene. Sisko mixes green with yellow, blue and red, using white to create points of light and give three-dimensionality. A symbolic sea of emotions, a whirlwind of feelings that mix together and become one with nature. Emotional and natural spheres meet on the canvas. The artist's dexterity is remarkable. Sisko proves to be a versatile artist. She often uses similar subjects but reworks them with different techniques and in a creative way. She takes emotional paths that reveal the vulnerability of nature and are able to bring out deep emotions. The energy she conveys to the viewer is unique and indescribable.
Art Curator Ilaria Falchetti
Sisko Määttä
Jossain Some Where
Sisko Määttä
Leimuaa Its Blazing
Sisko Määttä
Meren purppuraa - Purle see
Sofya Danilova
Sofya Danilova is a digital artist with immense photographic and editing experience. Her greatest artistic expression is found in the creation of images reminiscent of the kaleidoscope. She is again a guest at an exhibition organized by M.A.D.S. Art Gallery, on the occasion of "HYSTERICA" she exhibits "Khthon: Voided" psychedelic work that recalls a forest of brambles, something from which there is no exit, so dangerous and at the same time seductive as to confuse those who look. The elements are infinite, branches, leaves, mosses and lichens can be glimpsed, all together forming chasms, black holes, intricate and unknown depths. The use of color transforms the photographic elements into something totally different, purple, electric blue and shades of green transform the natural element into something completely surreal.
Sofya Danilova
"Silence" is a vortical work at the center of which is the abyss. The chromatic detachment allows the observer to focus first on some elements and then on others, "Silence" recalls an eye, it seems to see the representation of "1984" by George Orwell, but also the eye of Sauron from the novel "The Lord of the Rings ". Meticulous attention to detail allows the artist to perfectly calibrate all the elements making them coherent and balanced, a set of shapes, lines and shadows allow the transformation of real elements into something non-existent and new, a surreal world inside of which the observer can travel with the mind and imagination.
Art Curator Martina Viesti
Sofya Danilova
Khthon: Voided
Sofya Danilova
Silence
Sopho Mamaladze "Everyone sees what they know" (Bruno Munari)
Sopho Mamaladze's works recall particular sensations and emotions linked to the personal experience of those who, at that moment, meet the eye with the multitude of colors that crowd the canvases. An artistic poetics focused on making memories of past experiences re-emerge in the soul of the observer through the combination of colors and the depictions of particular scenographies, at times familiar and at times completely disconnected from reality.
Sopho Mamaladze
Being a user and participating, at the same time, in the creation of a precise artistic poetic. Through the use of a palette of colors in line with the current of German Expessionism, the artist manages to give life to works characterized by a suspended, almost otherworldly dimension, within which silence and a state of mild melancholy crowd the works in a deafening way. Freedom from any mental and conceptual scheme of the artist, from any possible contamination to embrace a personal and innovative perception of the works and the sensations that derive from them.
Art Curator Federica Schneck
Sopho Mamaladze
Bedroom
Sopho Mamaladze
My dream
Stephen Stanton Gibson
Stephen Stanton Gibson presents "Playful dead”, "5 horsemen” and "Protective nature” for the “Hysterica” Art exhibition at M.A.D.S. Art gallery. The artist presents three artworks created with ink in a powerful manner with compelling compositions and strong characters carrying a decisive message. The artist will not reveal the exact message, it is the job of the beholder to create it with the depictions given by the artist. A critical situation often brings us the energy to resolve any kind of problem after a bright and strong storm. Often after the turmoil comes the enlightenment for a new beginning. On “Playful dead” we see the depiction of a situation that has already exploded, it is the exact moment when it is triggered by outside forces to embrace enlightenment, where the characters are constrained, they are trying to free themselves to achieve a new life. On “5 horseman” the artist portrays the strength that comes after turmoil, characters are being compelled to surrender, the main one is not seen on this artwork, the audience must choose who is the character that makes them evolve. The last artwork, “Protective nature”, represents an evolved paradise, a place where fears are kept at the same time with illusions that are trying to become the main character. The eyes in this artwork, carry the strength of witnessing unrestrained stimuli. No matter the turmoil, it often brings calmness. It is inspiring to witness such an evolved perspective in a created paradise.
Art Curator Karla Peralta Málaga
Stephen Stanton Gibson
Playful dead
Stephen Stanton Gibson
5 horsemen
Stephen Stanton Gibson
Protective nature
Suzie Walker-Harding
Looking at the works of Suzie Walker-Harding, a full-time British artist, our soul is literally filled with colours and we feel an immense joy of life. She is not interested in representing reality in the strict sense, but she takes inspiration from it, from the urban life of today, and then she carries it on canvas in all its dissonant chaos. The result is a completely contemporary work both in the way the colours are laid out and in the way the subject is represented. "Women in Colour" is the first of a small series of works made by Suzie Walker-Harding after 14 years of gap. During the lockdown that the whole world experienced during 2020, the artist immersed herself again in artistic creation, that creation that for her is "an intense, desirable and formidable experience and the only way to express myself". When she paints, in fact, she becomes literally part of the painting because she works at it simultaneously from all 4 sides of it, as Jackson Pollock used to do and as was tradition among American Indians. In her work, the colours overlap each other in a chaotic interweaving of a thousand brushstrokes that freely pervade and fill the entire space of the canvas and suggest a possible continuation beyond the edges; this is too a reference to Jackson Pollock, more precisely to "his" all-over. Between this rainbow of brushstrokes emerges a face of woman with sharp and penetrating features. Born from the imagination of Suzie Walker-Harding, the woman opens her lips and looks straight at the viewer; moreover, thanks to the skill of the artist, she seems to be able to peer into our soul and fully understand us. She seems to be able to read our deepest secrets. Suzie Walker-Harding proves to be a talented artist, an artist who fully lives her era and manages to transfer it into art.
Art Curator Francesca Catarinicchia
Suzie Walker-Harding
Women in Colour
Svetlana Miettinen/Arts of Me
Search for freedom, search for your own essence and personality is what Svetlana Miettinen wants to share with M.A.D.S. Art Gallery’s viewers during the current ‘Hysterica’ exhibition. The artist, as she likes to underline, reflects in her paintings her thoughts, her feelings, and beliefs through what she calls ‘Arts of Me’. Different in colours, in subjects but with the same meaning, ‘Autumn’ and ‘Freedom’ are two related scenes. Vivid in its colours reflecting what the title itself recalls to mind, ‘Autumn’ is a comparison between Nature and its seasonal fragility and Human beings and their relationship with the nowadays society. The artist herself admits feeling a sort of judgement being and acting just as she is, but what it is clear, thanks to this artwork is that she wants to react.
Svetlana Miettinen/Arts of Me
With a dynamic scene, close to the abstracts but, at the same time the futuristics, Svetlana shares her impulsivity creating spots of colours – representing the leaves – that flows to the low part of the canvas, a symbolic flux of thoughts going away, reaching the freedom. Personified by a young lady, this ‘Freedom’ painting is almost a utopic scene, in which space has become the dreamt world, the free dreamt world without any fear of what surrounds us. With her hopeful gaze, the woman’s face seems to have reached her wellness, far from time and space but also and always in connection with her inner self; unity and diversity. The young lady is part of the space but, at the same time, she represents just a figure, just an element composing the scene and living the world. This is what Svetlana, the artist, wants to share: the ability and the consciousness to be part of something bigger over which we can take control.
Art Curator Martina Stagi
Svetlana Miettinen/Arts of Me
Autumn Mood
Svetlana Miettinen/Arts of me
Freedom
Sylvia Rossouw “‘Hysteria’ is a state of mind that I’ve had to face, all my life.” (Sylvia Rossouw)
Hysterica is M.A.D.S. second exhibition that hosts Sylvia Rossouw’s paintings. Here, the artist lets us enter her inner world, where she finds peace and control, a place where she can reflect and where her creativity finds its home. The body of work that Sylvia presents is deeply personal. Spirituality permeates in these works and conveys a sense of connection with something bigger than ourselves, searching for tranquillity, aliveness and interconnectedness. “Holding the space” is the representation of anxiety and feeling trapped, where writing becomes a means to connect to the present. Here, the Buddha statue is the symbol of tranquillity and awareness, able to hold the space and to feel the presence of its own body regardless of the chaos that surrounds it. Numerology plays a vital role in Sylvia’s life and their presence in her works is vividly strong. In “The moment of truth” and “Only Love”, numbers 3 and 10 proudly stand surrounded by frenetic writing. Three is the number for the opening of the gateway and ten is the number of the Divine, the source of everything, full of energy and light. In both paintings, the numbers stand as an anchor that saves us from life’s turbulence. Love and awareness are the right paths to follow and “we need to find the equilibrium”, Sylvia believes. “Saccharine, extreme” and “Oblate spheroid” explore the difficult relationships that Sylvia has experienced throughout her life. Unsent letters stand in the artist’s home; they tell past and painful relationships that when read, become excessively sweet. While in the first painting, the remembrance of painful experiences becomes saccharine, too sweet, in the second, it becomes even more painful. “‘I love my beloved country’ is a cry for help”, says Sylvia. As a South African with a colonial past, she still feels unwelcome and alone in her homeland, the feeling of guilt is as much as her deep love for her home. What is impressive in Sylvia’s art is her incessant willingness to connect with others. Her art is her safe harbour, a way to express her most internal thoughts and emotions, which, at the same time, are of the collective and shared by thousands of people. Her art is not hers but of whoever looks behind the canvas and read the inner meaning of those found paper, ink and acrylics that Sylvia uses. Her art is the meeting place between Sylvia’s inner world and those of the collective.
Art Curator Martina Lattuca
Sylvia Rossouw
The moment of truth
Sylvia Rossouw
Oblate spheroid
Sylvia Rossouw
Only Love
Sylvia Rossouw
Holding the space
Sylvia Rossouw
Saccharine, extreme
Taedong Lee "Sitting in front of the canvas, appreciating the documentary I have collected, and reminding everyone of the vision, touch, smell, and hearing of the time when I existed there. " Taedong Lee
Taedong Lee is a landscape painter who express emotional experience and atmospheric mood with vivid colours and expressive mark making. A modern boy with heritage is the artwork he presents at the international exhibition "HYSTERICA", hosted by the international art gallery M.A.D.S. The first version of the work stemmed from emotions the artist felt while taking a photo, the emotions related to the photo were happiness and mischief. Subsequently, in the second version the emotions have transformed and in the same way the work has evolved. It is no coincidence that Taedong works with his emotions, memories and feelings in relation to experiences he makes of the perceptible world. The colors are vivid and reflect the interior of the artist who represents a boy at the top of a flight of stairs, surrounded by a natural landscape at night. The emotional state of the artist is maximized on canvas, he is able to represent what he feels through the senses through the pictorial medium. His work begins by recording that information through images or written thoughts, then he sits in front of the canvas and transfers his memories in an amplified way. In this process, strongly established landscape elements are distorted through memory and reinterpreted in a new space with various harmonies of colors and techniques that express his fundamental feelings. The experiences that Taedong makes are injected into memories and captured together, as if it were an archive of memories and emotions. In other words, from a first moment in which the artist brings back the elements of memory on canvas, he then passes on to transmit new elements influenced by other media (photos or videos), the inner emotions of the present time are stacked as a form of collage . The main point is the process of combining the current new self-influenced by various media into a new space created by the past.
Art Curator Mara Cipriano
Taedong Lee
A modern boy with heritage
Tamaki Nagakubo
A tingling sensation pervades our limbs. We can feel the creative force of what stands out before our eyes flowing through our veins. The soul is electrified, it is caught off guard at the sight of the multitude of colors that flood the representation. Art, since time immemorial, has been the vehicle and instrument of representation of the range of human emotions. The latter has always been considered one of the most effective means to tell the unspeakable, to decode - through shape and color - the sensations of our body, the emotions of our heart. And so it is that Tamaki's art is the luminous mirror of man. The human condition is here narrated in its sudden changes, in its changes of course, in its advancing and retracing its steps. It's all here, inside the artist's works. We perceive through the sign the pirouettes of our soul; we feel through the color the imperceptible mutations - but existing and real - that happen inside ourselves. It is the mirror of our interiority, after all. We are accustomed to think of the human being as a rock, a stoic and irreducible living being convinced of his way and firm in his decisions. Sometimes we even have the presumption of knowing what awaits us, of anticipating the future, of being certain of the destiny to which we are destined. We forget that we are part of a constantly changing universe; of a world that makes movement the backbone of its entire existence. The planet is moving, we cannot remain still. After all, we are inhabitants of it, aren't we? And this is how the castle of beliefs falls. And this is how the security of our emotions and our desires is a weak sheet of paper ready to be swept away at the first gust of the wind of uncertainties. Because we are not rocks; we are not inanimate beings. Our blood flows through our veins, oxygen fills our lungs with every breath, and electrical impulses fire our nervous system constantly. Let's stop being hard on our souls for a moment, set aside our firm beliefs and certainties to bare ourselves and discover more about our inner nature. Let's look inside and dive into the swirling universe of Mixed Feelings. Let's drop our limbs into the violet vortex and observe the changes of tone of which the work is the protagonist. Fearless black circles contrast with stripes of reddish color, then pink and then whitish again. Luminous signals stand out before our eyes: let's observe them and not stop falling towards the center. Thin violet threads give way to large pink volutes that suddenly merge with each other to become large concentric circles. Is it a black hole? Have we already crossed the event horizon? No. It is none of these things. Tamaki Nagakubo, through her digital images and the infinite detail of shapes and colors that characterize them, makes us take a journey inside ourselves by catapulting our mind and our body right there, in the most hidden place of our soul. We can hear the gurgling of newly generated emotions, we can perceive the presence of the infinite sensations of our being.
Art Curator Lisa Galletti
Tamaki Nagakubo
Mixing feelings
Tamaki Nagakubo
Many suns in our hearts
Tamaki Nagakubo
Swirling Emotions
Terry Klumpp
In Terry Klumpp’s works, experimentation takes over logic and coherence, which often seem to have been provisionally suspended. The combination of traditional and digital media is the result of aleatoric processes experimented by the artist, who seemingly incorporates chance and unpredictability on the conscious process of his works’ composition. By appropriating history, pop culture and traditional forms and techniques, Klumpp manipulates existing symbols and narratives to create aesthetically and conceptually complex works. Multilayered visuals are Klumpp’s direct response to the surrounding society and culture, where everyday experiences serve as inspirational starting points to question the stability of a certain reality, normalised systems of beliefs, values and of being. “Often these are instances that would go unnoticed in their original context”, says the artist. Instances that acquire a strong presence in Klumpp’s works thanks to the complex and often contradictory layers of meaning. “Subjected” is a sui generis digital animated GIF that Klumpp created for this exhibition. A human body with a female genital organ stands at the centre, seemingly floating in the air but it is heavy at the same time. Everything changes in it: its dress change from yellow to pink, its hands and feet from green to blue, its face, with big, shocking, open eyes, changes from feminine to masculine features. In the background, images and colours are layered to each other. Blue eyes open and close incessantly while the face of Sigmund Freud stares directly at the eyes of the viewers. For centuries, hysteria has been used to hinder, imprison and pathologise the female condition, and in “Subjected”, the connotation of Freud clearly refers to his famous study on hysteric female subjects. At the bottom of the GIF, big lips are ajar in an undefined expression, while at the top bright colours alternate in what looks like four square-shaped screens. Through his complex visual associations and layering, Klumpp does not simply want to claim his critique of reality. It is such complexity that plays a vital role in his works, where complexity is not a synonym of difficulty in understanding. It is through complexity that the artist invites and incites the viewers to make their associations, to question facts, societal norms and beliefs, to be resilient and critical.
Art Curator Martina Lattuca
Terry Klumpp
Subjected
The Boiseee Art Collective
The four paintings presented on the international art exhibition by the artist The Boiseee Art Collective are the narration of a different state of the mind connected to each other. The artistic language used is the same, that is why the artist wants to create a puzzle in which the pieces build a common scene. Starting from the first one titled Introducing. In this composition, we can see many different spots and shapes that stand out to introduce the speech that the artists with these paintings want to tell. In fact at the centre of this particular background, we can see the name of the artist: ‘the collective boiseee’. On the top, we can see the world ‘art’. As the artist wants to say: <<now I’m going to say something with the art>>. The second painting titled Inception Perception presents a similar background with a similar process. The spots remind the power of the gesture beyond the canvas, as if the artist was involved in a moment of delirium and freedom. On this occasion we can read the phrase ‘where’s it all gone?’.
Art Curator Elisabetta Eliotropio
The Boiseee Art Collective
The viewer understands soon to be at the beginning of something that is happening now. Is like listening to a voice that tells us about the feeling lost, as if the world is gone. It is easy to immerse in this voice and lose the perception of the reality around us. On the third painting we can read: <<what if my time is different>>. We can soon see the effects of this confusion. In addition, the shapes used of the background are created in a very strong way as if the gesture beyond the canvas was more decisive and violent. The third painting is titled Fuck perception. The title of the painting can be read on the top of the composition. On this occasion we can see a difference using colours and shape. In fact in the background powerful beams of light are thrown, as if after a moment of confusion and delirium of madness here comes the light to see things clearly. The path created by the artist is a very representative, with colours and words, of a moment of madness. The viewer enters in this path and feels all the sensation described by the composition. This narration is an occasion for us to lose ourselves and find the light at the end of the story.
Art Curator Elisabetta Eliotropio
The Boiseee Art Collective
Introducing
The Boiseee Art Collective
Inception Perception
The Boiseee Art Collective
Lost Perception
The Boiseee Art Collective
Fuck Perception
Theodora Dea "Love does not consist in gazing at each other, but in looking outward together in the same direction." (Antoine de Saint-Exupery)
Theodora Dea is a talented artist living in Oslo. Art is a focal point of her life, and she has evolved over time from a figurative approach to a preference for organic and geometric shapes, made with a mixed media technique of alcohol ink and epoxy resin. The experimental nature poured into art is reflected in the artist's personality, who uses the expressive potential of painting to impress on the canvas a momentary mood, a thought or a vibration, which thus becomes an exstraordinary opportunity for introspection. The Gaze - the work presented by the artist for "Hysterica"- is the perfect demonstration of how art bends at the service of a profound reflection that oppresses the soul of the artist, thus becoming the privileged means to express this thought and communicate it to the observer. The work summarizes the feeling of discomfort caused by society from a female perspective, denouncing the limited freedom of women, subjected to the implacable gazes of a world that judges them and binds them to an deplorable objectification. It is a very topical reflection that expresses itself in an original way on an artistic level with a series of oval and circular blue shapes, the eyes. To this are added motifs and golden shades, which on the one hand create a fascinating play of light and three-dimensionality, and on the other they seem to allude to the mischievous glint of prying eyes that linger on a woman. Theodora Dea underlines the negative side of a gesture - that of observing - which is completely natural, but which is a sinister instrument of commodification, sexualization and disparity when it becomes the only mode of judgment. To emphasize this limitation, the artist chooses to represent eyes without faces or bodies, which float in an insubstantial and vain dimension, symbolically embodying the emptiness of a retrograde and anachronistic mentality. But Theodora Dea is not limited to this, and demonstrates her creative flair also in the irony that lies at the base of the work: the gaze - condemned as regards a male-dominated perspective - also becomes the means by which the observer approaches the painting and manages to grasp the artist's message. An uplifting message of hope and desire for renewal.
Art Curator Chiara Rizzatti
Theodora Dea
The Gaze
Tony Lòpez “Life is like the sea, either you look at it standing on the shore, or you sail it enjoying its immense beauty, even if by doing so, you risk running into some storm.” (Omar Falworth)
The participation of the Mexican artist in the contemporary art exhibition "Hysterica" is a great source of happiness for me. Tony Lòpez has been through a long dark period due to a health problem, but now everything is back to normal. And this exhibition represents for me and for him a new beginning. In October 2021 the artist designed and conceived this edition. The two works with which he participates in the exhibition arise from the author's experience in the field of marine wanderings. As a scholar and expert in Geological and Marine Engineering and a specialist in Environmental Impact, he has always felt a deep love for the sea, the beaches and marine research. "Brisas y Andares 1" and "Brisas y Andares 2" are works inspired by the movements caused by the sea breeze. Boats sway, now to the right now to the left, in the sea; the surface of the water ripples; the waves of the sea break on the rocks; everything that lies on the seabed moves following the flow of current. Through this artistic representation, Tony achieves a magnificent metaphor of life.
Tony Lòpez
The boats are human beings and the sea is life. Every day we sail towards destinations that we do not know. The immensity of the sea makes us afraid: we do not know our future, but we dare anyway. The sea breeze is the metaphor of that surrogate of thoughts, words, events that break into our lives and toss us around. When these emotional phenomena occur, our soul and mind are compromised. The human being begins to sway, as boats do. But he never falls, he doesn't tip over. Like boats, man returns to his regular position: he is upright and strong. The same thing happened to the artist Tony Lòpez: an accident put him to the test, but he won and got back up stronger than before. To emphasize this concept there is the choice, not causal, by the artist to combine warm and cold colors, always with a central channel of light that represents hope, new joys and new experiences. We must learn not to underestimate our strength: we are worth more than others would have us believe.
“Be always like the sea, than breaking up against cliffs it finds always the force to try again.” (Jim Morrison) Art Curator Alessia Ventola
Tony Lòpez
Brisas y Andares 1
Tony Lòpez
Brisas y Andares 2
TORIAM “I wanted to paint nothing. I was looking for the essence of nothingness, and there it was. A nothing that, in reality, was always full of content. Because it reflected a society of fast consumption, immediate enjoyment, banality and passion.” TORIAM
The international exhibition "ALDILÀ", hosted by the international art gallery M.A.D.S is proud to welcome, for her second exhibition, TORIAM. She spent her first years in the Real City. Where she develops a realistic style of lighting under the influence of the great Michelangelo Buonarroti. When she was 10 years old, she moved to Madrid, where she got to know both ancient painting as well as what was done in her time and other styles. They were determining influences to evolve to a style of great luminosity, with quick and loose brushstrokes. Color and feelings are the protagonists of the works presented for the HYSTERICA exhibition. Once again the palette chosen by the artist turns out to be full of magic. TORIAM manages to create a unique atmosphere, between real and surreal through the choice of colors and the wise use she makes of them, this is her signature and makes her recognizable.
Art Curator Mara Cipriano
TORIAM
La esclavitud del alma and Obsesión en cascada are the two artworks at the exhibition HYSTERICA. The first piece represents the suffering of a woman, the protagonist of the painting. We see half of the woman's face. To the detriment of the bright colors that the work presents, we immediately perceive the discomfort experienced by the woman, victim of her suffering due to a lost love. The woman's gaze communicates with the viewer and communicates something that he can immediately understand. Whoever looks at the work is immediately able to empathize with the woman, as her suffering belongs to everyone's experience. Everyone sees something different in the woman's eyes, something that belongs to their past or their present. And this is precisely the spirit of art: the artist's personal experience becomes universal, everyone makes the picture he sees his own but all are united by the message that TORIAM is able to let pass. Same thing, in reverse, for the second work. This time the emotions are positive, the passion of the two lovers, the passion of the human being is represented and underlined by a natural element that can be fully compared to this type of feeling.
"The essence of the people their lives. What surrounds us on a day-to-day basis. Any material, that serves for inspiration and creation.” TORIAM
Art Curator Mara Cipriano
TORIAM
La esclavitud del alma
TORIAM
Obsesión en cascada
Usol Kang "Each of us is a moon: he has a dark side that he never shows to anyone." (Mark Twain)
Usol Kang's artistic imagination presents itself as an alternative world within which the artist can navigate, without fear of being judged. Through a profound analysis and awareness of his own subconscious, Kang uses art as a means to bring out his own feelings, his own being in a very particular and, in some ways, disturbing key. Inspired by the song "Pierrot Smile at Us" by a Korean singer named Kim Wan-sun, Usol Kang's artwork deals with the delicate and profound theme of showing oneself to others for what we are, without filters or masks that can alter our true essence. Smiling at others but above all at yourself. Know yourself and accept yourself.
Art Curator Federica Schneck
Usol Kang
I smile at myself
Utaellamarie Peter Utaellamarie Peter is a German artist who prefers the use of acrylics and oil colors despite being always looking for new techniques. The artist defines her art "figurative or semi-abstract" in fact in her works it is always possible to glimpse the human figure. Utaellamarie is interested in social and environmental issues that she tells through stories enclosed in her works. During the exhibition "Hysterica" held by M.A.D.S. art gallery, the artist exhibits three works very similar to each other and all made of acrylic on canvas. The first work analyzed here is entitled "Entropy" and has a horizontal composition. The work is the most abstract of the three but has the same recurring colors: intense red and green water. Two colors that together create an ethereal feeling. The work in fact evokes a sense of estrangement in the spectators but at the same time they recognize a human component. The work seems to analyze the branches of the human nervous system. The work celebrates the connections. The human figure is more evident in the work entitled "Me and him" in which, surrounded by an entirely abstract setting, two figures are recognized: an adult and a child, made in red. The bright colors are reminiscent of those used by the artists Fauves, acting as a strong communicative vehicle, they launch a message, they want to dazzle the spectators. Once again in this work the human bond is celebrated: mother and son hold hands and become one. The last work, titled "WEBed in", is more complicated and detailed than the others. Here the human figure becomes imposing: multiple figures occupy the canvas. They appear as mysterious figures, perhaps ninjas or ghosts. Their eyes are covered with a bandage and are tied together by a red thread that traps them. The metaphor behind this work is probably to be found in the concept of the network both as a social network and as an Internet: both today can be approached, one as an extension of the other. Sociality today passes through the internet and in particular social media - perhaps this is the message that the work wants to convey. In any case, the works of Utaellamarie Peter lead viewers to a strong reflection, allowing them to adapt the works to their own life, emotions and feelings.
Art Curator Giorgia Massari
Utaellamarie Peter
Entropy
Utaellamarie Peter
Me and him
Utaellamarie Peter
WEBed in
Vaida Kacergiene
Vaida Kacergiene exposes at the “Hysterica” exhibition at the M.A.D.S. Art Gallery the beautiful work “Dance of the heart”, inspired by the continuous flow of situations, feelings and states of mind that are perceived during the life of every human being and that strike and pass through the heart. Circular elements of different sizes are arranged on the blue background, which migrate from the darkness into the bright area and transform once they pass the candle, the epicenter of the canvas. This concept could allude to all the negative aspects in everyday life which, thanks to the inner light in the heart and soul, evolve into positive thoughts. The candle has a very deep and fundamental meaning and symbolism: fueled by fire, it illuminates and warms the viewer from the darkness, elevating his/her being to a higher spiritual level. And it is in this way that the connection with the divine is created, and all this light, which irradiates the surrounding atmosphere, provides access to the immaterial and invisible world of the astral plane. The candle thus becomes a symbol of the pure soul, while its flame results to be a prayer made to the universe. Moreover, it is curious to note how this object could represent all four elements: air, with the smoke it releases, earth with the wax and water with the melting wax. Another crucial aspect concerns the color of the candle: through a combination of red, orange and yellow, the artist conveys life and vigor, as well as strength of mind, courage to overcome difficulties, even stimulating the subconscious and creativity. Through this painting, Vaida invites the viewer to use the candle as an instrument of meditation, from which it is possible to get in touch with the truest part of one's being, creating a link between the outer and the inner universe.
“As far as the rays of that little candle reach, so it shines a good deed in an evil world.” (William Shakespeare)
Art Curator Alessia Perone
Vaida Kacergiene
Dance of the heart
Valeri Cranston “The free soul is rare, but when you see it you recognise it, mainly because you feel a sense of well-being when you are near it.” (Charles Bukowski)
At the international “Hysterica” exhibition at the M.A.D.S. Art Gallery, Valeri Cranston exposes “Soul Bloom”, where thoughts, feelings and moods mix to create an explosion of color and vitality. The choice of the shades to be used plays a crucial role in the realization of the work: each nuance is inextricably linked to one another and in this way the result is homogeneous and balanced. Like a flower about to blossom, a strong energy charge emanates from the center of the work, illuminating the surroundings and emphasizing pure and harmonious feelings. All this luminosity recreates a succession of waves: these simultaneous vibrations give rise to a reality that shocks the viewer and frees him/her from his/her negative feelings. The viewer is therefore enchanted by the immensity of this artwork and the homogeneity of the color, which accompany the human mind on a spiritual journey that touches the depths of the artistic creation. Each element gives the viewer serenity, becoming extremely relaxing and pleasing to the eye. The overall movement attracts the viewer's attention, taking him/her into his/her soul and moods, reaching a carefree and worry-free place. All this strikes the subconscious, giving ample space to the realm of the unreal and the dreamlike. Imagination and interpretation have vital importance here, so that every person can be involved in this work, allowing themselves to be lulled into a sense of peace and tranquility.
“The more sensitive the soul of the contemplator is, the more he/she gets himself/herself lulled by the ecstasy aroused in him/her by this harmony of nature. A sweet and profound fantasy that takes possession of his/her senses. All individual objects escape from him/her and he/she sees and hears nothing but the whole.” (J. J. Rousseau)
Art Curator Alessia Perone
Valeri Cranston
Soul Bloom
Vibrant Cuckoo "Men in general judge more from appearances than from reality. All men have eyes, but few have the gift of penetration" (Niccolò Machiavelli)
Based on the balanced juxtaposition of the concept and the aesthetic realization of the figures, the pictorial imagery of Vibrant Cuckoo is distinguished by the presence of simple but very expressive forms and bright primary colors. If on the one hand one might think that, as the primary intention of the artist, there is the need to explore an artistic imagination with a strong aesthetic impact, in reference to a dream world, on the other we realize how the conceptual component takes, in the end, the upper hand. Relationship between the external and internal self, the will to overcome appearances and to focus attention on what is really important. This is what pushes the artist to thoroughly investigate the soul of the world, an unhappy soul that, too often, hides itself thanks to false appearances. The large glass eyes, so expressive, become spokesmen for the soul and encourage the observer to see beyond, to go beyond appearances, the superficial. Art Curator Federica Schneck
Vibrant Cuckoo
Matryoshka
Xi Nan
Xi Nan is a professional artist born and raised in Jilin, China, currently based in New York, USA. With her art, she wants to introduce the delicate issue of mental disorders through a reflection on what they are and what they entail, proposing a way to accept and live with them without having to hide from others and from themselves. At “HYSTERICA” exhibition, Xi Nan presents two videos that are part of a project called “Routine”, a multi-dimensional work by doing performance with, imagery documenting with, as well as living with in her daily life. “Routine 1” begins with the preparation of a series of small and refined objects arranged on a white table; the artist then takes some of them to attach them with medical tape on her arms, creating a kind of connected machine. After a short break in concentration, as if the machine had begun to work and she was one with the objects, Xi Nan begins to pant animatedly, so much that we perceive her struggles, the inability to find respiratory and therefore mental balance. All this takes place in an estranging and almost anguished atmosphere, not only for the fact that the scene is set in a completely white room with neon lights that deprive the environment of any decoration, but also for the sometimes disturbing music that follows rhythmically the agitated breathing of Xi Nan. The intent of this video is therefore to invite the viewers to sense and feel the fragility and vulnerability from her own experience, as well as to reflect upon their own inner struggles. At the same time, she sees her work as a journey of introspection and healing: in fact, she has created the small-scaled sculptural objects present on the table with clay and mechanical apparatus, representing to her metaphorical devices that provide form and access to reflect her inner world, inviting the viewers to interact with her work through a subtle and multi sensory experiences breath, vibration from heart beats, pulse and belief.
Xi Nan
In "Routine 2" the use of medical tape returns, this time however to be made in small pieces by the artist and regularly attached to the wall of a small storage room where Xi Nan is located. After completing this operation, the artist, with an attitude that reveals her frustrations caused by these rituals to which she undergoes herself, begins to detach each of the small pieces of medical tape made and makes them into balls to insert them in a broken lightbulb at the entrance. With this second video, Xi Nan intends to underline that we are the architects of our own psychological spaces. We design the spaces subconsciously and we are also the residents in our spaces as well as in reality. Sometimes, we get trapped in our own mental space, and look for the exit sign to lead the way out to a haven. The “Routine” series therefore is made to allow ourselves to say "It is okay to be not okay”, to allow ourselves to ask for help, to accept ourselves as who we are, to say goodbye to the past and trust the present. Xi Nan’s intention is to address the significance of mental health for everyone, and bring in more understanding, acceptance, love and support in our society.
Art Curator Matilde Della Pina
Xi Nan
Routine 1
Xi Nan
Routine 2
Yannick Chevrel
To introduce the paintings presented at the international art exhibition Hysterica by the artist Yannick Chevrel could be useful starting from his consideration about the art. As he says: << Abstract painting for me is synonymous to freedom; it has no boundaries no rules. It is a free land of expression that offers viewers a wide angle of interpretation.>>. This means that for the artist the moment of artistic creation is a way to feel free to express thoughts and feelings about reality. Starting from the first painting titled Duo One, we can see that the artist chooses two colours that seem to stay on the canvas to say something to us. As if they were two worlds that stand out to create a speech. In fact, we can see the composition divided into two different parts that in the centre seem to mix with each other. The blue and the red talk about this duality and encounter. The effect made by this encounter between two colours evoke the idea of love and passion between two persons. The second artwork presents a composition more complex both in colours and in shapes used.
Art Curator Elisabetta Eliotropio
Yannick Chevrel
On a background created with a mix of various colours, we can see many defined shapes with borders. In the process of the creation of this work the artist seems to abandon himself to the freedom and relaxing time. As if it was the canvas that suggested to him the colours and shape to use. The language used in the third painting titled The Conduit is different between the first two. The lines created with the brush are more defined and tend to form regularity. The colours used try to not mix with each other, are more defined as they stay on the canvas to create different microcosms. The last painting titled The wound presents another technique. The composition in fact, seems to start from the centre and the title used to remind us of the idea that from the centre, maybe the wound, gushed the red colours or we can say the blood. At the end, we can consider that the language used by the artist Yannick Chevrel presents different kinds of realization. This thing is connected with the consideration at the beginning of the review. For him the moment of the art creation is a way to tell something in a free way, to use in every occasion new colours, shapes and worlds to tell.
Art Curator Elisabetta Eliotropio
Yannick Chevrel
Duo one
Yannick Chevrel
Red Jungle
Yannick Chevrel
The Conduit
Yannick Chevrel
The Wound
Yosserian Geairon
Yosserian Geairon’s job is to marry with his art desire with form and power with color. Like the flesh veiling our soul, the colored texture of his work that he paints on the canvas, covers a depth as mysterious as it is luminous. His main tools are bold and vibrant colors, so as to mark his paintings with an irresistible luminous charge. At “HYSTERICA” exhibition, Yosserian presents two paintings. “The girl in turban” presents a seated lady with a turban on her head. The woman, half-naked and in front of a dark background that highlights her shapes, is portrayed with deep colors of blue tones, wrapped in a yellow cloth, and is caught in the moment in which she is particularly thoughtful, so much so that her head is tilted and the eyes reflective. Intense and thick brushstrokes of color restore the depth of her face, making it almost a mask of which, however, we can glimpse all the expressiveness and depth of soul.
Yosserian Geairon
The same subject but with a different artistic solution is represented in “The thoughtful model”. Against a large backgrounds of bright colors, a white figure sits on a chair; with the elbow resting on the handle and the hand on her cheek, we perceive all the concern and anxiety of this woman, although the artist does not carry the identity traits of the face, nor the clothes, but represents her only as a white silhouette without of any reference. However, this expedient contributes to increasing the pensive state, which strongly reaches the observer.
Art Curator Matilde Della Pina
Yosserian Geairon
The girl in turban
Yosserian Geairon
The thoughtful model
Zain A. Balfaqih Zain A. Balfaqih conveys his passion for painting by depicting very different landscapes: “Bottle Trees” depicts trees with a very special shape. The trunks of these are roundish, so close to each other to seem united and support branches with pink flowers that create a harmonious contrast with the blue of the sky. The branches of the three on the far-right cast shadows on the trunk of the nearby tree that seem to move. The shadows of this tree seem alive and make you think of the trees of the enchanted forests. In the distance we can see trees similar to the one represented in “Dragon Tree”. We can therefore assume that the place from which this particular vegetation comes is the same, a place obviously dear to the artist. The sky of this landscape is more cloudy, grey and from this point of view you do not see any other type of vegetation. The branches of the “Dragon Tree” look like roots and intersect creating dense and complex games just below the foliage of the green leaves. The artist uses a realistic painting technique and reproduces every little detail of this place with precision and love. This natural landscape is in stark contrast to the urban landscape of “City after Dark”, with dark tones and unclear features. In this case the author has used a different representative technique, the brushstrokes leave room for imagination and some parts of the building depicted are simply hinted, covered by a grey and white fog that conveys the feeling of cold, the night cold. This picture is very different from the first two, here Zain works on the feeling and no longer on the simple vision. This painting pushes us to go beyond what we see. Zain through different types of pictorial techniques makes us reflect on the diversity of the forms of nature and urban environment. The author communicates his passion and the desire to experiment ranging from classical to impressionist and abstract painting.
“Painting for me conveys a powerful message to connect with people from around the globe.” (Zain A. Balfaqih)
Art Curator Sara Giannini
Zain A. Balfaqih
Bottle Trees
Zain A. Balfaqih
Dragon Tree
Zain A. Balfaqih
City after Dark
Zarga Martini
Italian visual artist and design professor, Zarga Martini through her digital paintings shapes the maniacal thoughts. An intersection of empty spaces to create new figures and colours. Fireworks of aesthetic speeches like a 80s carnival parade. A multitude of faces can be perceived, a mass of thinking people, walking on the streets, a great amount of heads busy with their own stories, maybe filling every empty space of their minds with some resolutive illumination. Bright pastel colours add a sense of enjoyable short circuit, the eye gets lost in the perfect harmony of shades and perhaps can miss the fatigue that these subjects express. Circles over circles, obsessive repetition of finite curves, once again geometry is used to communicate apparently illogical emotions.
Zarga Martini
The circle is a closed shape, it points at a space and draws a concrete line that loudly says: here. Zarga Martini is freely mixing these lines, she is pushing them to their limits and caressing the results. Simple geometrical shapes associated with ideas of spiritual purity, a more recent Suprematism, this author’s digital paintings can be the hidden parts under Malevich’s black square. A pure plastic sensibility that rejects the idea of serving history and the representational world. The objective universe is useless compared to the feeling one.
“A painted surface is a real, living form.” (Paul Lehr)
Art Curator Federica D'Avanzo
Zarga Martini
EMPTY
Zarga Martini
HIDDEN FACES
Zazu Rodríguez Zazu Rodríguez is a Spanish contemporary artist based in Madrid, Spain. Her creations speak about reflection and introspection following a poetic minimalist flow which ends up creating something great out of things that form part of every-day life. To her, the interaction of objects is the perfect language through which she can create - in a deeply personal way - her particular creative world. A mixture between photography, placement, objects and custom typography with a message that can - and does - take over multiple senses. She belongs to that new batch of contemporary visual artists whose work shows the way to beyond the aesthetic sense. At “HYSTERICA” exhibition, Zazu presents three artworks. “Contains 100 deep breaths” is an object montage of an open packet of cigarettes on the label which reads “Smoking forces you to take a deep breath”. The work is intended to be a reflection on nicotine addiction and how it affects not only our life and the effect it has on us, but also our way of breathing. Chemical or mechanical vice? What if the chemicals were just an excuse to admit that counting up to 10 is the new smoking? “When you go back to your cigar” the artist says “I would like you to imagine one of these transparent straws and remember that, technically, you are taking more than 10 deep breaths through a cylinder 5mm in diameter. By default, you are breathing deeply, aren't you? So of course you feel more relaxed!"."Daniel's eye" instead is photo-object collage, a photograph of a New York intersection on which the artist places, in the upper right corner, a bottom of a glass that acts as a lens for the image, zooming in on a pigeon that has landed on one of the signs. The animal, closer to the plague and the dirt than to peace, through this expedient of the lens is highlighted and exalted as much - and perhaps more so - by the splendid buildings behind it or the monuments that surround it. Because this is beauty - and we are not talking about the one that is objectively beautiful for everyone, but about the one that affects us all individually in a subjective way -, it comes when you least expect it, when you are distracted looking at something else and it manifests itself to you throwing himself in front of your eyes. The latest work presented by Zazu is “Hypervigilante”, a photo-object collage of a photograph depicting a wrist and the beginning of the arm on which Zazu applies thorns. With them, the artist wants to represent the hyperproxesias of hypervigilance, during which one observes the excessive presence of noises, smells, lights or movements... just as if the senses had awoke and fell asleep at the same time. It’s a feeling of constant threat, except for the addiction which follows after the sensation of going through the long-awaited (by creatives) emotional lucidity of the artist. The golden thorns positioned on the black and white photograph further enhance the harshness of this condition and the difficulty in living with it and overcoming it.
Art Curator Matilde Della Pina
Zazu Rodríguez
Contains 100 deep breaths (Smoking forces you to take a deep breath)
Zazu Rodríguez
Daniel’s eye
Zazu Rodríguez
Hypervigilante