LIQUID ARSENAL Official CATALOGUE

MAY 28TH - JUNE 03RD 2022

Curated by Art Directors Carlo Greco and Alessandra Magni Critical texts by Art Curators

Alba Morosini Alessia Perone Alessia Procopio Angela Papa Benedetta Battaglini Camilla Gilardi Carola Antonioli Chiara Rizzatti Eleonora Varotto Elisabetta Eliotropio Erika Gravante Federica Acciarino Federica D’Avanzo Federica Schneck Francesca Brunello Francesca Catarinicchia Francesca Mamino Giorgia Massari Giulia Bresciani

Giulia Dellavalle Giulia Fontanesi Ilaria Falchetti Karla Peralta Málaga Letizia Perrieri Lisa Galletti Lucrezia Perropane Manuela Fratar Mara Cipriano Maria De Marco Matilde Della Pina Marta Graziano Martina Lattuca Martina Stagi Martina Viesti Miriam Passoni Sara Giannini Silvia Grassi Vanessa Viti

One atom of oxygen and two atoms of hydrogen. H2O, invisible molecule announcer of existence. Water is the mother of the world as we know it, water is the parent of the precious and imperceptible spark of life. From the primordial soup came to light the first unicellular living beings - probably bacteria -, from the amniotic fluid we feel protected until the day we come to light.

Water, water and more water. On the other hand, that transparent liquid attracts us, its sight inspires ancestral reminiscences, its fresh and wet nature invites us to immerse ourselves in the dense and clear fluid. The enchanted charm of water bewitches us, enchants and lulls us with its wave motion and, making us resonate in us melodies from the instinctive flavor, evokes innate stimuli of a time that was. And so it is that our whole existence is based on this small molecule, on these imperceptible hydrogen bonds that form, break and reform in milliseconds, making water a "dynamic" substance with unique characteristics and properties. We are attracted to water, we are composed of water, we live with the need to assimilate water. Tasteless, colorless and odorless fluid that carries with it the breath of life and hope. Water is inside and outside of us and has permeated our lives - and our thinking - since the dawn of civilization. Pantha Rei, is one of the most famous aphorisms attributed to the Greek philosopher Heraclitus and it is no coincidence that, to explain the philosophical maxim, the image of water comes to help. "Everything flows", you can not descend twice in the same river and you can not touch twice a mortal substance in the same state, but because of the impetuosity and speed of change it disperses and collects, comes and goes. The predominance of becoming over solid being is a very dated concept, formulated centuries ago by the thinkers of the very first modernity and the predominance of historicity over contemporaneity is nothing but the sign of a predominance of flowing. The fact that fluidity belongs to the human being is indicated both by our biological composition and by the composition of the very society in which we are immersed. Ours is a magmatic world, elusive in its relationships, postmodern in its total absence of the granitic semblance of an ancient world. It is a society in which the solid era of progress has come to an end, in which everything slips and the flow drowns out all persistence, all permanence, all rigidity. Beliefs and ideals become changeable, social ties become extremely fluid and indefinite, the boundaries and coordinates of space-time disappear. We are in the presence of liquid modernity and all we have to do is immerse ourselves in it, letting ourselves be carried away by the flow of eternal becoming. Indefinite boundaries, non-existent in their development in the LAN networks of computers; fluid genders and love; a liquid reality that transforms its roots by reflecting itself in unreality, in the "other" real: that of the internet - and of the Metaverse. A new reality that finds and elaborates its nature in the liquid state of things. M.A.D.S. Gallery with Liquid Arsenal stands as a manifestation of the will to reflect on the concept of "liquidity" and, at the same time, is configured as a sort of walkway between reality - solid and tangible - and unreality - virtual, simulated, non-concrete. Let us let ourselves be carried away by the current of the river, let us wet our limbs and liquefy together with the molecules of water. Let us lose our solid and stubborn beliefs and embrace a variable reality that makes uncertainty its wonder. Liquid Arsenal exhorts to an attitude of openness towards all limits, to a way of life that bases its nature in the question, in the discovery and constant assimilation of new elements and new ideas. Art, on the other hand, is perhaps the most suitable language for the achievement of this conduct: not very prone to regulations, excluded from every preconception and every programmed intervention, the artistic epiphany emerges as a magmatic fluid from the inner self of the artist, showing itself to the eyes of the world. Yet, the concept of art has always been correlated with the concept of memory and stability in time, of solid imprint of the human being in the flow of events. How then, can the gestures of artistic elaboration be considered as the preferred alphabet to tell this new reality? Liquidity does not coincide with absolute oblivion and the negation of all forms: there is the Lete, the river of oblivion, but there is also the Eunoè, Dante's torrent that flows close to the Lete. The Eunoè is the river of memory, of the indelible past of a lived experience, fluid trace of the lives that follow one another in our reality. Art, like Eunoè, is a granitic trace of human making and, at the same time, a smoky mirror of the continuous fluidity, of the perpetual flow of our existences and ideals.

Concept created by Lisa Galletti Art Curator

#else grüsst The photography of #else grüsst presents itself as a visionary tale, where the visible and the intangible meet. We travel within her photographs and discover stories that will perhaps remain in our imagination or walk away with the one we see. Through a great creative fury, using ICM (Intentional camera movement), the dramatic and poetic load of the work is emphasised, which overlaps with the contrasting feelings of the observer. A human moment is imprinted, an instant of existence that remains imperceptible but still deeply attached to us. The artist attempts to place her curious and attentive soul in her photograph, placing every detail of the world, every memory, and every single feeling. The image is thus characterised by chaos and balance, where the colours of the lights and the foreground figure that emerges in the photograph, although blurred, seems to have a perfect contour. The scene shows a desire to hint at an unseen beyond, creating a feeling of mystery and fascination around the bright and opaque representation. The movement of the camera allows the viewer to identify with the person portrayed, but at the same time to wonder where they are going or what they are experiencing. With a wave of mystery, the character heads towards an unknown destination, as if to hide from the world around him, which seems to disappear and dissolve. There is an interaction with the observed person, even if indirectly, leading the observer to ask questions and perceive that link with the present from which, however, he also seems to want to distance himself. In the background there seems to be almost a call to follow him, leading the viewer to a sort of doubt of perplexity and nostalgia. The photography of #else grüsst produces a totality and continuity in time and place. Her art is a continuous becoming where different moods, places and memories are explored, brought to light, and changed. The expression, generated by an instinct, creates an enchanting narrative, where the sort of pursuit is made cautious and intimate by the movement of the camera. The reality is a creation that, inescapably, leads to a state of restlessness and uncertainty, where the observer has the desire to delve deeper into the scene, almost in the ambition of impossible focus. The connection with Manu Katché's music leads to a more complex and marked emotional picture. A connection between music and photography that leads to pushing the scene towards an undefined and undiscovered beyond. The melody, like noisy footsteps within the scene, leads the spectator to imagine an illusory pursuit, leading him to an attitude of openness towards what is depicted and towards what surrounds us in everyday life. A melancholic transport where imagination and reality meet.

Art Curator Alba Morosini

#else grüsst

Daze days

Abraham Diakite "Good art is one that lets you enter from so many different angles and come out with so many different perspectives."

(Mary Schmich)

Abraham Diakite is an artist who, from the tender age of seven, has dedicated himself with passion and perseverance to artistic creation. Within his artistic poetics the search for a connection between the human being and the surrounding world stands out, clearly visible for the constant presence of a symbolism linked to nature. In his three works the image of water, of the fluidity of being and of today's society are prefigured as the true protagonists of the works. The artist's imagination ranges from the world of comics to the world of wildlife, but the presence of personal representation is constant, as if to further strengthen his personal message of seeking connection, of interpersonal relationships with the outside world.

Abraham Diakite's art is an invitation to the rediscovery of common elements, in relation to the theme of fluidity and connection, of a direct confrontation in view of personal and, if desired, also spiritual growth.

The use of an imaginary relatively known to the new generations is the weapon that the artist uses to connect with others and to make his messages arrive in a more direct and incisive way.

Art Curator Federica Schneck

Abraham Diakite

Ride the wave

Abraham Diakite

Wild things

Abraham Diakite

OpenSeas

ad. inf "Every docking and every setting sail of ship is/- I feel it inside me like my blood-/unconsciously symbolic, terribly/threatening with metaphysical meanings."

(Ferdinando Pessoa) The sea is the most consummate poetic image because it symbolizes the uncertainty and restlessness of living. Those who venture out to sea know that a shipwreck may await them; those who go by river know that they may encounter a waterfall. Islands and oceans, which have always been symbolic figures of salvation and danger, have always been places of beginning and end of the most studied stories and legends. The image of a waterfall, of a fast-flowing stream of water, is both epic and utopian image, auroral and Promethean. Faced with the visual idea of water in its expression of power, we imagine ourselves heroic subjects, in the presence of an epic- adventurous crossing. The image of water in its natural context is always understood as surface but also depth that hides the abyss the inaccessible place for reason. In front of the most frightening and at the same time joyful of the elements one feels that thought loses its sense of gravity, thus projecting itself to until then impossible, horizons. Light, which in the digital painting of ad. inf has great revelatory function, is solar and divine element, it reveals precisely the forms and colors of the world that the artist proposes to us, it shows things in a new dimension. Light is the visible manifestation of the invisible. The gaze is allied with light by nature and with the lightness of the weightlessness of any vessel, we feel ready to participate in the game of art.

Art Curator Federica D'Avanzo

ad. inf

sparkling storm of water

Akane Hiraoka

Akane Hiraoka is an eclectic artist, initially a commercial motion graphics designer, who later embarked on an artist career thanks to her passion and talent. Hiraoka is an artist with a great propensity for what lies beyond the sensible world, we can interpret his predilection for the theme of the multiverse with the intention of eliminating what Schopenhauer called "The Veil of Maya". In fact, the artist not only carries out a search for the deepest aspects of reality, but also, and above all, imagines different versions of reality and places them in art. For the first time guest at an exhibition organized by M.A.D.S. Art Gallery, on the occasion of "LIQUID ARSENAL" she exhibits "Abstract # 2", an animated digital work in which the theme of transformation, transition and flow are paramount. The colors and shapes follow one another, accompanied by electronic sounds that make the atmosphere deep and primordial. Hiraoka seems to tell us his vision of the birth of the human being and its evolution, starting from the atom and matter, passing through a pixel representation of the dinosaurs up to the point of inserting the emotion as the final point of human evolution "I 'm having an emotional breakthrough". The work presented by Hiraoka turns out to be a real oxymoron, on the one hand the theme of creation and its evolution inserted in a cyberpunk atmosphere, create a completely new imaginary in which the viewer has the faculty to imagine and become oneself participant thanks to infinite possible worlds that can arise within the mind, thanks to its own imagination. Akane Hiraoka, therefore, completely breaks the ties with the past and manages to create works perfectly descended into our time, unique and without the rules necessary for their realization.

Art Curator Martina Viesti

Akane Hiraoka

Abstract#2

Aleksandra Ciążyńska “The square is not a subconscious form. It is the creation of intuitive reason. The face of the new art. The square is a living, regal infant. The first step of pure creation in art.” (Kazimir Malevich)

Aleksandra Ciążyńska, is a contemporary Polish artist whose artistic research is not defined within a specific style, ranging from figurative to abstract and investigating deeply multifaceted experiences. Intimate portraits, elegant landscapes and pure abstractionism tell of an energetic mind whose need to discover itself is nourished by change. Her artworks are often the result of a direct encounter with form par excellence. Abandoning all reference to reality, the artist pushes towards a synthetic world made up of meticulously studied colour fields, which spread out on the canvas following precise boundaries. In the work entitled 'Mysterious entrance', exhibited at M.A.D.S. Art Gallery on the occasion of the LIQUID ARSENAL exhibition, the artist reveals herself to the public through a precise pattern. A composition of blue and orange rectangles intersecting each other, alternating dynamism and stasis. The textures that characterize the central part help to convey a sense of movement and make everything more mysterious. The square structure represents the balancing of the matter, the regularization of what by its nature would have remained shapeless and chaotic. The square is a symbol of definition and delimitation. It represents the model of the sacred enclosure, the temple, the foundation of the conjunction of the four symbolic cardinal points and the symmetry of the opposite sides. Influenced by what Theo van Doesburg defined as Concrete Art instead of Abstract Art, this work does not reproduce nature, nor does it want to abstract it, because it arises from the nature of thought. It wants to be a door that opens onto a new world, where the dynamism of the mind finds the perfect balance, giving rise to new ideas.

Art Curator Francesca Brunello

Aleksandra Ciążyńska

Mysterious entrance

AMAN

Oppression and universal connection are the main meanings of the artist Aman’ paintings. Her artworks are the representation of what she feels in the exact moment she approaches the canvas to paint. Different styles and characters are refigured into the three paintings presented at M.A.D.S. Art Gallery for the ‘Liquid Arsenal’ exhibition. Figurative paintings rich in decorative elements are ‘Awakening’ and ‘Soul Connection’ where the main characters and subjects of the scenes confound into the chaotic background. ‘Awakening’ is a sort of invitation with which the artist exhorts the viewers and firstly herself to react. A multitude of elements with different meanings are here put together to create a significant painting. Three black raven - one of them about to fly toward the main character - are the symbols of negativity but the yellow aurea that highlight the human faces confers a positive atmosphere to the scene. As a sort of rebirth from the bottom of the hearth, grows a human figure from which an evanescent presence flies away. Everything seems to drip a part from the luminous elements, the representation of the positivity winner on the negativity. The same aurea that is considered as a luminous and magical light is refigured into ‘Soul Connection’ too, here surrounding two bodies embracing or connecting between them. Blue are the two main characters, as blue is the water which the concept of the exhibition refers to and this is a reasoned meaning coming from the artist herself: the connection between the human beings can be born also into this contemporary society. Because just like the water, people too are able to adapt to their lives and to live near to each other, if only they remember to put away the prejudices. Different in its technique, Medium of Light can be considered as the scene from which leaves the light used by the artist in the previous paintings. A sort of neon soul inserted into a soft and almost smiling skull is spreading its luminous essence lighting the dark scene in which it is refigured. It is just from this scene that the artist starts to tell her story of rebirth and self-discovery into a society that has abandoned her.

Art Curator Martina Stagi

AMAN

Awakening

AMAN

Soul Connection

AMAN

Medium of Light

Andrea Orosz "Painting is an inner journey where my creative side can unfold, where time ceases to exist and there is nothing but creation" Andrea Orosz

Nature is her muse, energy is the key to her works that sets her apart. Her energy, her strength is developed through a palette that is extraordinarily alive. The expressive force also comes from her confident relationship with the brush. At the international exhibition "LIQUID ARSENAL" hosted by the international M.A.D.S. art gallery Andrea comes across as determined but peaceful. Her naturalistic subjects communicate inner calm. The outside world enters the artist's soul and comes back out under the filter of her emotions. Nature is colored by the motions of the artist's soul, changing, becoming introspective. For her, painting is an inner journey where her creative side can unfold, where time ceases to exist and there is nothing but creation. Andrea also has a mission, she gives the artist a journey of inner peace. Calm mountains conveys feelings that we can only experience in contact with the sounds and colors of nature "Just close your eyes and there you are. You are standing at the foot and in the shadow of the mountains. It is very peaceful. You hear the water rushing and the birds singing nearby. There is complete silence as the breeze gently caresses your face. There is nothing but the present moment. As you breathe deeply, the scent of nature fills your body and soul." Japanese art is evoked by In the dance, a work that conveys serenity, joy, freedom, love, youth. Connection speaks of links between souls; it is no coincidence that in the center of the beautiful blue background is an eye, immersed in a dreamlike, naturalistic setting. The gold background contributes to the atmosphere above reality.

Art Curator Mara Cipriano

Andrea Orosz

Calm mountains

Andrea Orosz

In the dance

Andrea Orosz

Connection

Angela Morton

For the international exhibition “Liquid Arsenal” at M.A.D.S. Art Gallery, Angela Morton presents the video entitled “Night Train”, opening the door to a new dimension. As everything flows quickly, dynamic and vividly colored elements are repeated, while the train whistle bursts energetically within the short film. From the noise of the train to the animation of the images, every aspect comes across as clear and well-defined, thus enhancing a new form of artistic expression. Although not on the vehicle, thanks to Angela's creativity and artistic conception, the viewer is able to imagine himself/herself inside, as if he/she were sitting while scanning what is outside the window, admiring the time that passes, the day turning to night, as the neon lights of the various stores are turned on. It is possible to notice an increasing change in the film, but not only: the observer’s perception also evolves according to the changing tones, sound, and all components that follow one another frenetically. The artistic creative action of the artist produces a multiplicity of combinations of figures, shades and movements. Anything is generated by consciousness, knowledge, reality, but especially by the “preconscious”, intuition or perceptions. In this way, Angela Morton creates a multidimensional and sensory work in which feelings, emotions and moods emerge energetically, decisively and optically-perceptively capturing the viewer's attention.

Art Curator Alessia Perone

Angela Morton

Night Train

Anita Familje

The young Belgian artist, Anita Familje, has been drawing for as long as she can remember; art has therefore always been within her and this passion has grown and improved day by day. Lately she has approached the oil portraiture and we can admire an example of it in the work under examination: "Viking". The painting we are observing, however, is not only the portrait of a Viking warrior, of a man of the past who dedicated his life to battle, but through the artist’s agile hand, we can also see all its charm. The man is portrayed from behind, but his face is partially rotated backwards so that we can look at his features. Choosing this position, particular and not obvious, the artist demonstrates both her skill in the anatomical rendering of the body, and a sort of rebellion, a desire to get out of the box of canonical portraiture. There is no longer the static and rigid half-body that stare at the viewer, but here there is a dynamic half-body with a contemporary pose. Anita Familje, moreover, does not need to idealize the subject, to "embellish" it as the artists of the 1800s used to do, because here the protagonist of the work is "perfect" without the artist having to modify something. On the other hand, the main quality that a man must have, for Anita Familje, is exactly the charm. As for the luministic rendering, the light bathes the body of the protagonist from above, revealing it sculpturally, while from the chromatic point of view, the colors appear warm, without excessive contrasts and therefore comforting the viewer’s eye. Although the man in the portrait comes from the past, everything in this work also refers to contemporaneity: the back completely tattooed, the long hair partially tied and the beard unkempt. The work can be seen, therefore, if we want, also as a proof of the cyclicality of fashion and in general of the fact that past and present are always interconnected and inextricably linked. Anita Familje presents, therefore, an artwork that is much more than it may seem, thus proving to have excellent artistic skill and be ready to take flight.

Art Curator Francesca Catarinicchia

Anita Familje

Viking

Anna Zubets Anderson Anna Zubets-Anderson is a US based artist, but she has Ukrainian origins. On the occasion of the exhibition "Liquid Arsenal" proposed by M.A.D.S. Art Gallery, the artist decides to show three works including two closely related to the current tragic situation that sees Ukraine under Russian attack. The first, analyzed in this text, is entitled "Uke Blood" and brings to light one of the psychological consequences that the war is having on the Ukrainians: an identity crisis. On the one hand, the artist was born and grew up in Ukraine, where she spent her childhood and where part of her family still lives. On the other hand, by birth she obtains the Russian passport and by oath she gets the American passport. The work shows a woman covering her face with her hand, as a sign of indecision and despair, looking at her two bloody passports. The trick of covering the face makes the woman devoid of identity in such a way that any person can easily identify with the subject. The woman’s body is adorned with blue and yellow lines, the colors of the Ukrainian flag, which clearly represent the veins and therefore the blood that flows in her, her origins. The colors of the work and in particular the splashes of blood, darken the environment and transmit a great sense of impotence on the part of individuals, forced to witness this tragedy. The work entitled "When the War Ends" has more lively tones and presents strongly surrealist traits. In the foreground a pregnant woman is crouched while she picks a flower that is given to her by a flamingo, symbol of rebirth, positioned precisely over a skull, symbol of death. The whole is surrounded by butterflies that brighten up the composition, while in the background an abandoned city gives a gloomy feeling to the environment, balancing the light emanating from the center. The work perfectly embodies the feelings that a war causes: on the one hand the hope of an end and on the other the fear and anguish, as if we were both in a dream and a nightmare. The last work, "Hiding Place", presents a similar setting: aquatic and magical, almost surreal.

The technique is different: it is evident a strong use of pointillism that gives the work a particular light. Anna Zubets Anderson’s works conceal mysteries and hopes, offering on the one hand messages of peace and on the other putting viewers in front of the harsh reality accompanied by an imaginary and surreal language.

Art Curator Giorgia Massari

Anna Zubets Anderson

Hiding Place

Anna Zubets Anderson

Uke Blood

Anna Zubets Anderson

When the War Ends

Annica Hallman

Annica Hallman is an autodidact artist from Gothenburg (Göteborg), Sweden. Having gone to art school for one year, since 2020 Annica has painted more regularly and been more productive, painting in acrylic, figurative and intuitive, so art creates during the process. At “Liquid Arsenal” exhibition hosted by M.A.D.S. Art Gallery, Annica presents three paintings. The works all have a woman as subject, always represented in a different way: one could therefore think that Annica represents herself, portraying herself to investigate the many and different facets of her personality and character, always infusing strength and energy. In “Mysterious Lady” the subject is a female face that seems to be looking behind us; fragmented into several parts as if to break it down, with bands of color that mix and follow each other, Annica guarantees a certain harmony, sinuosity to the whole, infusing women with great energy and power. In "Woman, red grape", another woman sits on an abstract red and blue background, almost merging with her. The woman is naked and is portrayed from the back: her body, slender but at the same time toned and vigorous, conveys a sense of strength and energy: not surprisingly, red grapes are sprouting between her hair ... She should be on a bottle of red wine! Lastly, in "Yellow Lashes" Annica's avatar is represented with long and yellow lashes, looking at us with a calm, maybe a little surprised eyes. Her face is made up of beams of colors which, when mixed with each other, generate great strength and energy, but also threedimensionality and movement.

Art Curator Matilde Della Pina

Annica Hallman

Mysterious Lady

Annica Hallman

Woman, red grape

Annica Hallman

Yellow lashes

Anton Faalk “I am convinced that art can help a person answer many "eternal questions". Art is a bridge that connects people with each other” (Anton Faalk) Huge cultural background, great artistic talent and sensitivity: these are the three main characteristics of Anton Faalk. The artist has the merit of skillfully combining painting technique and reflection on certain cultural and social issues. We are delighted to host an overview of his universe at the international exhibition "LIQUID ARSENAL," hosted by the international art gallery M.A.D.S. Masquerade and Retribution of Tisiphone present a decomposition of reality that nonetheless preserves the figures, very close to analytical cubism but with a bright and pure palette. Indeed, the artist says, "My paintings are reflections of my emotions, which are a reaction to many events in life. So the situation in Ukraine cannot but affect my senses. The feeling of injustice causes a need for pure colors. That is why white, red, and black colors dominate in my artworks now." As can be inferred from these words Retribution of Tisiphone is a work that denounces the crimes of the war in Ukraine. The artist decides to tell his point of view by evoking a classical personification: Tisiphone is a character from Greek mythology and was one of the Erinni, figures who represent vengeance. This mythological figure represents punishment for the murder of innocent victims.

Masquerade shows great sensitivity to culture and folklore, the artist says "I painted it under the impression of the past Venice Carnival." Music is also a source of inspiration for Anton's sensitive soul, Concerto No. 4 in F Minor, Op. 8, RV 297, "Winter": I. Allegro non molto belongs to another figurative, almost minimalist register. In common with the works described above, however, it has the search for art in the real, in the lived.

Art Curator Mara Cipriano

Anton Faalk

Concerto No. 4 in F Minor, Op. 8 RV 297, Winter I. Allegro non molto

Anton Faalk

Masqerade

Anton Faalk

Retribution of Tisiphone

Arhdez "The realization of this work was the day of love and friendship here in Mexico the realization of this work was the day of love and friendship here in Mexico " Arhdez

Art that features movement is that of Arhdez. Manu Arias Hernández, known in art as Arhdez, presents at the international exhibition "LIQUID ARSENAL" inside the M.A.D.S International Gallery his work Sigh of love. How to represent a sigh, this is the question Arhdez asks himself. Movement and color are the keys to interpreting the work. The color red suggests the feeling of love. A work that is thought out, the silhouette in fact is made by the artist at a time prior to the creation of the work. His can be identified as a branch of art belonging to graffiti. It is no coincidence that Arhdez has worked as an urban artist, he has worked for government institutions making murals in various areas of the city, he has also worked in the guanajuato art center as a master of urban art, and he has learned and experimented with various techniques, always trying to do something different that would distinguish him from others.

Art Curator Mara Cipriano

Arhdez

Sigh of love

Arnaldo Makanju

Arnaldo Makanju (alias TRIPLANIUM) is a freelance artist who draws constantly everyday since he was a kid. He studied to Institute of Art “Scuola del libro” in Urbino, Italy. At “Liquid Arsenal” exhibition Arnaldo exhibits “BLUE DEEP BLUE. The work, as the title suggests, represents the sea and everything below it. In fact, Arnaldo's work develops through circles that represent bubbles that gradually get bigger and bigger from the left, enhancing the great movement and depth of what lies beneath the sea surface. Even the different colors, from white to blue to black, guarantee the conferment of depth and three-dimensionality of the work: what you seem to have in front of you is a strong sea current, imposing but harmonious, which is about to overwhelm us with all its strength.

Art Curator Matilde Della Pina

Arnaldo Makanju

BLUE DEEP BLUE

Arsen Shams Aldin "First I dream of my paintings, then I paint my dreams" (Vincent Van Gogh)

Where can we place the boundary between dream and reality, between conscious and unconscious? On that line subtle that separates us from the dream world, Arsen's works arise. The artist carries it spectator in a dimension made of magic and energy, he shows us something intangible and unreachable, the face of a man perhaps, we perceive the presence of life but we are not allowed to understand in detail what it is. The human figure has always had an important meaning for artists of all ages, the representation of it assumes a notable role for man for the interpretation and knowledge of himself. Perfect and idealized bodies are those that the classical age has elaborated, reproductions, sometimes of vices and virtues, or models to imitate. What Arsen puts in place is something aesthetically unique, which goes beyond the very limits of the human body, a face that has the shape of an egg at the same time, can be both. At the same time it is container and contained, an egg emerges from it, with human features. Everything appears to us as the memory of a dream, Arsen uses the surreal to overcome reality. His work is evasion and at the same time it is the starting point for a reflection on who we are and what we do. There is a great harmony in Arsen's artistic work, a strong balance that releases positive energy. He, through lights and shadows, black and white, writes stories, traces stories and it will be up to the spectator to listen to them through his personal interpretation. Encountering Arsen's work means finding the keys to open the door to the unconscious, so it means being able to give vent to the freedom to be, to experience limitless emotions, to dream and to overcome all the limits that our conscience imposes on us. Arsen gives us the great gift of freedom, through his works he makes us feel free to be, to interpret his work as we see fit and based on who we are. An intense work full of emotions and hidden meanings, which we can only understand by looking inside ourselves.

Art Curator Vanessa Viti

Arsen Shams Aldin

Happiness

Åsa Sjöberg Cederlöf “Do you see this egg? With this you can topple every theological theory, every church or temple in the world.”

(Denis Diderot) The egg, the largest living cell, in its form devoid of edges, thus without a beginning and an end, is the emblem of divine perfection: the egg contains within itself the biological mystery of origin and the secret of being. Its function, which is to preserve and ensure the permanence of life. The egg, in its sacred foundation, is one and triune: one in form, three in material substance thus the shell, yolk and albumen; not only that, it is triune above all in its and sacred essence of birth, death and resurrection. The egg reveals life as mystery. In many ancient cultures it is linked to cosmology, thus to the very creation of the world. It is therefore no coincidence that in Åsa Sjöberg Cederlöf 's paintings attracted by the beauty of these large moons immersed in a naturalistic landscape, we are magnetically enraptured by the presence and then also by the subsequent non-presence of these ovoid forms. A small world capable of selfgeneration, of construction, of creation from its own creative force. Nature for the artist is a source of great inspiration as well as an object of daily observation and close relationship. The painter looks at the moon with enchanted eyes and is guided by an intuitive painting that therefore draws from human history and not surprisingly, recognizes as precious, the shape of an egg or eggs in a nest. And here in this, which, we will deliberately look at as a triptych now, we find the mystery of life: birth, death and resurrection.

Art Curator Federica D'Avanzo

Åsa Sjöberg Cederlöf

The egg

Åsa Sjöberg Cederlöf

Gravity

Åsa Sjöberg Cederlöf

Mom will be back soon

Astrid Hutengs “The real voyage of discovery is not in seeking new lands, but in having new eyes."

(Marcel Proust)

Nostalgia is referred to the state of mind of restlessness that accompanies the romantic aspiration to get out of the finitude of reality, which generates an indefinite malaise, to return to the infinite, the origin and common home of humanity. Nostalgia is the ache for the nearness of the distant, says Heidegger. In fact, it pointed to a disease diagnosed just over three centuries ago, and it concerned Swiss soldiers who suffered from being far from their valley, their homeland. That feeling of spatial distance, with the romantics turned into temporal distance. No longer spatial distance that implies the albeit remote presence of what one yearns to see again; but temporal distance, referring to a time that has passed; thus a desperate feeling that cannot be fulfilled. Nostalgia is that sweetest pain that pervades the soul for a distance we feel close and for an absence we feel present. Nostalgia is the original feeling that has moved the art, thought and great literature of all times. In Astrid Hutengs watercolor painting we are confronted with a female figure immersed or otherwise invaded by a liquid atmosphere, the woman seems to protect herself out of habit of formality but advances in this state of liquefying her context/remembrance as if this condition were not only acceptable but desirable. It is the paradox of nostalgia, an ache one feels for something that is not there and probably should not even be there, but which is welcomed as a prolific moment for the growth and elevation of the romantic spirit. A small treasure of the human mind with which to walk one's inevitable path.

Art Curator Federica D'Avanzo

Astrid Hutengs

branching out

ATABERK YALCIN

ATABERK YALCIN is an Architect and Digital Artist. He uses his knowledge in these fields to create conceptual video artworks. His art is focused on the union of architectural elements and motion design.

In this way he can create a dystopian universe made by immaterial architectures. For his first participation on the occasion of the “Liquid Arsenal” exhibition at MADS Art Gallery, he presents a digital motion video titled “Soul Dispersion”. In this work, the spectator can see a big particle suspended in a black vacuum. The viewers witness the decomposition and dematerialization of the particle into many micro-particles that are dispersed in the indefinite space around them. It’s impressive the accuracy of the details and every gradation of shapes on these round elements. One feels as though captured by this dispersed image, unable to take one's eyes off what is happening. Thanks to its poetic title, we are able to know a bigger meaning of this amazing work: the dispersion of a soul ready to open up into the world. The core of this big particle gives off light that begins to spread into the black space. What is certain is that Ataberk Yalcin imprints in every seconds of the video, instant feelings, concepts that come from his personality, but at the same time it leaves freedom to the viewers to interpret with the mind and imagine universes through his works.

"A true artist is not one who is inspired, but one who inspires others.”

(Salvador Dalí)

Art Curator Federica Acciarino

ATABERK YALCIN

Soul Dispersion

Atsushi Kobayashi What does space look like? In his studies, Atsushi Kobayashi investigates how a spatial pattern can be defined through a work of art. In his drawings, the artist attempts to focus on his thinking and his creative process, going so far as to create a diagram that can demonstrate the whole process behind the actual realisation of the artistic work. Space has always been investigated by all of us, ever since we were children: through play, in fact, everyone has attempted to explore and understand the environment that surrounds us, going on to elaborate the construction of that place within which we continue to move. In that sense, the idea of play becomes an integral part of Atsushi Kobayashi's study, which demonstrates how it is the main tool for the creation of space, the transformation of the system and the creation of forms, up to three-dimensionality through abstractness. In this sense, the idea of the cube, a medium of study in Bauhaus, de Stijl and Froebel, becomes the formation of the basic thought and the basic form for the idea of construction. Brought into relation with the mind, it becomes an expression and symbol of the essence of all things, where each piece is a constituent element of the world: thus, the purpose of the building block is to allow the world to be realised through play.

The compositional structures are amalgamated and integrated into an incessant production process, where the artist's contribution finds priority realisation. It’s the constitution of a systematic principle, where the connection of the pieces is a means of understanding and thinking about the structure of space itself. In the works of Atsushi Kobayashi, one notices the conquest of free and new space and his ability to structure visual sensations according to an all-mental order, with balance and direction, with sure visual effectiveness. The balanced and harmonious graphic sign captures, in fact, the sense of a reality seen with an enchanted eye and formed by solids and voids... like a cube. It is a mental and physical construction of the artist, who attempts to express the concrete through the abstract and vice versa. With brilliant intelligence, he creates life, architecture, and art. He allows the observer to understand what intangible is by laying bare his creative ingenuity and allowing thoughts and their evolution to be seen. It is a representation of reality, its space and construction, leaving the observer with the possibility of contact with the figural representation.

Art Curator Alba Morosini

Atsushi Kobayashi

map basic

Atsushi Kobayashi

map cube

Atsushi Kobayashi

continuity

Atsushi Ohta “Every artist has been inspired by the beauty of lines and colors and their intersection of use, rather than by the concrete subject of the painting.” (Piet Mondrian)

Atsushi Ohta exhibits for the international exhibition “Liquid Arsenal” at the M.A.D.S. Art Gallery five artworks (“Drawing a square c.p.53”, “Drawing a square c.p.56b”, “Drawing a square c.p.58”, “Drawing a square c.p.59” and “Drawing a square c.p.60a”): his artistic and aesthetic conception and style between the abstract and the geometric emerge strongly from each painting. In his large canvases, the artist emphasizes lines and the use of blue or green color, that together with white tone, create a formal and chromatic balance. By creating a relationship between universal order and natural reality, Atsushi explains his vision through an essential and complete element, namely the square. Around this form, segments and grids are arranged on the pictorial surface, all to create a symmetrical, stable and uniform composition. The artist expresses harmony and rigor in opposition to cosmic disorder, aiming to achieve a representation of the unchanging truth of things, in favor of a painting that is independent of context. Contributing to visual as well as abstract communication, Atsushi defines the universality of his works. Every aspect confirms this hue as the main symbol of the infinite. Abstractionism, placed between simplicity and concreteness of figures, is meant to express a general beauty that analyzes the origin of elements, and geometry represents at the same time that rhythm and imperceptible dynamism that turn out to be basic elements within Atsushi Ohta's artworks.

“I want to get as close as possible to the truth, so I can abstract everything until I arrive at the fundamental quality of the objects.” (Piet Mondrian)

Art Curator Alessia Perone

Atsushi Ohta

Drawing a square c.p.53

Atsushi Ohta

Drawing a square c.p.56b

Atsushi Ohta

Drawing a square c.p.58

Atsushi Ohta

Drawing a square c.p.59

Atsushi Ohta

Drawing a square c.p.60a

Ayelet Edri Everyone becomes a poet when touched by Eros. (Plato) Ayelet Edri's artworks inspire love. It is not only the feeling that moves the artist's imagination, but it is the artist herself who transmits love, pouring what is intelligible onto the canvas until it becomes visible. Through the versatility of abstract painting, Ayelet expresses the most intimate part of herself, encouraging the viewer to recognize himself in the universality of human emotions. Those kisses sank deep - presented on the occasion of Liquid Arsenal - is configured as an abstract composition with a geometric setting, which captures the viewer's gaze and imagination for the millimeter care of the lines and angles, as well as for the interesting chromatic choice. The shapes that make up the whole are almost exclusively triangles, with the exception of three small circles (two red and one blue) that stand out in the central part of the work. The accuracy in the details makes the work extraordinarily vivid, almost three-dimensional, and renders on the canvas the illusion of a dynamism that develops towards the viewer. The shades of gray that dominate in the outermost part of the work contrast beautifully with the shades of pink, green and light blue that alternate in the heart of the canvas emphasize the perfect precision of each line, of each single corner. Ayelet Edri has the ability to capture the essence of a moment thanks to the pure linearity of geometric shapes, thus managing in an exemplary way to bring the mind of the beholder to contemplate a higher level of awareness, which is revealed before the eyes with amazement and wonder.

Art Curator Chiara Rizzatti

Ayelet Edri

Those kisses sank deep

Bekmyrat (Bek) Hallyyev "You use a glass mirror to see your face: you use works of art to see your soul."

(George Bernard Shaw) The streets of Frankfurt am Main are crowded, people move fast, absorbed in their thoughts. Someone crosses the road, someone else gets on the tram, still others, next to the window of the subway, completely immerse themselves in words printed on poor quality paper. Bekmyrat (Bek) Hallyyev walks around the city center, he looks around and notices every gesture, every face, every look and he does not remain indifferent. He silently observes, reflects, imagines and interprets. Bekmyrat carefully explores the natural lines of the face of passersby, he studies them in detail and his vision comes into play in reading the structures, in aggregating and separating the components, in building and representing the subjects as they are proposed to us. The gaze is the vehicle of a presentation that produces a leap: from the visible to the sensitive, from representation to presence.

It is a kind of miracle, an incarnation. The contact established between the being represented and the spectator, who looks from the same point of view as the machine he portrays, opens a body to body, where time manifests itself in all its relativity, it cancels itself. Artworks and spectators dialogue and cooperate in a pathetic and, at the same time, empathic relationship. Eyes are a fundamental element in Bekmyrat's works; in "Stina" the girl, through her fleeting glance, seems to beg the viewer to listen to her words, a stream of consciousness, private and intimate, that the artist manages to grasp and that he decides to represent in the form of spots of color. In fact, each of us has something to show, a universe of particularities and imperfections that we often tend to hide, but which in reality represents our being. It is as if the artist could see beyond, as if he could reunite with the unconscious of his subjects, the key to receiving information that goes beyond the apparent personality of each individual. Another fundamental element in the artistic rhetoric of Bekmyrat Hallyyev is the emotional bond with his family. Raised in the atmosphere of fashion, design, photography and publishing, thanks to his fashiondesigner mother, he not only dwells on passers-by and strangers but also on the people dearest to him, for example, in "Dress of my grandma", in which the reference to the memory of a loving and reassuring presence is clear. The works of this artist are characterized by snapshots of a fraction of time; the subjects seem to be immobilized in one of the phases of their possible evolution, a continuous change. Bekmyrat therefore has the ability to capture the moment, to capture the power of the feelings and thoughts of his subjects and represent them, as he best believes, in his works. That’s a value that is not for everyone.

Art Curator Giulia Bresciani

Bekmyrat (Bek) Hallyyev

Stina

Bekmyrat (Bek) Hallyyev

Dress of my grandma

Bekmyrat (Bek) Hallyyev

Other color

Bill Santelli "The universe (and consequently the fundamental parameters that characterize it) must be such as to allow the creation of observers within it at a given stage [of its existence]."

(Brandon Carter) The anthropic principle states, in the fields of physics and cosmology, that scientific observations are subject to the constraints due to our existence as observers, seeking to explain the current characteristics of the Universe on the basis of this concept. The term 'anthropic principle' was coined in 1973 by Brandon Carter, who noted that 'although our situation is not "central", it is inevitably in some ways privileged'. With this statement, he aimed to bring an apparent truism to the attention of scientists: the universe and its laws cannot be incompatible with human existence. The anthropic principle thus emphasises that we live in a universe that in fact allows the existence of life as we know it. For example, if, at the birth of the universe, one or more fundamental physical constants had had a different value, stars, galaxies and planets would not have formed and life as we know it would not have been possible.

Here we probably imagine that Bill Santelli felt that epiphanic urge that leads an artist to begin his work.

Possible worlds, possible lights, possible colours. A universe, truly possible. This Carterian idea of a privileged position is also particularly interesting for art criticism and aesthetic philosophy: how the observer is by nature in a privileged position, just by the fact of existing and therefore with great, immense, perhaps certain probability able to enjoy without the need to understand the work of art that appears in such a context. Santelli's work and his scientific article thus begin a conversation which is the final aim of art.

Art Curator Federica D'Avanzo

Bill Santelli

Stellar #5

Bill Santelli

Stellar #11

Bill Santelli

Stellar #20

Birke Dedig

Birke Dedig's art is the manifestation of the most intimate and purest feelings. The artist lets herself be guided by what things, people and places inspire her. For her, art is born to soothe the soul and heal it from within, bringing out hidden emotions, problems or unresolved wounds. Abstract art is a means of freely expressing her emotions, transferring everything that is inside her at that precise moment onto canvas, not dwelling on recognisable scenes or objects, but focusing on pure expressive value. She paints only when she feels truly inspired, playing with colours, experimenting with shapes until she feels completely free and calm. The painting that the artist presents for this exhibition entitled 'Calm in the storm' is a depiction of the artist's artistic statement. A dynamic work, full of colour, created by instinct. Looking at it, we can almost imagine the artist leaving her brushes behind to paint with her fingers, to have a direct approach to the canvas and to be able to represent her emotions with more intensity. Colour is the real protagonist of the painting. Like the Russian painter Wassily Kandinsky, a pioneer of abstractionism, who used colours, lines and shapes to convey certain feelings, the artist creates small patches of light colour on a base composed mainly of dark colours, indicating, as the title suggests, a period of calm after very strong emotions. According to Gestalt psychology, which focuses on the themes of perception, each shape and colour brings back a precise feeling. This triggers a psychological reaction that leads the viewer to experience the same sensations as the artist at the time the painting was created. Sensations also heightened by the nervous movements of the fingers on the canvas, which convey a feeling of restlessness. The artist is not afraid to show the truest part of herself through her works, always trying to be true to herself.

Art Curator Lucrezia Perropane

Birke Dedig

Calm in the storm

Brigitta Körmöndi “Of course, a work of art can exist for the sole purpose of enjoyment, but I tend to side with the other side, who argue that a work of art should try to communicate something, to reflect on the world and to express something” (Brigitta Körmöndi)

Brigitta Körmöndi's art is wonderfully rich in meaning. The images present themselves as if they belonged to the dreamlike imagination. Reality and dream mingle in Brigitta's mind and create works that follow in the surrealist wake. Her style can thus be called dream illusionism. Brigitta iIllustrates, for example, absurd objects and pieces of reality: a branch arising from a man's body. She resorts to symbolism derived from objects placed in unusual places: a suitcase and a lamp at the edge of tracks. He uses cold, ambiguous, antisentimental tones such as those of dreams. The purpose of his enigmatic paintings is to create in the viewer a series of questions. The desire to let the viewer enter the work and create his own universe based on the interpretation of the work is alive in the artist. In the case of Traveler, presented at the international exhibition "LIQUID ARSENAL," hosted by the international art gallery M.A.D.S, the viewer is able to empathize with the character since it is faceless. Magritte first and then Dali are certainly two precursor artists of Brigitta's style, although the doubt and metaphysical atmosphere of de Chirico's works is evident. Brigitta's art, however, while retaining surreal features, remains anchored in reality, in life, in experiences, in what she herself writes. She says "I like to write novels and short stories. I also like to illustrate my stories. My work of art was inspired by one of my short stories with a mystical atmosphere. In the story, a man kills his lover. He killed out of jealousy. His punishment is to relive the murder on the same day every year. Part of his punishment is that he spends a lot of time walking alone on the road, but he never reaches his destination. The man's head in the picture is so strange because he is an otherworldly being. The style of the picture is surreal and gothic because the short story itself has a dark atmosphere. I had my doubts about the background of the picture. I thought about adding some more characters to make the setting more complex, but in the end I decided to make it a really raw and empty field, it symbolizes abandonment".

Art Curator Mara Cipriano

Brigitta Körmöndi

Traveler

Caity Carter

Concrete and digital reality are now two sides of the same coin: our reality and our daily life are perfectly divided between everything that is physical and real and what is abstract and digital. Art, especially from Duchamp onwards, is a real photograph of reality, an expressive means through which contemporary reality can be investigated and told: an alphabet capable of describing the new everyday life, the change, and the way to which everyone reacts to all this. The artist Caity Carter, thanks also to her work as a graphic designer, knows very well the power and effectiveness of images and art in general. As we can read in the concept of this exhibition, in fact, "art is a granite trace of human action and, at the same time, a smoky mirror of the continuous fluidity, of the perpetual flow of our lives and our ideals". The artwork presented here by Caity, also through the title itself, conveys a profound message: "Stand strong". This message transpires immediately from the work, thanks, among other things, to the choice of colors and their combination: orange, a symbol of transformation, combined with pink that symbolizes optimism; but also thanks to the forms and their joining, touching, overlapping, to give life to a movement in the work.

Nothing remains stationary, everything is always in motion, everything can always change, but we must be able to be so strong that we are not overwhelmed by reality and what surrounds us. We must have the strength to open ourselves to all limits and to the constant discovery and assimilation of what is new, of what we can better express ourselves and what is part of our reality.

Art Curator Silvia Grassi

Caity Carter

Stay strong

Cam Villar

For the international art exhibition Liquid arsenal the artist Cam Villar presents the artwork titled Seeding the clouds. This work is the result of his way to intend the art. The abstratism of the shapes used remind of the idea of something instinctive that has not preset roules. What is important is the gesture beyond the canvas that wants to underline the action of the construction of the composition, not only the final result that we can see. Every element communicates with this will of the artist to express an exact feeling inside of him in the moment of the creation. The action painting is connected also to the idea of the artist that wants to affirm himself just with the gesture of the brush. In this way trough this artwork the observer has the possibility not just to enjoy the vision but also to know more about the artist that made it.

Art Curator Elisabetta Eliotropio

Cam Villar

Seeding the Clouds

Carmel Marrinan

For the international exhibition “Liquid Arsenal” at M.A.D.S. Art Gallery, Carmel Marrinan exhibits three works (“Midnight in the west”, “Ruby in the sky with diamonds” and “Summertime and the living is easy”) through which color becomes the absolute protagonist of her artistic and aesthetic practice. Through her art, characterized by a shade scale typical of the artistic movements of the first half of the 20th century, the artist investigates the dynamics of the relationship between matter, color and surrounding environment, with the aim of representing entirely new experiences. As for example in “Midnight in the west”, where Carmel depicts a landscape, indelibly imprinting emotions and moods. Revived by blue strokes that seem to be in perpetual motion, each element gives off vitality but also serenity. The different angles of the brushstrokes give depth to the scene, and the shades are highlighted, as if they were arranged in relief on the pictorial surface. In addition, red and white are used to delineate feelings of a soul contrasting between vibrancy and purity, and also indicating a new representation of perceived reality. While in “Ruby in the sky with diamonds”, the artist's stylistic language becomes an exaltation of bright nuances that exceed any objective of verisimilitude. For this reason Carmel seems to recall the pictorial tendencies of the Fauves and Expressionists, putting the interiority and the emotions in the foreground and opening the way for a lively movement created by the use of color in its purity. The canvas is filled with warm tones that infuse great luminosity, and the many alternating brushstrokes lend an engaging and energetic dynamism. Emphasizing the different shades of color, the figure portrayed is in perfect harmony with the rest of the composition. Finally, with in “Summertime and the living is easy”, the artist explores a different color palette: between light blue, white, black and green, Carmel's style emphasizes the subjects depicted and the expressive and symbolic function of color. It is possible to notice an undulatory movement in the artwork: if the fish in the lower part move from right to left, the two plants are pushed in the opposite direction. All this creates a pleasant and harmonious dynamism that relieves any kind of stress in the viewer, who feels satisfied and immersed in an absolutely relaxing atmosphere.

Art Curator Alessia Perone

Carmel Marrinan

Midnight in the west

Carmel Marrinan

Ruby in the sky with diamonds

Carmel Marrinan

Summertime and the living is easy

Catarina Diaz

Catarina Diaz is a permanent artist among the guests of the exhibitions organized by M.A.D.S. Art Gallery. She is an extremely active and prolific artist, she creates unique works of art in which she combines the real with the surreal and in which colors create atmospheres full of pathos and catharsis. On the occasion of the "LIQUID ARSENAL" exhibition she exhibits two works that are clearly different from each other, demonstrating the artist's ability to be extremely eclectic. "Intangible Green" combines abstract art with figurative art, in fact the works of art by Catarina Diaz are created thanks to collage, but in this particular work she adds a different detail and in stark contrast to her traditional artistic production: the background is made with the use of an image that represents the color expression of fluid art. The choice of colors is always consistent and balanced and perfectly frames the choice of the model that stands out thanks to the contrast between the light skin and the background colors.

Catarina Diaz

The elements used by the artist in the realization of his works always have symbolic meanings which define the personality traits of the subject that the artist has chosen to represent, in this particular work the butterflies have the purpose of defining a sense of lightness and freedom, accompanied by felines who, on the other hand, embody meekness and rarity. "The warmth of other suns" is a work that clearly differs from the style and type of works of art that the artist usually creates, in fact we see the union of a pictorial representation, made with collage on paper, the colors are more subdued than those generally chosen by Catarina Diaz. The subject simply shows the eyes that convey a sense of mystery and elegance, as well as the clothing with which the woman is represented. Iconic choice is the panther that conveys exactly these sensations. Catarina Diaz is an artist capable of creating new worlds and intriguing personalities thanks to the use of different means and tools.

Art Curator Martina Viesti

Catarina Diaz

Intangible Green

Catarina Diaz

The warmth of other suns

Catherine Baehler

What transpires from Catherine’s work is the contraposition of union and division. An image rich in geometries offers the perception of a branch that diversifies, initially with energy, almost aggressively, and gradually the shapes take on more harmony. The geometries meet in a line that divides the image into two sides and, at the same , unifies them in the center. Despite the division, the two sides are not very different. Observing the two distinct parts of the image, there are many similarities, almost as if to believe that the sides are actually the same. There is a real rhythm in the decomposition of the image, itself becoming the source of inspiration. Starting from the line, it is not clear, but extends branching, symbolizing the similarity of two opposite poles. A thread that indicates the center of the work, outlines the origin or marks the border, the beginning or the end of everything, the departure or the return. The conjugation of lines and curves, the use of colors and shapes give balance to the irregularity of the work, creating a union, a symmetry, an equivalence in diversity. "Under Water" is an immersion, it is a surface that surrounds the viewer.

Art Curator Maria De Marco

Catherine Baehler

Under Water

Chie Suzuki Once again, we are faced with something surprising. Life that goes beyond life, existence that surpasses the limits of time and nature. Once again, the vital energy of an element wins over decay, joking with the iron and immutable rules of fate. Death is dressed in color, the day of departure takes on the connotations of a new beginning, a new identity. And this is how Chie Suzuki proposes, also in this exhibition an example of Botanical Art, her favorite and tried and tested means of expression. "Flower blooming for success" is new life blooming, new existence gladdening our spirits. Color gently yields its expressive qualities to lotus and lime leaves. Remember, once their abode was a tree or a body of water. Now, their abode is a work of art. What has changed then? Is it possible for the existence of something to change so radically? Is it possible for something to change its identity and even become immortal? Actually, yes. Botanical art does just that. Chie takes the element that has ended its life cycle and gently encapsulates it between layers of paint and color. Once again, the artist succeeds in achieving a new state of being of things, a new path to an existence. From a natural element to an aesthetic element then, without losing the characteristics that had once distinguished the physiognomy of these elements. Lotus and linden leaves actually look alive and filled with clear, pulsating sap. They are firm, hard, shiny and fleshy to the touch. It does not look like dead matter, hollow and lacking the spark of life. The decay would have occurred if Chie had not collected these leaves, if Chie had preferred another kind of art, if Chie had not approached this artistic expression with a desire to breathe life into the elements. It would not have been possible without the intervention of the artist who literally molded a new life, a new existence that, before her actions, was destined to decay and become dust. And so it is that a play of layers stands out before our eyes. Lime leaves follow one another and fan out. Their physiognomy is so clear and ethereal that their bodies seem to be formed of golden threads woven over each other.

Counterbalancing this fine and elegant transparency, we notice the presence of three large lotus leaves. Their gentle, rounded shape contrasts slightly with the sharp tip of the lime leaf, and their bodies, so opaque, shiny and pigmented, produce a remarkable visual detachment. Chie's intended color to the lotus leaves is emphasized by the presence of a dark backdrop. This smoky curtain is responsible for increasing the contrast of the entire image, and even the graceful linden leaves, when juxtaposed against the brown backdrop, seem to surrender their otherworldly aura.

Art Curator Lisa Galletti

Chie Suzuki

Flowers blooming for success

Chinatsu From the biblical image of the tree of life to the words of Black Elk, the Sioux mystic who represents it at the center of the circle of the world, the tree constitutes a universal and archetypal image, a powerful symbol that lives and multiplies, in space and time, in an infinite variety of forms. The many resonances that this image arouses revolve fundamentally around two characteristics that the entire plant world, of which the tree is a symbol, possesses: on the one hand, being connected to two realms, heaven and earth, representing their exchange and intimate need for completion; on the other, the image of a path, understood as a process of growth and evolution. Uniting heaven and earth, the tree "takes root" both above and below, sinking its branches into the ether like roots, thus joining the luminous world of consciousness to the dark and subterranean world of the unconscious. Feeding on both the "celestial immaterial" and the "terrestrial material," the tree enables and nourishes physical life on earth, where it is indispensable, on an even simply biological level, for the so-called photosynthesis function it performs. Chinatsu in "Birth" catalyzes the symbolic and natural image of the tree by making manifest the symbolism of the cycle of life through the use of explicitly exuberant art. A tree with thick purplish foliage stands in the center of the composition. The foliage is thick, so thick that it blocks the light source placed behind the tree. In front of it bubbles, bubbles and more bubbles. Perfectly circular, they reflect in their reflections the many shades of the sky. And from the dark trunk branch a multitude of slender roots. They are graceful and seem to sway in the water: jellyfish tentacles moving with the current. At the end of these tentacled arms a myriad of ethereal flowers sway softly in the marine depths. At the slightest contact with the bubbles the latter move in rhythm with the placid current.

Bubbles in the air repeat in the deep sea. Oxygen that gives life to the world of living things. Oxygen that nourishes our cells, makes our lungs swell and allows us to conduct and live our existence. The tree is there, majestic and imposing in the center of the work. Its presence is not looming, it does not frighten us; on the contrary, we feel a close connection with it in that thanks to it, life is present, oxygen is present. We stay to admire the wonder of nature, the fresh morning air tickling our nostrils, the warm yet diaphanous light of the overlapping stars of the sky. The sun and moon, omniscient observers and companions of life.

Art Curator Lisa Galletti

Chinatsu

Birth

Chris Collier “At the end of the day, we can endure much more than we think we can.”

(Frida Kahlo)

Past, present and future meet in the form of holograms in two dimensions with the artist's appearance. Advice and reflections take place in the setting of a city in the grip of an electrical storm, perhaps generated by the meeting of the times, perhaps in itself, a triggering force enabling this impossible event. Time passing, the road travelled, an idea of life becoming ideal. What advice would you give to the you of 20 years ago? A very popular question. The author answers himself through a more lived image of himself, that if he will be good, hard working and kind to others the future will hold a good place for him. ElectriCity! thus shows collective, horizontal, shared thinking. Every person, from every part of the world and every condition will have asked themselves at least once: if I had known before...

Chris Collier

That is why this work of art immediately comes across as an image to identify with. The aesthetics of choice, of the encounter with one's self and the conversation with that self. Aesthetically, we have the typical coloured pencil and pen strokes that characterise Christopher's work: careful hatching and meticulous description that do not lose their freshness. In Sirens we can largely appreciate the attention to detail in this drawing, the waves of the sea, each of them three different shades of blue. At a quick glance, it might look like a refined mosaic, due to its complexity of intertwining coloured lines that at the same time follow a precise pattern and a studied perspective composition. A magnetic light that draws the eye and invokes the spirits.

Art Curator Erika Gravante

Chris Collier

ElectriCity!

Chris Collier

Sirens

Christiane Hümpfner "Nothing can cure the soul but the senses, just as nothing can cure the senses but the soul."

(Oscar Wilde) Self-taught artist Christiane Hümpfner began approaching painting as a hobby, to transform her emotions from the mind to the canvas. Since 2013, she has been creating works of digital art, her research focuses on photographs of North Rhine-Westphalia's industrial culture. Her works are in fact a leap into the past; through the bridge that the artist builds between the present and the future, we can immerse ourselves and allow ourselves to be enveloped in new colours and shades that have a strong connotation of the past. In this way, the photographs are transformed into movement, into a particular flow of nuances and colours.

The work “Fuori dal comune” expresses creativity, movement, dance, the result of Christiane's inner research. Dissolutions, clashes and subtleties alternate in the work. One finds oneself in a crescendo of rhythm, tension, lines and colours that result in a swirling composition. Colour and the nuances it takes on in the different parts is the fundamental element of image perception, it reflects light and leads the human eye to experience certain sensations. In particular the link with the past and the contrast between the past and the future, of the digital, innovative and polychrome medium. Christiane has the great ability to express herself through colours, shapes, curves and shades to communicate, express content and meanings with a strong emotional charge. The painting becomes the bearer of the medium of expression of the spirit.

Art Curator Giulia Fontanesi

Christiane Hümpfner

Fuori dal comune

Christina Mitterhuber

Austrian abstract artist Christina Mitterhuber painted her first work at the age of twelve. However, as she did not feel ready to exhibit her paintings, she postponed her artistic debut until 2018, when she held her first public exhibition, inaugurating her career. On the occasion of the Liquid Arsenal exhibition, which renews her collaboration with M.A.D.S. Art Gallery, she is exhibiting a work that is part of a series of six paintings (La Mer I - VI) dedicated to nature and in particular to the life-giving power of water. In La Mer V, water bewitches the viewer with its charm, lulling him with its wave-like motion and letting him surrender to the suggestions it evokes. The colour, applied in brushstrokes reminiscent of the shape of sea waves, is brilliant and conveys a feeling of serene vitality. The seascape is recalled both by the use of different shades of blue, alluding to the many hues of water, and by the materials used - oil, pigment and glitter - which, by creating different textures on the surface of the canvas, evoke the seabed. A reflective surface by nature, in this work water becomes a mirror capable of conveying the feelings and sensations of the observer.

Just as looking at the sea allows each of us to abandon ourselves to our memories, desires and reveries, so admiring Christina Mitterhuber's painting allows us to enjoy the same suggestions evoked by the sea, putting us in touch with our feelings and our desire for life.

Art Curator Marta Graziano

Christina Mitterhuber

La Mer V

Christine Rechnitzer "It is exciting to have a blank canvas in front of me. The challenge is to come up with imagery from within that will please and excite others. My inspiration comes from the beauty of nature, people, music, and emotional experiences which translate into colors, shapes and textures". Christine Rechnitzer Original, brilliant, and dynamic is the art of Christine Rechnitzer, an Austrian artist who prensents at the international contemporary art exhibition "LIQUID ARSENAL," hosted by M.A.D.S International Art Gallery her works Wonder-full world, Wonder-full life and Soul-dance. Her artistic vein derived from the fields of design and fashion is well present in her works, which take on such distinctive texture and colors that they come to life.

Her works have a vibrant soul. The artist receives and transmits energy from the works he creates; this energy is communicated very directly to the viewer. His works convey feelings, vibrations, communicate with the soul: the colors and shapes establish a dialogue with the viewer of his creations. About Wonder-full world the artist states "The structure generated with a notched spatula and modelling paste indicates the flow of life. The artwork is done in acrylic on canvas, using modelling paste to create structure and depth. Movement was added in various layers with a notched spatula. The mirroring effect in this artwork stands for the law that our fundamental attitude and thoughts will always be reflected to us". The same technique is used for the works Wonder-full life and Soul-dance, two works full of energy derived from movement: "The artwork´s aim is to make the observer feel the beauty of movement, the beauty of life as such. It expresses the power and harmony of a life lived according to our innate desire. Just like dancing through life. I want to create an artwork that rays hope, trust and love for life with the message: Dance your own dance, and if you come to a halt, that is just part of the dance".

Art Curator Mara Cipriano

Christine Rechnitzer

Soul-dance

Christine Rechnitzer

Wonder-full life

Christine Rechnitzer

Wonder-full world

Christopher D'Amanda Christopher D'Amanda’s works depict the search for a personal, hidden, and intrinsic identity. Christopher uses art to live and analyse particular moments of balance in which to look for his own space: “The goal is to explore a moment in time, a moment away from duality, where I can feel the world as one thing of many equal parts, and find my place as part of it, then paint that moment”. The artist’s paintings are characterized by the use of bright colours, red, golden yellow and deep blue tones are mixed with shades of silvery grey and black. "A Doodle" has a neat and at the same time chaotic setting: the acrylic colour is laid out along lines that form overlapping rectangles and that give rise to new shades of colour. The straight edges of the coloured rectangles are in contrast with the brushstrokes inside these, indistinct brushstrokes that give the work its name. A silver stripe runs through the painting in the central part, separating warm and cold colours. This silver beam of light superimposed on a golden portion is the only luminous element of this work. The artist uses the same shades to create "Moving With Time In Time": in this case the strokes that make up the quadrangular shapes present in the work follow the stroke. These are straight, the black strokes mix and blend with the dark blue brushstrokes and the yellow tones overlap with the red ones. The component of bright colour is less than the first work, this time it is the golden tone that illuminates the design.

"Because of Death I Live" is a different work, in this case blue tones predominate in contrast with various shades of yellow. In the centre of the work, it is possible to glimpse a window that recalls the geometric figure of the rectangle. This brings us to the intensity of clear blue that suggest the colour of the waves of the sea. In the upper part of the window, you can see another hint of blue, this time mixed with the only dark red tones present in the work. Colours mix, interact and blend together, in the constant discovery and assimilation of new elements and new ideas. Through the language of details and different types of brushstrokes and colours, Christopher D'Amanda recounts his personal search for the essence of truth.

“Art has always been a confidant for me, and a source of comfort. It provides me a place to search my meaning for my life. I would say that I am not motivated by art itself but the need to recognize who I am.” (Christopher D’Amanda)

Art Curator Sara Giannini

Christopher D'Amanda

A Doodle

Christopher D'Amanda

Moving With Time In Time

Christopher D'Amanda

Because of Death I Live

Christopher Rozitis “The best way to make your dreams come true is to wake up.”

(Paul Valery)

Lucid dreams are dream manifestations experienced in a state of consciousness. In a lucid dream, one is aware that one is dreaming and more importantly, one has a kind of control over the content of the dream; one can direct it at will and change its plot and scenes. During such a phenomenon, everything is possible and all perceptual spheres: the 5 senses + pain + physical perception + orientation + temperature are active, to a different degree depending on the level in which you are immersed. This is how we find ourselves observing the artworks of Christopher Rozitis, like Onironauts who deliberately decide to activate those hidden areas of the brain, the most sensitive, the most frightening. The ones for which we cry for no apparent reason or perceive danger. What we see is divided into fragments, each of which is perceived at its maximum power. Frames of colors and shapes that like pixels go to form the classic bigger picture. The artist makes use of this mode of interpretation when it comes time to give the right direction to his own production. The overlaying of different images and techniques, analog and digital manipulation, exponentially increases, exactly as in the dream dimension, this multifaceted vision of the artwork. Continuous reverberations and echoes seem to vibrate in the details, the patina these prints take on have the glossy look of stained glass windows, the light seems to have been captured at its sharpest moment to give us back an idea of extraordinary strength.

Art Curator Federica D'Avanzo

Christopher Rozitis

Liquid dream's

Christopher Rozitis

Interdimensional

Christopher Rozitis

Purple Downpour

Cosmin Marin (marcomi.studio)

Simplicity is bliss. In a world in which hecticness and complexity are at the order of the day, the artist Cosmin Marin (marcomi.studio) wants to reconnect with the part that represents the simplicity of the reality we live in. What for our eyes could seem just simple lines or dots, in his eyes these shapes and segments are a metaphor for life. Our lives are full of duties and tasks that sometimes overwhelm us because they cause us to lose track of time and don’t let us enjoy the simple things that too often are left in the oblivious. Here comes the urge to restore that relationship with simplicity. These lines alone represent segments or moments in the holistic view of a human’s life timeline. Just as life, the whole picture is composed of depth and intricated interchanges throughout the timeline, but by looking closer at the components of the picture you realise that it’s just lines, it’s just moments.

Cosmin Marin (marcomi.studio)

His technique, however, is more complex than his mission to simplicity. Cosmin’s creative mind communicates to the computer by the use of some algorithms, and thanks to a drawing machine, he brings to life wonderful shapes that fulfil the eye. His method is the perfect example of art, technology and science being merged together to create something beautiful and pleasing to the eye. The abstract world of concepts, composed of mathematical and artistic ideas, becomes real and tangible by means of a drawing machine and a pen on a paper sheet. Thus, Cosmin creates a bridge that connects the two worlds, presenting a sort of hyperuranion in which the two realities coexist together.

Art Curator Francesca Mamino

Cosmin Marin (marcomi.studio)

Habits

Cosmin Marin (marcomi.studio)

Illusion versus clarity

Cosmin Marin (marcomi.studio)

Life cycle

Cosmin Marin (marcomi.studio)

Thoughts

Cristina Breitschwerdt “I saw the angel in the marble and carved until I set him free.”

(Michelangelo)

If the power of one's destiny is contained in names, that of the angel has inherent purpose in movement, the journey itself as the fulfillment of one's existence. Angelum in Latin means messenger. The excellence link between earth and heaven. Angels are charged with the role of communicating the directions to be taken, the dangers one might encounter, the path to be taken. In the angel we imagine a genderless being who fluidly travels between the realms enlightening the right souls to enable them to follow their own path. Hope that becomes present, it appears, as a completely real and almost tangible vision. The angel for the artist is able to restore self-esteem to the right level, is able to bring together souls who would otherwise be lost. But not only that, in the figure of the angels there is a connection with the spiritual, with what was and what no longer seems but in a comforting way, through this figure returns to warm earthly memory. The artworks of Cristina Breitschwerdt we find this dreamy, spiritual, precisely angelic dimension. Figures painted with ink and alcohol float in the artist's thoughts and come to disappear in their own light. It is said that the beauty of life is not the arrival, but the journey, and in this the angelic figure perfectly embodies an idyllic idea of a life form living in the peace of the fulfillment of its own existence. The most idyllic moment yet is when two spirits meet and their light merges into unthinkable flights, as in her painting "Soul mades."

Art Curator Federica D'Avanzo

Cristina Breitschwerdt

The Angel of hope

Cristina Breitschwerdt

Self esteem

Cristina Breitschwerdt

Soul mades

Dawn Sercia In one drop of water are found all the secrets of all the oceans. (Kahlil Gibran) The aptitude for art has been part of Dawn Sercia since childhood. From an early age, in fact, artistic creation has represented the privileged ground for the affirmation and expression of herself, a unique dimension to experience the virtues of a fervent imagination, led to try new paths. Dawn's versatility is expressed in many areas, from painting to design, from sculpture to drawing, up to jewelry design. Her volcanic inspiration is also manifested through different types of painting technique almost always as self-taught, orienting herself towards a continuous experimentation, up to go to digital art. The artworks presented on the occasion of Liquid Arsenal fully reflect the multiple stimuli, starting with Baroque Neptune. The artwork is configured as a casket of precious stones, pearls and colorful decorations that recall the sumptuous stuccos of Baroque architecture and enclose four water mirrors, the distinctive element of the god Neptune. The marine world is re-proposed - in a more naturalistic key - also in Sea Turtle, which depicts a superb turtle dancing among soft shades of lilac and pink, green and blue. The accuracy that had characterized the Baroque Neptune decorative richness is also found in the minuteness revealed in every detail of the marine animal, as well as in the geometric patterns that surround it. The artist demonstrates a particular fascination with the sublime beauty of nature, and emphasizes this to the fullest with Lion of Judah, a magnificent digital representation of a lion. The true protagonists of the artwork are the colors, which slide into each other in a mesmerizing mix of purple, orange, green and blue shades. The viewer's gaze is catalyzed by the animal's sharp and penetrating eye, the only fixed point of the composition in the midst of a flow of chromatic waves. Dawn Sercia manages to make the dormant force of the lion alive and perceptible, and to make the viewer participate in a dreamy and inspired beauty, which finds its roots in the deepest essence of being.

Art Curator Chiara Rizzatti

Dawn Sercia

Baroque Neptune

Dawn Sercia

Lion of Judah

Dawn Sercia

Sea Turtle

Debby Purdy

Debby Purdy is an artist who uses a camera to express her feelings and emotions as if it were a paper where write her considerations about the world around her. The photographs she made are not just the representation of something belonging to reality. With her composition she represents what she feels in an exact moment of her life in which she takes the photo. On the international art exhibition Liquid Arsenal she presents three different photos in which we can see this kind of particular technique.

Art Curator Elisabetta Eliotropio

Debby Purdy

Ebb And Flow

Debby Purdy

Still Waters Run Deep

Debby Purdy

Over flow Blues

Diana Dingher I try to apply colors like words that shape poems, like notes that shape music. (Joan Miro) Some people see artistic creation as a moment of empirical observation, research and rational harmony of forms. If on the one hand this allows to reach remarkable heights of stylistic virtuosity, on the other hand it moves away from the living essence of things. Art filtered by rationality can only grasp the exterior of a subject, without reaching its soul.

For some artists, however, there can be no creation without an instinctive contribution, dictated by a burning impulse, by an authentic emotion. The talented artist Diana Dingher adopts this concept, and becomes the narrator of an inner journey and she guides the observer in extraordinary cascades of vibrant colors, which invade the canvas with the irrepressible power of inspiration. The colors, in fact, are the real protagonists of Diana's creations: it is they who reflect the mood of the artist, and it is they who convey this feeling to those who approach the works. We can admire an example of this exuberant chromatic universe in Blue Spiral, a swirling vortex of acrylics (including neon acrylics) spread on the canvas with different techniques, to make the whole almost three-dimensional, material. The artwork transports the gaze to a playful level, transmitting to the observer a feeling of serene lightness. The artist uses colors as a synonym for natural joy and spontaneity, without artifice. For this reason, in Colors smile the observer has the sensation of being part of a dimension devoid of any negativity. The multicolored and multiform motifs seem to repropose the enchanting scenery of a flowery meadow, but still leave everyone the freedom to glimpse their own reality, which is only just indicated by the artist. With Storm, however, Diana creates a work of great visual impact, which strikes for the frenzy with which streaks of black, blue, red and purple chase each other on the canvas. It is an incessant flow of shapes, colors and shades, a vacuous horror that evokes an idea of rebellion, emphasized by the chromatic contrasts, which collide with each other. Diana Dingher becomes an extraordinary interpreter of a versatile, powerful and suggestive abstractionism, which moves the deepest folds of the soul with singular strength.

Art Curator Chiara Rizzatti

Diana Dingher

Blue spiral

Diana Dingher

Colors smile

Diana Dingher

Storm

Dimitra Michalelli

Dimitra Michalelli is a graphic designer and both digital and traditional artist, born in South Africa and now based in Greece. Her experiences and studies influence her art: colorful combinations, portraits and sci-fi features make her universe. At "Liquid Arsenal" exhibition hosted by M.A.D.S. Art Gallery, Dimitra presents “Soulmates”, a digital artwork. The subjects of the work are the faces of two women looking in different directions, silhouetted against an abstract background with intense and fluorescent colors. The message behind this vibrant work is that Soulmates, to be perfect together, have to complete each other without overlapping: each of the two women brings with them different colors and images that mix together creating a dreamlike imagery, involving the viewer in this intense atmosphere that it transmits him/her many positive vibes. Dimitra’s art is powerful, magical and the way she communicates it, it is even more.

Art Curator Matilde Della Pina

Dimitra Michalelli

Soulmates

Dina Furrer “I must have flowers, always, and always.” (Claude Monet)

Dina Furrer is a contemporary Dutch photographer whose artistic research mainly revolves around still life, resulting in floral compositions rich in detail and colour. Very often her images are populated with animals such as snakes, snails, butterflies or other insects, allowing each petal and leaf to maintain a deep connection with its origin. The post-production work carried out by Dina also allows us to overcome the limits imposed by the surroundings, transporting the observer inside surreal visions and making him lose his sense of depth. We thus find ourselves admiring these flowers emerging from the darkness, struck by an intense light that brings out their shapes, highlighting every vein and every detail. In the work entitled 'Le Bouquet', presented at M.A.D.S. Art Gallery on the occasion of the LIQUID ARSENAL exhibition, we see a vase of flowers illuminated from above by a white light. Resting on a wooden stool, it resembles a tree whose roots have been cut off. Their life has been interrupted, but they are still powerful and full of energy. The presence of certain animals, such as spiders and snakes, is meant to be a reference to life itself, as the snake symbolizes the strong bond with life emerging from the depths of mother earth and the spider represents patience and perseverance in weaving its web. With her compositions, Dina Furrer wants to represent the cycle of life-death-rebirth. These flowers are fruits of Mother Earth, they are born, they blossom in their colours and envelop us in their beauty, only to wither, fade and be reborn, in a perpetual flow of continuous return.

Art Curator Francesca Brunello

Dina Furrer

Le Bouquet

Dominika Stanczak Dominika Stanczak is a self-taught artist. Art is an integral part of her life, in all forms. When she paints, she has no limits, she goes beyond reality, letting her emotions guide her to create the creative process. In her artistic artworks, the search for identity is fundamental. It is not only about her identity as an artist, but also as a person. Art is a therapeutic medium that helps people to dialogue with the world, with others and with themselves. The magic of art, in whatever form, is precisely its ability to create connections, unbreakable bonds. Dominika reflects on her role as a strong, emancipated woman, invites the viewer to see in her works a desire for independence, to express her own opinion without fear of the judgement of others. Art makes one free. In 'Faling but Flying' Dominika explores a complicated and overwhelming feeling, giving the viewer encouragement to get back up after every fall, because it is failures that lead to success. The colour is spread texturally on the canvas. The pigment is dense, overlapping and layering, dripping and rippling. The effect is three-dimensional, realistic. The colours are bright and metallic, extremely energetic and sophisticated. The lower part of the canvas is characterised by warm, enveloping colours, such as orange. The upper part is petrol green, blue and light blue. In the centre the coloured hues meet and together create a ripple, an unexpected mixture. Two opposing elements that come together find balance and give authenticity and originality to the work. What is most intriguing are the details hidden within this seemingly abstract creation. If you pay attention, amidst the dense, overlapping colours, a young woman with her hair up appears, sitting looking at the full moon. Some flowers in the distance and a surreal setting. This drawing remains hidden among the colour and brushstrokes, it is enigmatic and the viewer is sent to linger over every detail. The girl looks at the moon in a hopeful way, aware that after the night there is day, a new beginning. Dominika gives positive emotions to people who admire her works.

She gives hope and strength to face life with more light-heartedness and spontaneity. Art is also this, creating a bond that improves people's lives through brushes and colour

Art Curator Ilaria Falchetti

Dominika Stanczak

Falling but Flying

Donata Lopinska Imagination is more important than knowledge. Knowledge is limited.

Imagination encircles the world. (Albert Einstein) Donata Lopinska's art can be defined as a sumptuous corollary of different inspirations, which find a meeting point in the completeness of the artwork, enhancing each other. In fact, Donata's academic and professional career led her to deepen multiple fields of interest in France and Sweden, from painting to fashion, from architecture to literature. And her art admirably reflects the versatility of her personality, but according to a precise fil rouge that animates her creative verve. It is about sharing a positive message of hope, which spreads in her artworks with extraordinary grace. A girl at the imaginary piano is a perfect example of a balanced combination of technical and stylistic accuracy and a poignant communicative ability, able to "speak" on a more interior and profound level. Donata Lopinska guides the observer into a poetic dimension, which evokes an artist's piano concert on an dreamlike level. Far from making the work a simple reminiscence of an autobiographical episode, Donata elevates her creation to a universal representation of the achievement of happiness, creating a real visual metaphor.

The wavy lines that surround the figure almost seem to define the contours of a path to follow, a tacit invitation to advance towards a higher and more serene awareness. The chromatic apparatus based on the balance of contrasting colors underlines on the one hand the roughness - symbolized by a stormy blue - that dot the path, and on the other the goal of joy that embraces the composition like a soft pink cloud. Donata Lopinska elevates her creation to an inspired and moving artwork, which touches emotionality with the same effectiveness as musical notes, invisible heralds of a passion that needs no words.

Art Curator Chiara Rizzatti

Donata Lopinska

A girl at the imaginary piano

Dorothea Van De Winkel "Destiny itself is like a wonderful wide tapestry in which every thread is guided by an unspeakable tender hand, placed beside another thread and held and carried by a hundred others.”

(Rainer Maria Rilke)

Tapestry is a form of textile art that enjoys a dual path between craftsmanship and artistic representation.

Technically, it is a weft-dominant fabric made by hand on a loom and intended to cover walls. At one time, the preparatory drawing, or cartoon, of a tapestry was made by a painter, while the stitching was done by a craftsman; rarely were the author and maker the same person, hence the two ways mentioned above. The iconography followed the commissioner so it was mostly naturalistic, sacred or representative of various enterprises. Instead, with the 1920s a movement began to emerge, Fiber Art, which unlike a traditional textile art form such as tapestry, is not exclusively based on the interweaving of yarns in warp and weft.

Dorothea Van De Winkel

Different materials also begin to be incorporated, but they are always integrated through weaving with the fabric or fiber. Dorothea Van Winkel's artworks can safely follow this current, however they have a more minimalist look than the almost compulsive works of Fiber Art, the sensory images almost, of the artist carry with them an imagery that draws from conceptualism, whereby the concepts have their own intimate validity due to the fact that they are objects of the mind. The author's tapestries have their own internal grammar, following their own rules, they seem to have declared autonomy from the art historical context, they self-induce life, death, opening and closing. It is always interesting to interface with these works of art that each time can tell parts of themselves and the history of the world.

Art Curator Erika Gravante

Dorothea Van De Winkel

The opposite movement I

Dorothea Van De Winkel

Continual Action II

Édith Psyche "Aujourd’hui, les pinceaux sont mes baguettes magiques qui me permettent de rendre belle ma vie." (Edith Psyche) Painting becomes a sacred refuge and means of expression for the artist Edith Psyche.

The brushes become magic wands with which she manages to catapult ourselves into parallel worlds rich in colors and vitality. The artist participates in the "Liquid Arsenal" exhibition held by M.A.D.S. Art Gallery with the three paintings "Danse avec la vie", "De sable et d'eau de 'mère" and "my mind". The technique mainly used for these three magnificent artworks is the acrylic pouring on canvas. The emotions exorcised by the artist transpire in these representations. "Danse avec la vie" has, in fact, contrasting chromatic features: on the one hand the dark and gloomy colors of black, on the other the vivacity of red and orange, as if to underline the bittersweet taste of life. There is no shortage of puns as in "De sable et d'eau de 'mère", in which mère by phonetic assonance can mean "A bit of sand and sea water", but the literary translation is "A bit of sand and water of mother ". Here the predominant colors range from blue to yellow, unlike the third artwork which instead presents a wider choice of colors, very lively and vital ones.

The latter, "My mind", takes us into the wonderful mind of the artist and into her creativity, showing us a universe that is now serene thanks to painting and its exorcising power.

Art Curator Angela Papa

Édith Psyche

Danse avec la vie

Édith Psyche

De sable et d'eau de "mère"

Édith Psyche

My mind

Eleni Gemeni

For the international exhibition “Liquid Arsenal” at the M.A.D.S. Art Gallery, Eleni Gemeni exhibits “The path”: this is the first artwork in the series of abstract figurative art about humans’ path to enlightenment. Within this work, the artist uses different techniques, combining both her photos and her drawings, by editing each element digitally, thus creating a completely original artistic representation. It is possible to see in the center of the composition six main elongated bodies, two of which branch out like trees in a double personality, for a total of eight figures. These converge toward each other, moving in unison as they travel their long path, as in a musical symphony and following the incessant rhythm of the water placed at their feet. The uniqueness of such forms lies in the fact that Eleni does not depict details such as the face, but rather decides to devote herself completely to their soul and the reflection of it. The use of dark colors such as brown, black and red emphasize negative contrasting feelings, such as loneliness; while the use of white that turns to a light brown as in the sepia effect typical of photographs, illuminates the way of the figures giving that veil of hope and comfort. In addition, small white circles are visible, slightly faded, falling on them like petals of a flower: these elements bring out the beginning of the first bloom typical of spring, while in the background three trees turn out to be still bare. In all this solemn but also turbulent atmosphere, fundamental is the aspect of water, which marks the path of the figures, as if it washes them of all kinds of melancholy and sin, making them pure.

“Perhaps, there is a mysterious fourth or fifth dimension which, intuitively, creates a balance of plastic and psychic contrasts by striking the eye of the viewer through new and unusual conceptions.” (Marc Chagall)

Art Curator Alessia Perone

Eleni Gemeni

The path

Elham Hossein Haji “The center that I cannot find is known to my unconscious mind.” (W. H. Auden)

The artworks by Elham Hossein Haji, a contemporary Iranian artist, are spatiotemporal deconstructions where substance dissolves, transforming its form into unpredictable twisting movements. The geometry of certain elements disperses in sudden patches of colour, while fields of colour take over the background, letting small condensations of matter float in space. In the work 'Untitled', presented at M.A.D.S. Art Gallery for the exhibition LIQUID ARSENAL, the artist takes us on a journey into the unconscious. In front of our eyes, a distant place seems to take shape, where our senses struggle to define its perception. A red door in the centre of the work is the only element that is described with geometric precision, while all around it blues, greens and reds disperse into each other, until they dissolve into a black cloud. High above on the right floats an empty cube. The cube, even more than the square, is the symbol of the solidification and halting of cyclical development, because it determines and fixes space in its three dimensions. Being represented here emptied of its mass, it is meant to be a symbol of the decomposition of reality as it is rationally conceived, giving complete freedom to the unconscious and the impossible. In this painting, dream prevails over sense, showing itself in all its energy and darkness. The colour rises and, in the form of thin roots, reaches the red door, which feeds directly on the waters of the lake below.

Dark and motionless, it contains the enigmas of our mind. Formless matter that may never pass through that door.

Art Curator Francesca Brunello

Elham Hossein Haji

Untitled

Ellyxia Castle

Ellyxia Castle is a Canadian artist, whose artistic production finds maximum expression thanks to the use of materials such as acrylic and glitter. Ellyxia Castle is the guest, for the first time, of an exhibition organized by M.A.D.S. Art Gallery, on the occasion of "LIQUID ARSENAL" she exhibits "Duo" a diptych work made with acrylic, epoxy and glitter, using the Fluid Art technique, in particular pouring and blowing. The work is extremely dynamic and full of movement, moreover the artist, thanks to the use of glitter and lights, makes it alive, as if the work could speak for itself and were able, depending on the light, to express themselves independently and create unique and different details. Each element of color finds prominence and uniqueness thanks to the passage of light that enhances its dynamism and shades.

As the artist herself expresses "The finish is very important to me, so the majority of my canvases are finished with epoxy and the frames are all handmade and personalized according to each canvas to enhance their colors and their shine." It is therefore evident how much the aesthetic and artistic taste of the artist is pre-eminent in his creations, the rules are left in the background in order to give greater importance to the final result which is not necessarily connected to the methodology and techniques used, to the on the contrary, the artist expresses herself by eliminating any conformism and superstructure, leaving space and autonomy to the essence of herself and of what she likes.

Art Curator Martina Viesti

Ellyxia Castle

Duo

Emily McKenzie “I wanted freedom, open air, and adventure. I found it on the sea.” (Alain Gerbault)

Among the calm waters of a crystalline sea, a turtle push its way through colorful fish and precious corals. Swim carefree in the underwater world looking for a corner where harmony and silence reign. The contemporary artist Emily McKenzie for the LIQUID ARSENAL exhibition presents "Green Turtle", a work created in 2021 with the acrylic on canvas technique. Emily interprets the concept in a personal and unique way by proposing a painting in which the "liquid" is identified with the water of the sea. The foam of the waves wets your feet, you smell the scent of salt, the wind in your hair, but you look ahead and can't see the end of this blue expanse. The sun sets, painting the water red, a feeling of absolute peace pervades our soul. It's all so peaceful here, but what's going on deep in the sea? Fish splash around, white whales chase each other, and dolphins have fun. The protagonist of the story is a turtle, a symbol of wisdom, strength, and longevity. It overcomes the difficulties it encounters with tenacity and achieves its objectives through its determination. It looks around every day and realizes how lucky it is to be surrounded by so much beauty. With “Green Turtle” Emily reminds us how much nature is an inimitable spectacle: let's take some moments to observe it, admire it and above all let's not forget to protect it.

Art Curator Camilla Gilardi

Emily McKenzie

Green Turtle

ENZO VERITAS

On the occasion of the International Art Exhibition “Liquid Arsenal”, Enzo Veritas joins M.A.D.S. Art Gallery for the second time. He’s an interdisciplinary artist based in Bern and Berlin whose research is about the union between art and sounds. He creates visual paintings rich in colors and shapes inspired by expressionism and cubism. This time Enzo presents a video work titled “LUCID DREAM”.

Protagonist of this work is water. The artist himself says: “water is life, and water never dies. It is the origin and runs in cycles through states of matter seamlessly”. All of us live because of water and it permits life on this planet. Enzo represents the transformation of energy that becomes a fountain of water, with different kinds of shapes and colors. The work is a synesthetic reality experiment.

As for other Enzo’s artworks, this is not a simple work of art but a sensory experience: a work not only to look at but also to listen. The sound is realized by the artist himself and he creates a communication between this and the colors and lights. The music is pressing and it changes during the duration of the work. Along with this, the shapes also change until the end, when the music fades and only the sound of splashing water remains, dissolving along with the end of the video.

“If there is magic on this planet, it is contained in water.”

(Loren Eiseley)

Art Curator Federica Acciarino

ENZO VERITAS

LUCID DREAM

Eri Kawamoto "I do not want to make a painting; I want to open up space.”

(Lucio Fontana)

Art critic Germano Celant (1940-2020), a Genoese, curator and author of more than fifty publications, including catalogs, theoretical writings and essays, is best known for founding, in the late 1960s, Arte Povera, an art movement with an essentially conceptual stamp, which in the following decade aimed at the reconquest of the human-nature relationship and the recuperation of the artistic gesture, in open polemic with the glossy pursuits of Pop Art, opposing the prevailing consumer culture and the commodification of the artist and his work. Today we still see works of art that can quietly fit into the context of Arte Povera and generally into an art scene of the 1960s, with minimalism and pop art. This usually irks insiders who seek novelty and fresh, unprecedented glimpse. But perhaps one could venture that Arte Povera was not a movement that therefore refers to those years and those years only, but, like Impressionism, Romanticism and Dadaism, something accomplished in itself, and at the same time a beginning. Eri Kawamoto's sculpture draws from this cultural phenomenon as all art draws from our memory, our histories. Here the fragments assimilated by the artist declare a life of their own, strong even in their historical and popular recognition. They invite us into the simple presence of the complex, the intense and the chaotic. The harmonization that the author manages to formalize is a clear intent to restore order, clearing the mind from a distracted surface to make room for the pleasant.

Art Curator Federica D'Avanzo

Eri Kawamoto

Country code 91

Eri Kawamoto

A small world

Eri Kawamoto

Shy mirror

Eric Lee

Eric Lee is an American digital artist whose works of art have an important appeal to Pop Art and psychedelic art. Eric Lee is once again the guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "LIQUID ARSENAL" he exhibits five works whose psychedelic atmosphere allows the viewer to feel catapulted into a technicolor world. "ABSTRACT MARILYN" has an evident connection with Andy Warhol, in fact Marylin is one of the most famous subjects of the works of the progenitor of Pop Art. Eric Lee, in fact, is not far from the iconic representations of tradition and classical art, such as happens in “ABSTRACTHARMONY”. The artist draws his subjects from art itself, of any kind, as in the case of "MOZART REQUIEM" which turns out to be a real celebration of the famous musician. We have a return to Pop Art with "RAY OF ABSTRACT BEAUTY" in which the popular iconography of Marylin Monroe returns to the limelight, made fun and light by the insertion of soap bubbles, butterflies, but also reinserted into her world thanks to elements like the red carpet and a movie tape. Finally, "Unknown" is the union of a spectacular element such as ballet, with very elegant animals such as the swan, combined with an aquatic element that always brings back to the imagination of "Swan Lake". Eric Lee has the ability to redesign reality thanks to digital tools that allow him to give free rein to his imagination and his artistic expression.

Art Curator Martina Viesti

Eric Lee

ABSTRACT MARILYN

Eric Lee

DABSTRACTHARMONY

Eric Lee

MOZART REQUIEM

Eric Lee

RAY OF ABSTRACT BEAUTY

Eric Lee

Unknown

Eskey "The true use of art is, first, to cultivate the artist's own spiritual nature." (George Inness)

The artist Eskey is able to transform what his mind thinks and feels into shapes and colours. From a young age, he has created works of art to express his feelings and tell of his inner emotions, finding in the medium of art the right way to vent and express himself. His way of creating art is also a reflection of this expression, the artist is able to release his soul onto the canvas, removing the hold of his emotions and letting himself be carried away by colour. Eskey is very experimental with his works; he works mainly with acrylics and often makes use of the lustre of gold, plays with nuances and contrasts, making his paintings completely original and endowed with a very strong emotional charge. In his work 'Drips of Golden Sea', his taste for chromatic vivacity and sense of the fantastic is evident. The artist does not represent visible reality but only that of his unconscious, dictated by the emotions and moods that animate his mind. In this way, Eskey aims to express, through his painting, the real functioning of thought, in the absence of any control exercised by reason, outside of any aesthetic concern. What results is a rich art, dense with meaning and charged with emotion where the elements of reality are transformed, giving rise to the pictorial vision. Eskey's painting is a representation of a pictorial vision in which the artist succeeds in expressing his personality to the fullest and letting his emotions and thoughts shine through. It represents a kind of escape from reality that goes beyond reality itself; it is fantasy, it is the surreal.

Art Curator Giulia Fontanesi

Eskey

Drips of Golden Sea

Eva Martínez Monje "There seems to be in man, as in the bird, a need for migration, a vital need to feel elsewhere."

(Marguerite Yourcenar)

Eva Martínez Monje, self-taught artist, approached art from an early age. Her enthusiasm for life, for freedom and for love of neighbor are all elements that prompted the artist to make art her safe haven, a personal manifestation of the vision of the world and of who she really is. In her works the female figure contrasts with that of the bird, a free animal and personification of the soul. The woman, strong and powerful, and the bird come together, mingle with each other to generate works with a strong expressive charge, a symbol of the artist's deepest and most truthful unconscious. Her imaginary world, so colorful and vibrant, induces the observer to let herself go, to reflect on her own self in relation to the world. What is most striking about her artistic poetics concerns the ability to create an almost fairy-tale interior world where the real protagonist is the woman. The artist doesn't try to highlight the purely physical and, in some ways, sensual features of the woman, as she gives her importance in relation to her deepest values, linked to her relationship with the outside world and nature. Eva Martínez Monje is an artist without filters, prejudices or barriers. It's alive, like her art, and is ready to shout it to the world.

Art Curator Federica Schneck

Eva Martínez Monje

I dont't wanna see

Eva Martínez Monje

Please hide me bird

Eva Martínez Monje

Transformation

Ewe Klimik

Ewe Klimik is a Polish artist whose most recent artistic expression finds free rein thanks to digital tools. In fact, during a period of her life spent in Vienna she developed her new digital drawing technique thanks to which she was able to find the essence of her imagination in the surreal world of art and new visions in the design world. Ewe Klimik is, for the first time, the guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "LIQUID ARSENAL" she exhibits a digital work entitled "Yemaya". An ethereal work full of symbolism, starting from the title, in fact, according to the Yuruba culture, "Yemaya" is the queen of the sea, born from the foam of the waves, she is the mother of life, the one she creates. At a careful look, Klimik's work tells this very story, the lines, apparently stylized that recall a symbol, are instead the representation of a real goddess born from the waters, simply represented with soft colors and a sort of chiaroscuro. The atmosphere seems suspended in time, motionless as if to capture a precious moment that must not, in any way, be interrupted or forgotten precisely to symbolize its delicacy and importance. Ewe Klimik is able to speak to the viewer, the work on display communicates a sense of tranquility and power at the same time, one feels like in the presence of something unique and extremely rare that pierces the soul of those who observe.

Art Curator Martina Viesti

Ewe Klimik

Yemaya

Farid Izemmour "There is no magic like that of words."

(Anatole France)

After multiple transformations and adaptations, Farid Izemmour's art managed to find its raison d'etre in abstraction, but it was calligraphy that truly defined his essence as an artist. Based on communication, the artist's works appear at first glance as coded manifestos, whose forms are generated by the juxtaposition of words or phrases that form a real syntax. What dominates is an alternation of order and chaos and the artist, almost like a Demiurge, becomes the legislator of his own artistic poetics. He creates, mixes, disrupts, gets lost in his own chaos and then finds himself and puts an end to this dynamism, to find calm, the perfect order. This is possible only in relation to a comparison between the various syntaxes created, between the connections generated by each single letter which, in part, represent the artist and his experiences. But what the artist aspires to goes beyond just personal experience, as these letters stand as truth revealers, ancestral symbols that guide the human being to the discovery of his deep bond with the community, as well as with himself. Generating sensitivity and doubts, inducing the observer to ask himself questions about the message we are trying to convey and, above all, about the relationship that exists today between us and the outside, the universe itself.

Art Curator Federica Schneck

Farid Izemmour

Rings of Memory II

Farid Izemmour

Rings of Memory I

Farid Izemmour

Dance with letters

Fat Surinder “Realism can break a writer's heart.”

(Salman Rushdie)

Pop - without being political - carries with it a democratic ideal, the challenge of immediacy of perception, the ardor of a youth eager to invent its new world. It's aesthetic brings art and life closer together, roots creation in popular strains and dazzles, embraces the emerging mass culture. Avant- pop, a phenomenon that emerge especially in literature, interacts with the data of the collective by finding meaning with it in the work, often drawing from dystopian and unreal worlds. Pop realism, and with it pop hyperrealism, changes the container, making use of unseen containers, in literature, phone conversations, chats, in art from the beloved genre painting, or of the exquisitely everyday scenes. Where pop and avant pop, focus on the surface of collective feeling, pop realism manages to penetrate deep into the social fabric, because it knows it well. Fat Surinder's paintings presented, depict mainly faces but that candidly fit into the social fabric we know, thus into popular. Billboards, instagram accounts, online art magazines and art talks via zoom that also unite different yet close panoramas. The new pop realism with which the artist works has unerring aim because he knows perfectly the layering of the contemporary and communicates his reflections in a direct way going straight to the point. Surinder’s faces can be seen as the perfect line of a perfect design round table, you won’t get the reference if you don’t give it the right chance, then it wins you over.

Art Curator Federica D'Avanzo

Fat Surinder

Soy como soy

Fat Surinder

Gaya

Fat Surinder

Untitled

Felix Martin

Self love and self awareness, but also need of recognition of your essence and aesthetic appearance are the main goals of the young artist Felix Martin’ paintings. “Cricles end up in Relief” meaningful in its tile too, is a graphic and detailed representation of what the artist wants to transmit. The association between the title and the elements that compose the scene, is the artist’ aim to reach the viewers' attention on his goals. Into a dark and monochrome background with some spots of colors here and there into the canvas, a big and stylized face represents the main character of the scene. Deep emotions and feelings are transmitted by this figure who seems to tell something to the ones who are observing him. A melancholic gaze reinforced by the semi-open mouth, about to say something suspending by the fingers leaning on it clearly expresses the difficulties in expression. All the geometrical elements inserted by the artists, broke the tension conferred by the emotions of the whole. The title "Circles End up in Relief” that is reported into the canvas too - is an invitation to remind that everything in life turns if only we remember to go on.

Art Curator Martina Stagi

Felix Martin

Circles End Up in Relief

Ferdos Maleki "If I could say it in words there would be no reason to paint." (Edward Hopper)

Artist Ferdos Maleki was born and raised on the Caspian Coast of Iran. From an early age, she was fascinated by the concepts of universal connection and naturally drawn to the arts. In particular, the stories told by her grandmother of Hafez and Rumi gave rise to her art, her works are in fact the transposition of love poems onto canvas in colour. Through spiritual research and the creation of a special technique rooted in the emotions, the artist succeeds and recreates dreamy, atmospheric and transcendental compositions. Ferdos's paintings are the fruit of a significant study of poetry and philosophy, of the tradition of his homeland but with an input of elements of meditation and art history, thanks to her training in California, when his family moved to the United States. Ferdos's paintings are a gift of spirituality, representing the artist's inner journey that allows a person to discover the essence of their being. Looking at her paintings, losing ourselves in the colours and admiring the nuances, we can connect to a balance, between the inner and outer worlds. The artist achieves these colour nuances through the Encaustic technique, the process that combines the fusion of beeswax and powdered pigments that give the work vibrant and textural effects. This particular technique, with very ancient roots dating back to 100-300 A.D., makes Ferdos's art even more unique and special; it harks back to nature as far as the composition of the painting is concerned, but also takes us back in time, retracing the historical stages of a millenary translation.

Art Curator Giulia Fontanesi

Ferdos Maleki

Eternal Becoming

Ferdos Maleki

Spark of life

Ferdos Maleki

Whispering muse

Fin Nicholas “To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of event". (Henri Cartier-Bresson)

Analog photography has a part that is incredibly magical and that responds very well to the needs for research and discovery, hence satisfaction. It is the physical, material, precisely handcrafted part. Things are done in a certain way, as they say, there is a rhythm proper to the analog process, a music that is composed of cadenced beats that form a real language, like a visual Morse. The fascination of the process comes from a totalizing imaginative and design involvement: everything implies a thoughtful choice, from the type of film you want, to the effect you want, the photographer puts himself completely in the picture, the analog by its technical nature receives and then literally welcomes light into a physical space and then passes through that physical space what the lens represents that is exactly what the lens saw.

Fin Nicholas

The communication is direct and therefore sincere in an absolute sense. Analog never leaves contact with reality by definition. The manipulation that takes place in the hands of the artist Fin Nicholas does not have as its goal the distortion of reality, as we might think of surrealist photography, but has as its intent to put itself at the service of the viewer. To show, what might otherwise go unnoticed, to emphasize, to expose precisely, the invisible. Fin puts herself as understood above, in play, from a structural point of view of artistic research: observing and grasping. Bottle necks perhaps abandoned at the side of a road can become elliptical cones of light and portals to other possible worlds that are right there, within our reach.

Art Curator Erika Gravante

Fin Nicholas

Neon Wave

Fin Nicholas

Weapon of light

Fruits Quartz Fruits Quartz is a talented and original artist who grew up in an artistic environment. Over the years, she has developed a refined sensibility and creative aesthetic. Skilled above all in calligraphy, an art that is widespread in the East and is made with extreme precision, she is able to create emblematic and enchanting artworks. Her creations are special artistic works, both in format and in the technique used. He communicates with the viewer through an original, visual language, through photographs that he then edits digitally. One example is her work " Phenomenon of layers". In this digitised photo, the pixels combine with each other like a real work of art, as if it were painted. The colours blend into each other, repeating themselves in a yellow-blue-violet series. The artist focuses her work on the manipulation of photographs, of pixels, so that they deviate from reality to create something new and wonderful. The shot shows a mysterious and unknown phenomenon, something never seen and surprising. The whole picture is enigmatic and urges the viewer to look at every detail, to get involved. The aim is precisely this: to interact with the viewer and communicate with him. Art creates unique and indissoluble relationships. In this photograph, the terrestrial world connects with the underwater world. Water and land meet and mingle. The connections become liquid, indecipherable, so much so that they even change the frequencies of the pixels. The figurative elements disappear in their forms but the colourful ones remain, blending with the rest of the context. The work is made contemporary through the use of technology. Through a study and manipulation of photography, the artist creates a unique image that cannot be reproduced. She gives vent to her emotions with a cryptic language, communicating with the spectator in an original way.

It is impossible not to be captivated by these creations, which are as mysterious as they are extremely fascinating and full of connections.

Art Curator Ilaria Falchetti

Fruits Quartz

Phenomenon of layers

Geoffrey Grünwald Geoffrey Grünwald is a talented German artist who is able to create marvellous geometric compositions that catch the viewer's eye. His style is recognisable, the colours he uses are bright and the shapes orderly, symmetrical. Evident are the references to pop art, especially American pop art. The strong and energetic colours are inspired by those of the spray cans used by street art artists. Geoffrey is able to assimilate a few details from different artistic currents and reworks these with a totally personal and impactful style. Each of his artworks tells a story, he does not simply compose geometric shapes and lines. These are purely abstract works that are inspired by nature, by his surroundings. His artistic process makes use of numerous stimuli that he reworks, creating intriguing, fascinating combinations. Organic, wellorganised and balanced works that are not static, but dynamic and open to numerous interpretations. The details, the intersecting lines and geometric elements intrigue the viewer. In 'Ways', two oblique lines cut the canvas in half. The two parallels, respectively of opposite colours, one warm and one cold, dissect the space into two sections where the chromatic contrast returns. The colour blue is the real protagonist of the work, declined in different gradations but muted by the energy of orange and yellow. The shapes are simple and the white outline underlines the care and rigour with which Geoffrey creates his works. Although pure and simple, the work also reveals deep and hidden messages. The two roads lead to an indefinite point and push the viewer's gaze towards new horizons. The two roads, although different, travel the same route and have the same point of arrival. This opens up a reflection on opposites, on cultivating different interests, taking different paths but always having the same goal. A message that opens the viewer's mind and heart and makes him change his perspective. In 'Gem Stones', the mix of cold and warm colours returns. The intensity of the pigments is accentuated and the contours are no longer just white, but pick up the chromatic hue that fills the geometric shape. The polygonal spaces that are created by the intersection of the lines create veritable set gems. A composition reminiscent of the mosaics and abstract art of Paul Klee. In 'Pacific Sunrise', Geoffrey synthesises a landscape in a few but evocative elements. The rigorous geometry and synthesis of colours leads the artist to create an extraordinary composition, simple but impactful. Red and blue create a strong and attractive contrast. Each line is studied, and perfectly inserted into the space. The painting exudes positive feelings that only a sunset can convey. It only takes a few elements for the artist to evoke swirls of emotions and bring images to the viewer's mind. Geoffrey proves himself a skilled artist capable of creating balanced, unique and original compositions. Simplicity and imagination collide to create intriguing artworks.

Art Curator Ilaria Falchetti

Geoffrey Grünwald

Ways

Geoffrey Grünwald

Gem Stones

Geoffrey Grünwald

Pacific Sunrise

Giacomo Dari "In my paintings I tell my life, I paint what goes through my head in that period of time. I hope you like my art". Giacomo Dari

Fresh, sincere, alive is the art of Giacomo Dari at the international contemporary art exhibition "LIQUID ARSENAL," hosted by M.A.D.S International Art Gallery. Giacomo is just 18 years old and attends Ravenna's Liceo Artistico Nervi Severini high school, he says, "In my paintings I tell my life story, I paint what is on my mind at that time." Giacomo has been painting since he was in kindergarten, and much of his skills come from his grandfather and great uncle, who were also painters. With the work Evolution, he fully expresses his neoexpressionist, primitivist vein and his tendency toward graffiti style figures. Giacomo draws artistic inspiration from the vein starting with Gauguin and ending with Basquiat. The theme he addresses is hot and heartfelt, and his reflection is original. Evolution represents the fluidity of human evolution and its degradation. He states "Over time, the human species has deteriorated. The work represents the evolution of the human species according to Darwin, but tweaked by inserting abstract man, the so-called "generation Z," in front of the computer. Physical evolution has stopped, now we only think about digital evolution and run after money." The evolution/involution of man is shown clearly by the artist. Dari points the finger at capitalism, one of the factors of involution; he refers to it by removing the letter "K" from "Monkey." In the upper right and upper left, the author clearly expresses his views in writing in reference to the current generation. Dari's is lexicon made up of words, images, colors and signs, composed in rhythmic harmony and arrives at highly expressive and communicative results.

Art Curator Mara Cipriano

Giacomo Dari

Evolution

Giovanna Arancibia Marquez

Expression of her well staying and joy, the paintings presented by the artist Giovanna Arancibia Marquez are, in their whole, an invitation for the viewers to approach her feelings and emotions and to feel free to enter in contact with her thoughts. The artworks put together a photographic background where, in its centre, a stylized subject is refigured. Just a simple white and thin line give birth to the main character and the subject who live and give its meaning to the piece. Great expression of peace and calm is ‘Let Go’ that, close to the concept of the exhibition, represents a female figure as if she was fluctuating into a flowering background. Her closed eyes and her lost in thoughts look are the artist’s aim to refigured her state of mind. Having approached the Yoga and Reiki, this work is a call for the viewers to literally focalize their emotions and live listening to themselves. ‘The Divine Woman’ can be interpreted as the ‘guide’ artwork for the subject represented. Always created with just a white line, the ‘divine woman’ is the artist’s state of mind, represented here as a sort of Goddess that drives the viewers to meet their stability and mental peace. What gives more emphasis to her role is the light coming from the background that, as a sort of celestial aura covers and embrace the subject. As a sort of final approach ‘Sorority’ can be considered as the artist’s final aim: the search for emotional stability, represented through the two hands held together in front of the full moon.

Art Curator Martina Stagi

Giovanna Arancibia Marquez

Sorority

Giovanna Arancibia Marquez

Let Go

Giovanna Arancibia Marquez

The Divine Woman

Grady Tomlinson Zeeman "I never paint dreams or nightmares. I paint my own reality." (Frida Kahlo)

South African-born artist Grady Tomlinson Zeeman is a contemporary painter with a great love for art. A love influenced by memories, in particular that her father taught her as a child to draw vintage cars, engines and aeroplanes. Already these early lessons ingrained in her the value of perspective and the mechanics behind things, which are very useful in artistic realisation. Grady's art is a narrative of her personality and culture; as she is interested in world history, politics, social issues and working with emotional energy, her paintings reflect these themes, shedding light on current issues. Through the use of oil paint, initiated by a thin layer of acrylic, Grady manages to infuse movement and depth into forms that best represent emotion and energy. The strength in her painting is to show reality in every fragment of light, through every nuance and shifting before the viewer's eyes. The brushstrokes, like the contrasts of light and colour, are strong and intense, giving majesty, with a small note of melancholy. Each touch seems to reinforce the artist's objective vision even more, creating an alternative to what she is selling and the way he sees it. Grady's feelings, enriched by all her interests and historical roots, seem to be conveyed on canvas in a form that goes beyond the artist's objective experience.

Art Curator Giulia Fontanesi

Grady Tomlinson Zeeman

Negative ions, positive vibes

Gregory Logan Dunn “Painting is the passage from the chaos of the emotions to the order of the possible.“ (Balthus)

Gregory Logan Dunn is an American contemporary artist with profound experience in the art field. The contents of his works are purely abstract and often depict the artist's conflicting feelings towards the current swinging political scene. The layering of colours that characterizes his work is, in fact, a condensation of emotions that, in the form of pigments, he rakes over the surface with a large Plexiglas tool. In the five works ('Europa Gloaming'; 'Love, Carnage'; 'Snake Island No. 1, 2, 3') on display at the LIQUID ARSENAL exhibition at M.A.D.S. Art Gallery, we immediately recognize his style, partly influenced by the German master Gerhard Richter. The colours dragged across the canvas take on unexpected conformations, making the work vibrant to the eye of the observer, who cannot help but be fascinated by the nuances. From this, emerges Gregory Logan Dunn's need to homogenize his thoughts in an attempt to free his mind, letting the dense matter of colour thin out under the passage of the palette knife. The final work shows itself as a fluid agglomerate that, within the square space of the support, is arranged according to vertical lines accompanying the glance upward. It bubbles up like incandescent magma ready to emerge from the depths of the earth, seductive and full of energy. Tiny particles that compose the earth's matter here become the very body of the artist. His fluid thoughts flow giving life to ever new visual music, materializing in the present reality to accompany our gaze towards unknown horizons.

Art Curator Francesca Brunello

Gregory Logan Dunn

Europa Gloaming

Gregory Logan Dunn

Love, Carnage

Gregory Logan Dunn

Snake Island No. 1

Gregory Logan Dunn

Snake Island No. 2

Gregory Logan Dunn

Snake Island No. 3

Guðrún Steinþórsdóttir “When I paint I feel connected to nature. It’s colours and forms inspire me every day” Guðrún Steinþórsdóttir

Iceland is a land that proves to be an inspiring muse in the hearts of the artists who live there.

Icelandic nature is in the heart of Guðrún, who is inspired by it for her wonderful creations.

Early Morning, Rain or Shine, Winter Mood at the international contemporary art exhibition "LIQUID ARSENAL," hosted by M.A.D.S International Art Gallery are three works that show, with a figurativeness between the real and the abstract, the majesty of nature. There is a romantic streak in Guðrún's works, nature is immense, it is beautiful and at the same time it instills a feeling that is a middle way between awe and fear of it. Palette and light are key elements in Guðrún's works; it is no coincidence that the artist, in naming the works, refers to seasons, weather events, and moments of the day. It is these that give the different shades to her works. It is the light of a specific and precise moment that colors nature, Guðrún fully succeeds in capturing and reproducing the play of light, albeit in a strand of art that approaches abstractionism. The artist's mind is very much in tune with creation, nature, perspective and color. Watercolor is her favorite technique, an art form that fascinates her.

Art Curator Mara Cipriano

Guðrún Steinþórsdóttir

Early Morning

Guðrún Steinþórsdóttir

Rain or Shine

Guðrún Steinþórsdóttir

Winter Mood

Guțu Cristina "Art and love are the same thing: It's the process of seeing yourself in things that are not you." (Chuck Klosterman) The artist from the Republic of Moldova, Guțu Cristina learnt to draw at the same time as she began to walk, so she always knew that her life would revolve around art and the art world.

Cristina's art reflects her interests and curiosity; she is inspired by everything around her; by the people she knows, their ideas, beliefs and emotions. In this way she manages to convey on canvas a mixture of ideas, concerns, joy and emotions that arise from the dynamics of colours, shapes and shades. It is precisely the colour contrasts that allow the artist to develop a particular language for the conception of space, which is warmed up by the bright colours of oil and acrylic through the destructive shapes outlined with dark lines and framing and introducing some traditional details.

Her painting shows a special attention to detail, a chromatic force is built around the woman that impresses mainly due to two elements; the colour of the background that picks up on the tones of the inside of the cloak and the snake that creates a chromatic context but also infuses movement and novelty. The shapes are curved, elongated and surround part of the subject, the pictorial material builds a sort of orthogonal scheme where the colour is the fulcrum and from which the whole representation starts. The chromatic strength is remarkable, the colour is really the heart of the painting that gives it a charge of remarkable energy, it is in fact the colour that moves and modulates the lines of the painting, giving pastiness, shape and volume to the image.

Art Curator Giulia Fontanesi

Guțu Cristina

MOTHER OF...

Gy.suh

Gy.suh is a Korean artist born in Seoul. Art has been an important component for her since childhood, drawing inspiration from the greatest artists. She studied traditional Korean painting at Dankook University and took her first steps as a painter in 2022 by participating in the Korea Art Show, an art fair in Suwon. The use of Korean paper for her works denotes an attachment to her roots, but at the same time the subject matter is very innovative and original. The three works she presents in this exhibition deal with the theme of relationships between introverted people. Our life is characterised by our constant relationship with others. We share experiences, thoughts and emotions. Comparison makes us grow and improve. Relating to introverted people, according to the artist, requires a lot of courage, because they have a tendency to be 'closed' within themselves, they cannot open up and trust easily. They tend to be alone or with small groups of people. Sometimes those with this problem have low self-esteem and convince themselves that they are not able to be with others or show their abilities. They walk around covered by a mask, which hides their truest selves. According to the artist, gas masks are the perfect tool to protect oneself and disconnect from others. This type of mask is the subject of the first work 'Sever 2', portrayed in black and white against an aquamarine background. The subject is depicted in the foreground and covers almost the entire surface of the canvas to emphasise its importance. In the works 'Film 1' and 'Film 2' the masks are worn by people in different poses. In 'Film 1' a man and a woman are depicted embracing. Although an attitude of passion can be guessed from the clasping of hands, the two lovers cannot kiss or read each other's faces because of the masks. It is very difficult for introverted people to open up to someone and very often it is difficult to know their true selves. In the work 'Film 2', a little girl is depicted. The bottom-up perspective of the drawing focuses attention on the mask. The child is depicted completely alone against a white background with black shading at the corners, giving the work a dramatic touch.

Introverted children tend to isolate themselves and not play with others. The artist deal with a sensitive issue that is not very present in the field of art. Introverted people are often discriminated against and not respected. Very often society tries to change them, but it is enough to learn to understand them.

Art Curator Lucrezia Perropane

Gy.suh

Sever 2

Gy.suh

Film 1

Gy.suh

Film 2

Hajer Deyaf

In her art practice, oil painter Hajer Deyaf seeks a connection to her Libyan origins. A work that faces the contemporary socio-political landscape with grace and steadfastness, documenting a critical study of her position as a first generation immigrant in the United States. A personal issue for the artist but more importantly a collective one, involving her cultural roots but also a thrust toward a vision of the decolonized future. Hajer Deyaf in her paintings makes a revolutionary first act herself by decolonizing her own body, making proper space for her history, her ancestors, her aesthetic signifiers, thus ridding herself of these social constructs that too often flatten and determine how all people should look. These, too, are imperialistic exploitative tactics, and our author exposes their impropriety by showing us how instead the beauty of the individual is nonetheless and always fertile ground for the pure enjoyment and honesty of human nature. The racial hierarchy is also dismantled for the painter through the use of cultural appropriation, an issue suffered by most exploited peoples, whose culture is stolen and often misused, starting from the origin of objects (taking objects as examples) to their representation. In this case, a classic Eurocentric representational and iconographic route is used, portraiture that is also inspired by the Renaissance, but which through Hajer Deyaf's brush puts the person back at the center and reverses the planispheric idea of global representation.

Art Curator Federica D'Avanzo

Hajer Deyaf

Heaven Libya

Hajer Deyaf

Swathe

Hajer Deyaf

Heaven Libya: Night

HARMAAN Each work that we see is a product of the artist’s inner life, a pill of soul ready to open and reveal itself in front of the observer. HARMAAN grew up doing art. Artistic motion has always been present in her but only in recent years it has become a constant activity. Art becomes almost a living and true alternative to everyday life that often traps us in its routine. The artist’s expressiveness is the result of a path that is not always linear, tortuous, made of attempts, revenge and determination. HARMAAN’s artistic style has matured thanks to her studies in psychology and her work with the children which have made her an adult. The artist’s works are born from the sincerity of her restless and irreverent soul, made of transparent matter. Her characters are clear, defined and sharp. "Clockwork Spectre" for example, he walks slowly with his white cloak. His sword is ready to be drawn, ready to fight. A warrior spectre whose identity is not known. Who’s hiding behind the mask? The gears of a clock draw the rhythm of time, fleeting and ephemeral as the smoke that rises from the top of the character.

"Blue Dragonborn" is part of the series of warriors, part of a triptych made by the artist at a young age. A great blue dragon seems to want to defend us from our frailty. His armour expresses a feeling of security and his flaming eyes, endlessly faced, reflect the burning fire of her breath. The physical presence and the samurai armor suggest a vision with an oriental taste. The work "Bubble Girl" follows the same style. In this work the tones are dampened, warm pastel shades characterize this character, a girl with a gentle and light air. A goddess, a magnanimous spirit from another dimension. The digital works of HARMAAN can transport the observer through remote worlds and situations, pushing us to reckon with our inner self. Rebellious and gentle, aggressive and docile souls face each other in an eternal struggle that sees no winner.

Art Curator Eleonora Varotto

HARMAAN

Clockwork Spectre

HARMAAN

Blue Dragonborn

HARMAAN

Bubble Girl

Haruki Moromikawa "I have a flood of ideas in my mind. I just follow my vision." (Yayoi Kusama)

The artist Haruki Moromikawa has been painting for a year now and his painting production focuses on creating graffiti that expresses his emotions. In the artist's painting, the roughness of the volumes, the dynamism in the forms that appear monumental and seamless, become distinctive features of the artist's unique graffiti painting. The work shows strong colour contrasts; the vibrant colours seem to fade into each other giving a sense of movement to the images. The colours used by the artist seem to complement each other; as one colour is formed by the mixing of the other two, the painting acquires a sense of continuous emotion. Furthermore, Haruki Moromikawa uses contrasts of brightness to recreate movement within the figures. The colour is decisively detached from the background. The painting suffers from the fast, light and fragmented brushstrokes, together with the use of various colour gradations. The artist renders the enchantment of a moment perfectly. Everything is candour and beauty; the colours are few but with an expressive force that hypnotises. Admiring the painting, one regains the power of time, the calm admiration for beauty, observation and attention to detail almost to the point of entering into the work itself. We can immerse ourselves in the emotions felt by the artist, lose ourselves in the colours and savour the shapes and shades that create a particular contrast between the background and the colours of the main figures in the representation.

Art Curator Giulia Fontanesi

Haruki Moromikawa

dayz

Heather Chapple

Heather Chapple is a Canadian abstract artist born in Thailand. Her art is free of rules and patterns, she indulges in flow and spontaneity. The artist uses different materials, overlapping them to give the work a strong energy. She works mainly with acrylics, sprays and primers, playing with textures to give her works expressiveness. it is an intuitive art that lets itself be guided by the colours and emotions that arouse at that precise moment. It is a spontaneous art, which doesn’t originate from a specific project, but indulges in creativity and imagination to give vent to feelings. In the work 'Cry Me a River' that the artist presents for this exhibition, as the title itself announces, melancholic and painful feelings are brought to light. The artist expresses herself freely, allowing herself to be guided by intuition; the dark colours such as blue and black reflect the artist's state of mind when creating the canvas. The brushstrokes settle on the melted canvas, creating patterns that move the work. The colours are skilfully combined, light colours such as gold and white mingle with darker ones, illuminating the painting. The artist has the ability to speak through her works. Her expressiveness is superior to any figurative form. Through her brushstrokes she manages to communicate to the viewer all that is necessary to understand the work. She is proof that an elaborate drawing is not necessary to convey feelings to the viewer.

Art Curator Lucrezia Perropane

Heather Chapple

Cry me a river

Helen Hitchens “Writers have this schizophrenic ability to both participate in their lives and, at the same time, observe themselves participating in their lives.” (from Edward Albee, Three Tall Women)

The two reportage-style photographs by our artist Helen Hitchens have precisely that typically photojournalistic aspect of the shot that immortalises, that stops, time. The presence in both works of art of three female presences that now travel a route together, now part almost unknown, immediately stands out. The most direct thought in approaching these images can be a conceptual parallelism with the magnificent play Three Tall Women. A play by Edward Albee, winner of the Pulitzer Prize for Best Play in 1994. The play opens with A, B and C standing in the bedroom of A, an old woman close to death. B and C are later understood to be 50-year-old and 20-year-old versions of A, they take care of her and discuss life issues.

Helen Hitchens

All of them, A, B and C, bear witness to the ages through which they pass. B has already come to terms with various storms and has an unlikely future. Young C knows nothing yet and can therefore afford to be horrified, while A is more at peace with herself and the life she has had. A, B and C talk about the best moments in life and, in a particularly bitter reflection on existence, A states that the best moment was death. "This is the best moment: it is when everything is accomplished. When we stop. When we can stop". A bold hypothesis of the resetting of time, the aesthetic visualisation of the possibility of learning, of understanding. The artist in this case stops the moment of exchange between the parts, between the various versions of herself; like any author, she finds herself both spectator and director of the life around her.

Art Curator Erika Gravante

Helen Hitchens

Mardi Gras 1

Helen Hitchens

Mardi Gras 2

Hermione Burrell “I paint objects as I think them, not as I see them.” (Pablo Picasso) Art as an instrument of expression, of confession, of communication to explain an inner world that often does not want to be revealed in words. Hermione Burrell is a London-born artist based in Oxford. She uses shapes and colors to tell memories and sensations that have marked important moments in her life. A scream of anger, an affectionate hug, a tremor of anxiety, a leap in amazement: through her works Hermione represents the vortex of emotions that is infinite and constantly evolving. Sharp color contrasts, quick and instinctive brushstrokes give life to abstract paintings full of strength and energy. "Material girl" was created in 2022 with mixed media on canvas technique: the artist, in fact, used oil, acrylic, ink, varnish and beads during the process. The background painted through the combination of different shades of blue is illuminated at times by yellow brushstrokes; in the foreground pours of fuchsia varnish convey great vitality. Matter is a central feature of this work, which was fundamental for the choice of the title. Material girl: a young woman surrounded by some objects to which she is linked because they have an emotional value and by others which she would not get rid of just because she has the habit of keeping everything. But beyond all this, what remains? A girl with a pure, kind, and sensitive heart who loves to hide behind the objects that surround her for fear of showing herself for what she really is. Hermione's works are the mirror of her deep soul: they are a symphony in the wind, a perfume never smelled, a story that she wants to share with those who look at her.

Art Curator Camilla Gilardi

Hermione Burrell

Material girl

hirohiro "Colour is a means of exerting a direct influence on the soul. The colour is a key, the eye the hammer that strikes it, the soul the instrument with a thousand strings'. (Vasilij Kandinsky) The Hiroshima prefecture-born artist has a great passion besides art: music. Her works are in fact characterised by bright colours and have, like music, the power to arouse emotions in the viewer.

The method of creating works is indeed similar to a symphonic composition, where colours are like sounds, shapes and lines like rhythms. It is an imaginary journey into an unknown world, a journey of the artist's inner self. In fact, one can retrace one's childhood, pass through a gentle and calm world, full of innocence, immerse oneself in an uncontaminated, evocative nature, full of cues that open the mind and heart of the observer and urge him to think about himself, focus him on his feelings. The landscape that hirohiro depicts has a strong connotation with reality but goes beyond it, recalling childhood, opening the mind and imagination to an uncontaminated world full of light.

The artist's intent seems to be to communicate inner and spiritual content based on the use of colour and affinities with music. Like music, in fact, painting also reaches the senses, which is why colours and shapes become the appropriate tools for expressing emotions and feelings. The artist's language consists of lines, spaces and colours that express emotions through the use of composition. The colours give the painting brilliance, create contrast and animate the shapes, and finally succeed in conveying the sense of nostalgia and tenderness that the landscape confers. The colours are used like sounds, they vibrate within the viewer's soul; they are warm and cold; a contrast between vitality and joie de vivre, as the yellows of the meadow and the hues of the sky highlight. Green conveys tranquillity, purple vitality; the warm colours serve to attract our attention, while the cold ones, green and blue, draw it away, generating a sense of depth.

Art Curator Giulia Fontanesi

hirohiro

Home in my Heart

Hiroya-YAMADA “In my work, as I live in the present, I express the projection of my own emotions, which is sometimes emptied, as a proof that is replaced with lines, faces, and colors as forms.”

(Hiroya-YAMADA)

Asian sea Undulation, Flame in the water, MONOLITH are the three works that belong to the artistic imagination of artist HiroyaYAMADA born in Japan and trained in Europe, specifically in France. The encounter between the two figurative cultures emerges clearly in his works, which take on original characteristics. The merging of reality and emotions is present in the three works shown at the international exhibition "LIQUID ARSENAL," hosted by the international art gallery M.A.D.S. As he himself states, the creative inspiration comes from everyday life experiences and the emotions they arouse. The works are projections of the artist's soul. Various media are used to represent Southeast Asia in Asian sea Undulation: lines and shapes give life to the reproduction of the artist's impressions, bring to life his memories "such as the conversation and noise of people passing by, the spicy scent drifting, the mysterious lights and atmosphere that stagnated in the dark back alleys, etc." Flame in the water presents the eternal conflict between fire and water, the artist states “As in human relationships, motifs that compare the incompatibility and incompatibility of each other to water and flame, which are substances that exist in our daily lives and are in conflict with each other. While constructing the form that symbolizes flame and the form that symbolizes water as their respective senses of volume, while the two different forms are intertwined with each other like tentacles, they conflict with each other. Also connected, expressing the image that flame dwells even in water. Finally, about MONOLITH he says “The series of colonnades based on black is forested like a group of buildings in the city while incorporating the tones of strong, weak, soft, and hard, and the appearance of being united is likened to MONOLITH. By collage the clippings of the letters, it became like an inscription, and I aimed at an abstract expression of the event projected in my mind with the expressions of strong, weak, soft, and hard”.

Art Curator Mara Cipriano

Hiroya-YAMADA

Flame in the water

Hiroya-YAMADA

Asian sea undulation

Hiroya-YAMADA

MONOLITH

HP Heinz

HP Heinz is a Belgian collage artist that joins M.A.D.S. Art Gallery on occasion the International Art Exhibition “Liquid Arsenal”. She decided to present one beautiful piece titled “Almost Human (no.1)”.

This artwork, a paper on cardboard, is part of a project created during the Belgian lockdown.

On a blue and yellow background, she put in the corners new and ancient skulls and, in the center of the composition, a thoughtful girl. Her thoughts explode from her head in brain shapes in different forms and colors. Her work of art is a riot of colors and figures that create a balanced composition that is extremely rich in pathos. The artwork is inspired by the deaths caused by Covid-19 and it encapsulates the process of grieving. So, the work perfectly reflects the transformation of loss and we understand the presence of the skulls. HP Heinz’s piece combines the reality provided by photography and the use of collage with the surrealist vision that is conveyed by the union of elements that literally replace real elements.

A celebration to the spectacularity of science but at the same time a warning to remember not only the beauty that we can find in it but also the unpredictability that contrasts with the fragility and smallness of the human being in difficult circumstances.

"Science and art belong to the whole world" (Johann Wolfgang Goethe)

Art Curator Federica Acciarino

HP Heinz

Almost Human (no.1)

Hugo Perrier

Hugo Perrier likes to create an impression of movement on static objects, it rappresents the dynamism of geometrics shapes. Dynamic flow 5 is a mix of opposite elements, creating a profound vision for the viewer. The image starts from the center, a core that intersects two distinct parts, expands outwards, in an explosion of colors. The meeting and distancing of colors gives the image a positive impact, an attractive work from an aesthetic point of view, the colors are perfectly balanced and combined, creating uniqueness in the details. The representation of a clash between bright and dark colors, a dynamic expression using a hairdryer. Through colors, lines and shapes, the artist creates a composition that reflects the evolution beyond reality. A symbol of strong emotions, of power, of freedom, of feeling free, a condensation of vitality and energy. An image that expresses speed and slowness, intersection and distancing, restlessness and calm. A hymn to change, in its positive and negative nuances.

Art Curator Maria De Marco

Hugo Perrier

Dynamic flow 5

Ibrahim Lancoln “Memory... is the diary that we all carry about with us.”

(Oscar Wilde)

A series consisting of three photographs that feature a man as he searches for something in an endless shore. Black and white photographs where sky and earth (water) almost blur together, the human figure equipped with its necessary tools, is presented as a patient, dark element, fatigued perhaps but of that good fatigue, which nourishes the spirit. A Day in Heaven makes one reflect on what paradise is for each of us. For Ibrahim Lancoln it seems to be the observing, the full enjoyment of this moment of pleasure, of beauty found in someone else and in their act, perhaps in the repetition of it. The artist's fascination with a repeated gesture and its repetition is not surprising. Photography itself is a way of repeating what in nature would not be repeatable and therefore possible and therefore existing. What is this man looking for? And what is Ibrahim Lancoln also looking for through him? What are we all looking for in order to feel that we are in heaven? Lancoln tells us about using photography as a therapeutic method for his memory loss. Today we hear a lot about the creation of new memories, what an oxymoron, to create then from scratch to build something so that it will be remembered, then to think about such a thing, such an event with a tension to a perhaps emptier future where it will be memories that will keep us warm in winter. To process then without processing, to think about the arrival without going through the go. The author with this series not only takes us to one of the possible paradises but makes us think about the possible path.

Art Curator Federica D'Avanzo

Ibrahim Lancoln

One day in Heaven part.1

Ibrahim Lancoln

One day in Heaven part.2

Ibrahim Lancoln

One day in Heaven part.3

Ibrahim You can’t depend on your eyes when your imagination is out of focus. (Mark Twain) Approaching an artwork by Ibrahim, one immediately has the feeling that painting is something more than a simple technical execution, and that it is nothing more than a means to raise a curtain of amazing emotions and sensations, which mix together to the other to create something unique. In Ibrahim's hands the brush becomes the tool to express a colorful inner universe, which enchants the viewer from the first glance. The artworks presented on the occasion of Liquid Arsenal are a full demonstration of this, starting with Always love you. The gaze lingers on the delicate female figure, defined with geometric and spiral-shaped motifs, which recall the decorations of the background to the point of almost merging with them. Through a decorative apparatus that evokes his Bengali origins, the artist seems to define the very nature of love which, with its enveloping embrace, dresses the loved one with an almost hieratic aura, elevating it to a higher, more noble dimension, of which it is an integral part. This concept is further expressed in the touching depiction of I feel alive when I'm with you. The two lovers are depicted in the central panel, linked by an inseparable bond made visually by a "Gordian knot" that winds around itself to form a heart. She with the guitar is configured as a magnificent explosion of colors, shapes and decorative motifs, which outline the features of a woman who plays the guitar. Ibrahim suggests an ideal of love that elevates the spirit and puts golden wings on it, just like those that adorn the sides of the work. Love itself is part of the artwork, perceptible in every brushstroke, in every single detail. The mesmerizing set of linear, wave, rhombus and triangular motifs seems to have its own dynamism and visually reproposes the rhythm arising from the invisible notes of the musical instrument. The illusion is so perfect that it almost seems to hear the strings of the guitar resound with a passionate melody. Ibrahim presents himself as a complete artist from a stylistic point of view, but above all effective and extraordinarily sensitive in giving life to unique compositions, granting the viewer the privilege of admiring them.

Art Curator Chiara Rizzatti

Ibrahim

Always love you

Ibrahim

I feel alive when I'm with you

Ibrahim

She with the guitar

Ingrid Haug “Whereas the beautiful is limited, the sublime is limitless, so that the mind in the presence of the sublime, attempting to imagine what it cannot, has pain in the failure but pleasure in contemplating the immensity of the attempt” (Immanuel Kant) If we ask artist Ingrid Haug what she works on, she will say that she paints her feelings. Accomplice to her training that follows the principles of the Vedic Art Tradition, the artist is not afraid to expose herself as a bearer of emotions. This is also her statement. We could elaborate pages and pages of tractate so that this statement is enough and perfectly describes what art has always done and will always continue to do: express the artist's feeling. Entering the spiritual world of an artist has fascinated for as long as we can remember. The artist, who by nature is a person and therefore will most likely experience feelings that other people have experienced, manages in a seemingly mysterious way to show and unfold his or her feelings so effectively as to immediately generate empathy or strong detachment. And therein lies the beauty. The simplicity with which fascination or denial simply happens. In art history we speak of the well-known sublime, the property of art to induce, by its connotations of mystery and ineffability, a state of ecstasy in conflict with rationality, to give emotional awareness of infinity. How an abstract painting is able to touch the depths of souls is not even for us to know; what we can do, as viewers and as insiders, is appreciate, enjoy, participate in a moment of simple and genuine beauty. That quality capable of appeasing the soul through the senses, becoming an object of deserved and worthy contemplation.

Art Curator Federica D'Avanzo

Ingrid Haug

I am

Ingrid Haug

Here now

Ingrid Haug

New love

IRIS "The shapes and features of all living bodies are continuously changing. So, I had the idea to draw only the liquid part of the body. WATER is the basis of life, growth, and change" (IRIS)

Water is the element of Carmen Rieger, aka IRIS. Fluidity is the main characteristic of her innovative artistic current: Fluidism. For this reason, there is no artist who can best represent the theme of the international exhibition "LIQUID ARSENAL" hosted by the international art gallery M.A.D.S. For the second time IRIS delights us with her creations and this time she stands as the leader of the exhibition. Albert Einstein, Jim Morrison, Lady Diana, Modern Woman are the protagonists of his works. The pop root of IRIS's art is powerful: subjects, colors and shapes refer to that current highly influenced by modern society. A society that IRIS manages to represent by capturing the main psychological trait of modernity, fluidity.

We are constantly moving, constantly changing shape, just like water; after all, we are made mainly of water.

Art Curator Mara Cipriano

IRIS

This is the cornerstone of Fluidism, which combines organic forms into a portrait composition. It is the evolution of the portrait, a portrait that manages to fully represent a psychological component that belongs to our times. The artist states "FLUIDISM is a concept through which I express my artistic beliefs in works of art, inspired by the existence of a complex substance with exceptional properties and qualities: WATER. WATER is a unique and indestructible substance. WATER is the basis of life, growth and change. WATER can continuously regenerate itself. WATER comforts and restores. WATER shows understanding and sensitivity. WATER is an accomplished artist. WATER is the most important element on the planet, found in 70 percent of our earth and in the same proportion in the bodies of humans, animals and plants-sometimes, even in greater quantities."

Art Curator Mara Cipriano

IRIS

Albert Einstein

IRIS

Jim Morrison

IRIS

Lady Diana

IRIS

Modern Woman

Irmak Erol Irmak Erol is a young Turkish multidisciplinary artist living and working in Croatia. She is not afraid to dare and seek new creative paths, and this is demonstrated by the fact that she creates works of art using different media and techniques. A continuous research through the beautiful instrument that is art, in search of herself and the discovery of the world. Evident is the graphic and visual research behind her artworks, a long and creative process, thought out down to the smallest detail. Irmak is able to look at the world with a different, more attentive and introspective gaze. This ability has led her to create original, one-of-a-kind works. The concrete and the abstract become one, reality finds imagination. In her creations, unconscious and abstract ideas take shape, blending with reality. In 'LOBSTER' the background is completely black, homogeneous, deep. A lobster emerges in the left, lower part of the photograph. Its orange-red colour is brilliant and contrasts sharply with the background. The long exposure of the photograph creates a play of light and movement that makes the picture intriguing. The animal occupies a small space, but at the same time illuminates the artwork. As it moves, its body produces sinuous lines that look like dynamic brushstrokes. The light follows the movement. The lobster is light in an infinite darkness. Its movement, recorded in space and immortalised forever, creates a bewitching light. An abstract photograph that starts from something real and takes us on a journey through the world of visual communication. The image leads to a disallienation through minimal but strategic elements. The black is enveloping but the addition of the lobster removes monotony and introduces life, energy. A single element that Irmak was able to enhance, creating an introspective artwork. A fluctuation of light, reflections and colour that explode making even the darkest background into something unique and extraordinary. Iramk's way of expressing herself and representing her surroundings is unique.

Art Curator Ilaria Falchetti

Irmak Erol

LOBSTER

Issei A textural color invests our gaze. It is dense, extremely opaque and spread in large brushstrokes along the entire space of the canvas. The latter welcomes it, allows itself to be soiled with matter, acquiring meaning and value of existence. For it is only by soiling the canvas with pigment that one is able to express creative intuition, that one is able to externalize the idea. An idea is by definition something abstract. Ethereal in its essence and chimerical in its sudden changes, the idea is labile, fickle and inconstant.

It ceaselessly changes its characteristics, feeds on new insights that go into its corpus, and slowly refines its qualities. The idea is like the winter wind: abruptly changeable, it bangs against the senses and the body and cannot escape from our minds. Human beings, however, need to externalize thought. It needs to express mental processing. It demands a material counterpart to the original evanescent idea. Color therefore, performs the delicate task of transmuting something invisible into something material.

The mental idea is transformed into something tangible and belonging to our world. And this is how Issei nourishes his works, with the pure and dense color applied to the canvas. "Principle," "Cat in the Curtain" and "Shape" are essentially the idea revealed, the creative spark that has been clothed in tangible elements. A blanket of pigment obscures much of the compositional space. The oil color, so glossy and malleable, lends itself to being applied in large brushstrokes that allow bristles to be glimpsed within them with each stretch. Although the color blanket is thick and saturated, the color mass is extremely glossy and terse: it is possible to see within it the slightest variations in color. From wisteria purple to fluorescent pink, Cat in the Curtain is composed of a few chromatic tones that nevertheless acquire a strong expressiveness on the canvas thanks to the juxtaposition of different shades.

Two closed eyes with long eyelashes introduce us to what is the image of a calm and serene cat lying in color as if it were fabric.

Looking at the work, one is able to perceive a sense of calm and quiet relaxation. There is something, however, that blocks the color continuity, a rather violent break that invests the pure, full color. White blocks reveal themselves to our gaze. It is not pigment, it is not color. It is pure canvas. And here we catch a glimpse, under the opaque chromatic blanket, of the foundation of the work. Opaque, milky and rough, it produces an interesting and highly expressive juxtaposition with the soft color. Issei's is an interplay of subtle and fascinating contrasts that lead the viewer to shift the balance of the soul each time the eye moves between color and neutral, white canvas.

Art Curator Lisa Galletti

Issei

Cat in the curtain

Issei

Principle

Issei

Shape

Izabela Sara Skolimowska

For Izabela Sara Skolimowska, the passion for art began at an early age. She paints, draws and sculpts, experimenting with different media and exhibiting her works locally and internationally. Despite her artistic path, she chose to pursue a different career, only starting painting again in 2021. Her works are inspired by abstract expressionist art, which is considered a movement of freedom of expression free from established canons and styles, in which feelings and emotions are the absolute protagonists. it is an intuitive art where the artists convey on canvas what they experience from the inside in a particularly intense way. The artist uses customised colours and mediums, such as OAG (Original Amber Glaze), a mix of different organic and synthetic ingredients that gives different shades of amber colour, to find the deepest part of herself, capturing it through her works. Each of the artist's paintings reflects her state of mind and her emotions, brought to the canvas in a spontaneous way, letting herself be guided by instinct. The three works the artist presents in this exhibition deal with the theme of change. "Aguas Turbias" depicts the chaos that our mind experiences before arriving at the necessary clarity. The state of confusion that everyone experiences during a change. Like turbid water that can become clear again. The process of change involves an evolution, the old makes way for the new. A process that develops over time that the artist represents in her second work through a gradation of colour from darker to lighter, accompanied by a cracked texture that echoes the title "Desquamation". Change is also incessant and this cyclicality is portrayed on canvas in the third work "Endless Whirl" through concentric circles that propagate from the centre to the end of the canvas. The artist reports her feelings in her works, but leaves room for the viewer to make their own interpretation of the work, in order to perceive more intimate and private feelings. According to the artist, art has the ability to evoke different emotions by awakening feelings that have long been dormant in us.

Art Curator Lucrezia Perropane

Izabela Sara Skolimowska

Aguas Turbias

Izabela Sara Skolimowska

Desquamation

Izabela Sara Skolimowska

Endless whirl

Jen Marie "The universe is made of stories, not atoms" (Muriel Rukeyser)

The mysteries of the cosmos, its colors, the starry sky, the moon that influences the tides are entities made of infinite energy that feeds and influences the life of each of us. The work of the American artist Jen Marie celebrates the sublime nature of the universe. It is a real triumph of the vastness of the sidereal space. Man is so small in comparison, man is lost as in a labyrinth, he loses his constant presence to leave room for a new virgin reality. Thanks to the use of liquid painting, the artist is able to generate new synergies between colors. The wise use of color ensures an evocative and revealing result. Her work "Nebula" is a slow and constant movement of colors that intersect in a perfect balance. The blue and magenta colors meet to give off beautiful and shiny gold.

The most precious metal that par excellence refers to the divine, the inscrutable. "Europa" instead strikes for its strong and diagonal movement, proud, being one of the moons of Jupiter. The colors that mix on the canvas creating layers perfectly balanced and in contrast with the bright blue that looms over the right. It is once again the sky, the source of inspiration for "Borealis" In this work the lights dance in harmony leaving the usual trails on the celestial mantle. Colors such as blue, green and yellow vibrate and are reflected on each other. Jen Marie is an artist inspired by nature, an infinite source of beauty and wonder. Amazement at the perfection of creation inspires her creativity. Her works are a gift, the restitution of all the beauty that surrounds us.

Art Curator Eleonora Varotto

Jen Marie

Nebula

Jen Marie

Europa

Jen Marie

Borealis

Jennifer Mrozek Weiss As Pablo Picasso said: "Colors, like features, follow the changes of emotions". The choice of a colour always expresses a state of mind, a conscious or unconscious message. There are no beautiful or ugly colors, out of tune or the inadequate, they all launch their own message. The colors used by the American artist Jennifer Mrozek Weiss are pure energy. The inner strength of the artist is expressed with vigour and great expressiveness in her paintings. Expressing yourself with colors is communicating with our deepest sensitivity. Colors are very important to convey our message to those who know how to listen. Jennifer’s creativity is irrepressible and her artistic references range from Joan Miro, Wassily Kandinsky to Paul Klee. The artistic process becomes an action of recomposition: the tangle of the soul, the inner turmoil passes through the brush finding a new way, a new meaning. " Quake" tells us an episode of the artist’s life when still a child lives the experience of the submarine earthquake. The devastating power of the subaqueous turmoil spreads over all of Manhattan. Anguish, fear take shape through sinuous and perfect lines. The Earth’s plates are about to collide or are perhaps drifting away in an impression of only apparent calm. The work "Izzy Bell" is still about the power of nature. The artist often names her works after thoroughbred horses. In this work we see the proud soul of a British stallion; we can hear the trot of gallop, the speed, the vigorous energy of his valiant soul. The colour is also well suited to the subject’s representation. Navy blue and grey in the centre suggest typically English impressions. With "Soul Ocean" instead we return to the theme of water this time but with a calm, relaxing and introspective. The layered forms fluctuate gently, the use of diluted paint guarantees depth to the work that stands on various layers, such as the shades of the soul.

"Thinking about and dreaming of the ocean brings us both joy and calmness, and truly soothes the soul. The ocean stirs the heart, inspires the imagination and brings eternal joy to the soul" (Robert Wylan)

Art Curator Eleonora Varotto

Jennifer Mrozek Weiss

Quake

Jennifer Mrozek Weiss

Izzy Bell

Jennifer Mrozek Weiss

Soul Ocean

Jiahui Wang What is art if not a tool to make us reflect on our present. For centuries art has been characterized by its ability to convey strong, uncomfortable messages, which we would not want to hear. To look the other way seems to be the easiest thing to do but life, presents us with the bill of our choices every day. The goal of the Chinese artist Jiahui Wang is to move our consciences, make us reflect on an imperfect present that we are still in time to save.

The artist reminds us that time is passing quickly and we must do something to avoid the worst. Her work "Fossil Forest - Crystals Trees" is an extraordinary research work that traces in 60 artworks the changes of a fossil forest. The cycle of works is the result of 15 months of in-depth studies and research to which are added 3 different phases of investigation. From the Devonian Paleozoic to the Pleistocene Cenozoic, which is the intersection of archaeological geology and painting. The succession of works represents the ten periods that elapse the geological ages. At the creative level, monoprinting is used to create the texture, then the combination of texture and painting to complete the final creation. The whole cycle shows us how time, climate and location change influence the project. Taking a walk on the beach or in the park we can see how many scraps there are around us; scraps that are certainly not part of the natural landscape or perhaps in some sense, yes. The materials that the artist uses are tree scraps (renewable resource) from the bottom of the Himalayas. Trees are born to absorb carbon dioxide, release oxygen, keep the soil in place, and can be converted to coal, rubber, plastic, oil, and other natural resources when they die. Nothing is created, nothing is destroyed but everything is transformed enunciated the French chemist Lavoisier. We should think more often about the consequences of our daily lives.

Art Curator Eleonora Varotto

Jiahui Wang

Fossil Forest - Crystals Trees

JinHyuk Son “I'm afraid that if you look at a thing long enough, it loses all of its meaning.”

(Andy Warhol)

Overlapping images, hundreds of images, thousands of images. One on top of the other, literally. They get consumed, blurred, lost but somehow stay there and create a visual memory that in turn generates an infinite number of new images, new lives, to enjoy and from which, again, perhaps, to draw. Compulsion, in any realm, has the role of calming the repetitive and often negative thoughts a person feels. That is how these works of art have somehow function but more importantly power to sedate and relax. A peaceful feeling. Intent and unknowingly perhaps, process of the artist. The accumulation of "things" and thus images has a therapeutic effect on those who decide their fate, control of what we see and surround inevitably brings a great sense of security. A painting that comes from the overlapping of signs naturally evades all forms of loneliness.

JinHyuk Son

After all, in an evolutionary sense, indeed, accumulation is a functional behavior for survival: one sets aside for lean times, one is prescient. This is why JinHyuk Son’s works have the ability to "crystallize" time, to keep past and experience intact, to comfort. Close examples are Andy Warhol's "time capsules," large packing boxes with everything he scattered around the house. In his lifetime Warhol produced more than 600 Time Capsules, inside which more than 500,000 objects are stored to be transformed into unforgettable fragments of time. Fragments of time that in these paintings form a narrative other than time capsules, but draw on their extreme dedication and care. Thus, JinHyuk Son's artworks automatically capture us and carry us away into their fascinating and peaceful time.

Art Curator Erika Gravante

JinHyuk Son

Rainbow

JinHyuk Son

Weaves of light and river

Joel Douek

Joel Douek is a British artist living in Los Angeles, USA. Initially a musician, Douek then embarked on a career as a visual artist. Joel Douek is a dynamic and extremely eclectic artist who experiments with different tools, techniques and ranges from different forms of art. Joel Douek is, for the first time, the guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "LIQUID ARSENAL" he exhibits three rich works from a communicative point of view and deeply impacting. “FISSURE” and “HEARTBEAT” recall the Japanese art of Kintsugi, in which gold is used to embellish the break, the artist himself states “Where one person might see an imperfection, a fault, another sees beauty."

The artist's aesthetic taste allows him to create works that express unique and extremely powerful atmospheres.

Apparently "FISSURE" turns out to be much more lively than "HEARTBEAT", but the movement and dynamism are expressed in two totally different ways, on the one hand the shades of colors and the different lines of gold of "FISSURE", on the other hand the great contrasts created in “HEARTBEAT” the extremely deep colors of red and black that create a more than unique contrast with the gold line in the center. The last work on display is "IT'S OK TO CRY", it is a sculptural work that demonstrates the artist's ability to range between different forms of art depending on the type of expressiveness that the artist wants to convey. Gold is the emblem of Joel Douek's works of art, and is, in fact, also present in this work.

Art Curator Martina Viesti

Joel Douek

FISSURE

Joel Douek

HEARTBEAT

Joel Douek

IT'S OK TO CRY

Jóhannes K. Kristjánsson “My influences and inspirations come from the nature. Whether it's fine grass in nature or rocks, it can just as well be an abstract painting” (Jóhannes K. Kristjánsson)

Jóhannes K. Kristjánsson's painting skills possess a timeless appeal. The artist presents Heather at the international exhibition "LIQUID ARSENAL," hosted by the international art gallery M.A.D.S. Jóhannes K. Kristjánsson is an Icelandic artist, and his origins are the key to the interpretation of his art, in fact, the beauty, strength and variety of nature become the inspiring muses for Icelandic artists whether on a microscopic or macroscopic level. Jóhannes combines his great painting skills with his observational spirit. The result is works of such marvelous reality that it replaces and exceeds that which can be perceived. The secret lies in his acute perception of light: what shades of color it gives, how it combines with forms.

Heather, like all Jóhannes' works, took the artist a lot of time and dedication, and the result is magistal. The atmosphere is captured and reproduced on canvas, on the multiple layers of color applied, the shading, the details. It is curious to think that Jóhannes makes use of photographs that he himself takes-his art and skill, in fact, surpass reality.

Art Curator Mara Cipriano

Jóhannes K. Kristjánsson

Heather

Josephine Mall "Painting is my language. It is my way of capturing and expressing moments and perceptions" Josephine Mall

On the occasion of the fifth International Exhibition organized by M.A.D.S. Art Gallery in 2022, and entitled "Liquid Arsenal", our dear artist Josephine Mall, presents us an oil on canvas work entitled "Unspoken". To use photographic terms, it is a "big close up" with refined details that are close to reality, as in a real-life copy, but at the same time deviate from it, accentuating certain features and resulting in a Surrealist dimension. For example, the particularly large eyes, which recall the style of the “anime” – “ ”, a term used to indicate Japanese animation works. Furthermore, the work also recalls the artistic research of Margaret Keane, the famous painter "of the big eyes". She also painted large and deep eyes in oil, capable of magnetizing and catalysing the observer's gaze. Sometimes nostalgic, they can convey a multitude of emotions, which only the single observer is able to interpret, according to their own experience. The beauty and the goal of contemporary art in general, which Josephine manages to bring back in her works, is the possibility of relating personally to the interlocutor and dealing with it. "I try to understand how people become what they are and the interaction with society that derives from it. My thoughts and experiences flow into my art", says the artist, looking for the tension between external and aesthetic appearance and subtly communicated emotions. With abstract painting, on the other hand, she brings pure emotion to the fore.

アニメ

Art Curator Carola Antonioli

Josephine Mall

Unspoken

Jottie “They both listened silently to the water, which to them was not just water, but the voice of life, the voice of Being, the voice of perpetual Becoming.”

(Hermann Hesse, Siddhartha) According to the Egyptians, there was a primordial ocean at the origin of everything, and the universe took shape when the sun and a land mass emerged from the waters. Not only for the Egyptians but in many cultures and mythologies water rises to symbolize the source of the possible and the existent. An element that becomes place, that becomes subject and object at the same time, a mother par excellence that nourishes and gives life. Emergence from the waters symbolizes the transformation of a disordered whole, which takes form and gives rise to life. Conversely, immersion in the waters becomes symbolic of the dissolution of form and death. Water thus symbolizes the mystery of life, bringing together past and future, birth and death. All ancient civilizations have handed down narratives of terrible floods that bring destruction and spare only the most righteous men, invested with the mission of perpetuating life. A mother then, however, who uses the natural right to not only give but also take life. Jottie shows us water flowing within , a stormy movement that takes on spiraling motions and by its very nature, generates and destroys. Through his artwork, the artist invites contemplation of the journey that leads to creation, enjoying and learning from all its sediments, changes of current, violent impacts with banks and gentle lulls among its waves. Everything flows, the brushstrokes seem at the mercy of the current, haphazard and without rules of perspective, directing us anyway, toward the center of one's being.

Art Curator Federica D'Avanzo

Jottie

Journey Into Creation

Juan Gonzalez Iglesias "A picture is a poem without words." (Orazio)

Juan González Iglesias is an explosive, energetic and dynamic artist. His vital energy, originality and creativity shine through in his works. Light is definitely the key element in reading his works. It illuminates all elements and enhances them, bringing life and dynamism. Fundamental to the creative process is the relationship the artist establishes with God and His power. God guides him and provides him with the means to realise his works. His power pervades everything, giving light and colour. Juan is a Spanish artist who is inspired by his surroundings.

Through pop and contemporary influences, he gives a new interpretation to reality. A personal, subjective vision that invades the viewer's heart and mind and intrigues him. One example is "All your lovers' revenge" in which the spontaneity of the process is evident. Inside, different artistic influences are recognisable, ranging from pop, avant-garde, graphic advertising style and even Mexican muralism. The ritual component is visible. The strokes of the markers are of different intensity and thickness. Dark vertical and horizontal lines alternate, intersect and overlap with the chromatic hues, laid out in a minimal, fast and instinctive manner. Each cm is rich in detail and the work is saturated with colours and elements, like a contemporary horror vacui effect. Characters take shape within the intriguing grid of signs, leading the viewer to become curious and begin a playful search for different details. In the centre is a stylised human figure with wide-open blue eyes. The subject in question is realised with simple, synthetic and minimal forms. The effect is playful, lively and cartoony. The colour purple in different shades prevails, gradually interrupted with fluorescent greens and yellows, touches of red and light blue. A chromatic chaos of lines and colours that intertwine and give dynamism, movement, vitality. Juan's artworks are impactful and engaging. The techniques he uses, the choice of colours and references and the realisation are designed to attract the viewer. The references to the world of graphics and advertising are also evident.

Impossible not to be fascinated by these compositions.

Art Curator Ilaria Falchetti

Juan Gonzalez Iglesias

All your lovers' revenge

Juju Kurihara “I will love the light for it shows me the way, yet I will endure the darkness because it shows me the stars.” (Og Mandino)

Light and shadow, hope and disillusionment, joy, and sadness. The existence of every man is characterized by a succession of conflicting emotions that never extinguish the flame of his soul, which continues to burn thanks to the emotions, memories and sensations that keep him alive. Juju Kurihara is a Japanese calligrapher who, after having lived and worked in various cities around the world, has moved to Berlin since 2012. "Brightness" was created 2022 with the technique of calligraphy ink on paper.

Against a completely white background, Juju paints two symbols: the one on the left is the sun, while the one on the right identifies with the moon. At the beginning we were talking about pairs, and this is perhaps the quintessential contrast. Sun and moon do not simply represent day and night, but also connect with profound meanings. The sun symbolizes light, energy, positivity: it shows us the path we must take and illuminates the world around us. The moon is a symbol of purity, eternity, and intuition. The night is dark, but the moon shines in the sky next to the stars. They are the ones who suggest the path in moments when life is a storm during which the wind never seems to stop. Sun and moon are the two protagonists that Juju has chosen to represent the metaphor of life: day and night alternate relentlessly, but you always follow the light without fear. Cultivate your passions, dream big and have the courage to dare, always.

Art Curator Camilla Gilardi

Juju Kurihara

Brightness

Jule Wendel “Color is a means of exercising direct influence upon the soul. Color is the keyboard. The eye is the hammer, while the soul is a piano of many strings.” (Vasilij Kandinskij)

Nothing speaks more than colours do and Jule Wendel uses them to communicate her soul and touch ours through her paintings. Fascinated by colours and emotions, the artist directs colours to produce a particular reaction to the soul as if she was examining the psychological effect of colours on her and the viewers’ eyes. She gives life to abstract paintings whose language is imbued with the communicative power of colours, expressing states of mood and emotions that are difficult to narrate with figures. In paintings such as “BRAVEmove”, “Eternal Becoming” and “OVERFLOW OF LOVE”, Jule questions and reflects upon what defines humanity from different angles. Through a splash of bright pink, yellow and violet brushstrokes, “BRAVEmove” recalls the positive emotions, the funny and courageous feelings you feel after overcoming inner weaknesses. Different in colours are “Eternal Becoming” and “OVERFLOW OF LOVE”. In the first painting, white and grey paints alternate with each other highlighted by pieces of gold leaves. At the centre, a black thin line creates a circle, an endless circle that symbolises our eternal becoming: “it is a flowing process to live out the best version of ourselves”, Jule tells about this painting. “OVERFLOW OF LOVE” is a vortex of white and grey brushstrokes: “God’s love and grace are so overwhelming that our human mind cannot capture them”, says Jule. Like a powerful and sweet wave, this love overwhelms the human mind, caresses the human soul and cuddles the human body so that “you will be carried by the water until you reach the top of the wave”. The use of colours allows Jule to reflect upon rooms of the self that are sometimes difficult to explain in words, touching keys that make the human soul vibrate.

For her, abstract painting is both a personal and a universal process that transmits impressions, associations and emotions. Paints of colours emerge, which immediately reflect the unfolding of a personal masterpiece.

“It is, thus, evident that color harmony can rest only on the principle of the corresponding vibration of the human soul. This basis can be considered as the principle of innermost necessity”. (Vasilij Kandinskij) Art Curator Martina Lattuca

Jule Wendel

BRAVEmove

Jule Wendel

Eternal Becoming

Jule Wendel

OVERFLOW OF LOVE

Julia Costanzo

Julia Costanzo is an Amarican artist originally from Philadelphia, Pennsylvania, who currently resides in Paris after completing a Master's degree in Interior Design at the Paris College of Art. Passionate about art, photography and film, she develops a unique style by combining physical and digital media. The works she presents for this exhibition were created exclusively using acrylic paint on canvas. For her, painting is a means of giving voice to one's feelings beyond conventional methods, an important tool for clearing emotional blocks and improving the quality of life. Julia's art is an abstract art that follows its own rhythm and evolution, not yielding to the usual canons, leaving room for the power of colours. Quoting Kandiskij, it is necessary 'to free oneself from old forms in order to create new and infinitely varied forms (...) that are able to express the principle of inner necessity'. Her painting goes beyond forms to more freely express her emotions. Each work is created through superimpositions of colour that create involuntary patterns that subdivide the work. In creating each painting, the artist lets herself be guided by her instinct, listening to her inner story, what her soul wants to show. The basis of this painting, which we can define as emotional, is the colour, carefully chosen according to the emotions the painting is to convey, and the movement of the brush strokes, which reflect the artist's self-expression. They move across the canvas in a fluid, chaotic or precise manner, following her stream of consciousness. Through each layer of colour, the artist reveals herself to herself. Each painting has a unique meaning, a window into her inner world. Nevertheless, each one can be interpreted in different ways, depending on the viewer in front of it.

Art Curator Lucrezia Perropane

Julia Costanzo

Freeze tag

Julia Costanzo

Him

Julia Costanzo

Yellow rain

Julia M. Klein

The Swiss artist Julia M. Klein feels that she can be creative without limits through the use of freely fused and juxtaposed colors. Her art describes the taste of living, of feeling, of exercising to the maximum the power of emotion: her works teach freedom. This is, in fact, the sensation that the viewer feels when looking at her works. In them, liquid colors seem to explode in all directions, it seems to witness a new “Big Bang”. In "An Autumn Kiss" the predominant color, red, is able to evoke strong emotions linked to strength and passion. The work presents a format certainly innovative and contemporary; it develops vertically and a "wave" of color that gives breath and power to the whole composition intervenes to divide two flat and monochrome backgrounds. In "Crashing Oceans", to the predominant blue that evokes the idea of infinity, Julia M. Klein wisely adds touches of pink and orange, extremely positive secondary colors that elicit harmony and tranquility in the viewers. "Golden Galaxy" is the work in which we find a more varied palette. The Swiss artist combines warm and cold tones, balancing them perfectly, as happens during sunrise, when the warm yellow of the Sun breaks into the dark blue of the night. With the art of Julia M. Klein, we can talk about Lyrical Abstraction, both because we are in the presence of the total abolition of the recognizability of objects, both because of the central function that color assumes in her works. Art has always been a common thread in the life of the Swiss artist and since she discovered the abstract art with acrylic, she has found her own way of expressing herself. These "waves" of color that explode in the canvases are the distinctive feature of Julia M. Klein; as well as the straight lines and primary colors are, in a sense, the signature of Piet Mondrian, so the fluidity and vibrant colors on flat backgrounds are the signature of this artist, “new” but certainly with enormous potential.

Art Curator Francesca Catarinicchia

Julia M. Klein

An Autumn Kiss

Julia M. Klein

Crashing Oceans

Julia M. Klein

Golden Galaxy

K0ut4

Neon lights, a reflective walkway, a pair of hands. Megalopolis, a baio of arms, a Torii. What is in front of us? What are we observing? We sense a force drawing us toward the center of the work, a magnetic force drawing us in without turning back. We walk, and the catwalk, so thin and transparent, seems to break at any moment. In reality it is very solid. We advance with slow steps, amazed by what our eyes are observing at this moment. The myriad of neon lights bombard our retinas, and the city seems to expand all around us. Left and right, everything is city. From the sky descend skyscrapers, streets, illuminated signs. A world arching in on itself, flexing on its own limbs propelled by the very force that compels us, undaunted, to keep walking forward.

"Neo Future Japan" is exhortation to go further, to go through that portal at the center of representation. Torii, in Japanese tradition can be considered as real portals that connect reality to another world. What is there, on the other side, is unknown to us.

We are advancing toward the red torii propelled by an invisible, at times mystical force. The union of the spiritual element and the earthly world is, in K0ut4's work, the pivotal element of the whole representation. It is the synthesis of the visible and the invisible, the real and the unreal, matter and non-matter. Two half-open hands soothe us, the presence of human features makes our walk easier. The latter, they seem to curve to protect something precious, something of inestimable value. Just below, a circle of light catches our attention. Orange, white and reddish in places, this vortex of light sets up just behind the spiritual portal. It looks like streaks of light produced by a long-exposure photograph. Yet it also looks like a circle of fire. Or a black hole. A black hole at the center of the work, and our walkway is taking us directly in that direction. It is a short time before we are absorbed into the vortex, a few moments separating us from the event horizon. Past that threshold, there is no turning back. Where will we be led? What will become of our body? What about our soul? We cannot answer that question. Yet everything now seems clearer to us. The black hole, the torii, the mirrored and multiplied city, the very use of the medium of digital collage are all elements that prepare our minds for the journey we are about to take. The neon lights guide us, the bright dots in the windows of the skyscrapers are our stars. The walkway is straight and shows no signs of letting up. We advance, we are about to cross the portal. We are about to leave this world to discover the invisible.

Art Curator Lisa Galletti

K0ut4

Neo Future Japan

Katalin Némethy “Be the flame, not the moth.”

(Giacomo Casanova)

Passion has a double definition meaning physical or spiritual suffering, an idea of a deep and tormenting affliction. A moment or motif of affective life characterized by a state of violent and persistent emotion, at odds with the demands of rationality and objectivity. Passion is born as ambiguous, its mystery is generated by the fact that on the one hand it is voluntary and the faculty is always something active that arbitrarily initiates processes; and on the other hand passion is sensibility that is therefore receiving, passive. It is therefore the faculty of passivity. Passion is therefore the active capacity to be passive, to suffer. The ambiguity of feeling and specifically being interested in moral philosophy has been and is one of the great themes in human history, but the animal kingdom and nature also show us these signs. Think of the cicadas that sing to the point of not realizing they are dying. The power of the song emerges, forcing one to do things far removed from reason. (The devil himself) The power of the irrational. Passion may be madness, but it is also the power that makes the soul soar towards the hyper-uranium. Katalin Némethy's artworks show the strong colours of passion, the attempt to put this feeling into a context, to contain this force and control it. Her oil paintings are intense, brilliant, concerned with irrational attraction. The viewer finds himself approaching without resistance, ready as if by nature to let go of this ambiguity between passive and active, where he chooses and decides to let himself be overcome by passion.

Art Curator Federica D'Avanzo

Katalin Némethy

Devil himself

Katalin Némethy

Passionate red

Katalin Némethy

Dreams in your hand

Kathy Rush "Colours, like features, follow changes in emotions” (Pablo Picasso)

The artist Kathy creates works full of energy and positivity, a work that embodies the great power of colour. The artist manages to condense an infinite series of emotions in her works, colour is the main element, it is the real protagonist, it is on the canvas and comes out of it as if to invade the surrounding space and to get in touch with the observer. Kathy's painting is clearly abstract, there are no drawings that outline real forms, but at the same time it is extremely real, pasty and tangible, it is full of expressive force. Only in the work "Peaceful" is the presence of real figures evident, the fishes that move throughout the work create vitality and dynamism and at the same time make the work extremely peaceful. The color that layer after layer becomes pure matter, it is alive even if immobile. Like any story that has a past, a present and a future, so the work of the artist Kathy tells a journey, a journey characterized by reflections, thoughts and experiences to treasure, secure foundations, true and solid thoughts. Through her works, the artist wants to express thoughts and emotions connected to them, the artist gives us the gift of reflection, her work can be a starting point for each of us to understand and investigate existence. Without a doubt, the viewer is pervaded by a strong feeling, the works certainly cause a leap in the heart, in fact Kathy's work is able to impact the soul of the beholder, it is suggestive and full of power. Her works almost seem to want to talk to us and tell us something, the viewer can do nothing but listen and let himself be pervaded by this strong wave of emotions. The colour and the gesture of the brushstroke become, in some way, the element through which the artist frees herself from any preconception and prejudice, she expresses herself without doubts and without fear, she puts on canvas all her thoughts and ideals without some fear. Kathy gives us the gift of freedom, her works become a cry for freedom for the observer, she is the starting point for reflecting and getting to know ourselves. Her artistic work aspires to something transcendental, the work becomes a means, a bridge that can connect reality with thoughts and emotions, in it both the real and the abstraction of emotions coexist perfectly.

Art Curator Vanessa Viti

Kathy Rush

Peaceful

Kathy Rush

Rain on window

Kathy Rush

Water & sky in motion

Katti Borré

Katti Borré is a fine art photographer. Borré's artistic vision focuses on the creation of reality with photography, the opposite of how photography is generally understood. It is clear that the artist's photographic works are her own interpretation of the world around her, in fact she herself states "I create art that purely exists for its aesthetic and emotional value, rather than a practical purpose." There is, therefore, a profound aesthetic taste in Borré's artistic production that creates value by itself. Katti Borré is, for the first time, the guest of an exhibition organized by M.A.D.S. Art Gallery and on the occasion of "LIQUID ARSENAL" she exhibits "Sometimes it snows in April", a photographic work through which the artist expresses her deepest emotions and visions of the world around her, the artist brings to mind all those unexpected situations that come suddenly and change the course of our lives forever. It is a real awareness according to which our life does not always go in the direction we would like and the future is not always as we imagine it. Extremely important, however, is the artist's concept according to which despite the uncertainties that life presents, our dreams must never be overshadowed, but on the contrary must always be present. The work is extremely impactful and communicative, there is a sense of disorientation, but also a profound sense of perspective that leads the observer to focus, to focus on every detail to make it vivid in one's mind.

Art Curator Martina Viesti

Katti Borré

Sometimes it snows in april

Kay Nys

Creativity is thought to be a key component of what it means to be human. During a creative act, the whole brain, composed of 86 billion neurons, collaborates together to produce beautiful and innovative ideas. It’s like there was a theatre in the mind in which memories, external inputs, abstraction and metarepresentation play together on stage in every combination possible to create new plots and stories. For some of us, this theatre is the synonym of a locus amoenus that help us to transform sorrow into strength.

The artist Kay Nys is the representation of this force of mind that is kindled by creating art. Art allows him to be free, without any constraints or barriers, that are found and imposed by the society we live in and the people that surround us.

Kay Nys

Kay is inspired by the limits dictated by the society and how these affect people with disabilities, also through the perception of his first-person experience. As a reaction to this, he creates digital artworks that reflect his expression of the world through his eyes. Kay’s theatre of the mind knows no boundary and by experimenting with different media he explores different possibilities also thanks to his head mouse. For this exhibition, Kay presents part of his collection ‘Necrotika’ in which he shares and illustrates his condition that caused him to stay in a wheelchair. ‘Necrotika’ focuses on the process of cell death and rebirth and how art can contribute to this regeneration; because with art, everything is possible.

Art Curator Francesca Mamino

Kay Nys

Broken skin

Kay Nys

Liquid Cells

Kazu Tsutsumi "If the artist has outer and inner eyes for nature, nature rewards him by giving him inspiration." (Wassily Kandinsky) Artist Kazu Tsutsumi studied engineering and science; having experience in research and development of technology, his art has always been influenced by these categories. He was interested in exploring the principles of form and the study of acrylic colours. This is why his artistic activity is shaped by past experience and interests; life experiences are inextricably linked to exploration in the world of art. The work 'Lapis lazuli' is a composition characterised by an interplay of light and space, a consideration of the relationship between colour and moving shapes that give the image. A sense of chromatic continuity is thus created, merging all the parts of the composition, unified by the fluidity of the pictorial material. The artist's intention seems to be to communicate inner and spiritual content, which is merged through the use of colour and shapes. In this way, colours and shapes become the appropriate tools for expressing emotions and feelings.

The colours vibrate intensely in the soul of the viewer who loses himself in the shades of the cold colours of the hair of the painting's protagonist. Kazu paints a series of colour strokes that he places on the canvas with a precise task, that of striking the viewer's soul and emotions. Blue, in its shades, has the ability to convey peace of mind, contrasting with the brilliance of gold, which conveys vitality and joy. To the colours, the artist alternates lines of different thicknesses that serve to outline the shapes.

Art Curator Giulia Fontanesi

Kazu Tsutsumi

Lapislazzuli

Kinga Basilides Kinga Basilides is a young Hungarian artist who started drawing from childhood. Art is a fundamental part of her life and has contributed to her growth as an artist. To this day, she still studies illustration and this interest is evident in her artwork. She has built an unbreakable, personal bond with her art. She channels her emotions and paints them, also conveying them to the public in a direct and decisive manner. Kinga is a complete participant in her art; she not only creates it but often paints herself within it, becoming one with the work. The images she creates are emblematic, surreal and imaginative. Each work tells a story, has a meaning and conveys a message despite the fact that the settings are surrealistic and imaginary. In her artwork 'Mixed realities', her concept is clearly evident. In addition to her drawing skills, there is also an attention to perspective and the imaginary juxtaposition of reality with fantasy. In the foreground, a hand with a mobile phone, perfectly reproduced in all details. In the background, Kinga unleashes her creativity and contrasts. A realistic glimpse of a city with a swimming polar bear. The blue colour of the sky has a double significance and also becomes a crystal clear sea. Kinga realises the setting as if the viewer were standing in front of the scene. The three levels of the painting, the telephone, the city and the bear, blend in a balanced way together, even though they belong to completely opposite worlds. The artist's pictorial skill allows her to create a homogeneous, harmonious image, despite the juxtaposition of jarring elements. The last ones, decontextualised and placed in the same environment, distort their meaning. Kinga emphasises the man with the telephone in the foreground to make it clear how people are now aligned by technology, unable to see what real life is, what surrounds them. The man would be able to have such an unusual and surreal scene like this in front of him but would not pay attention to it if he were using his phone. The artwork makes us reflect on our contemporariness, on our habits. Kinga proves to be a talented painter, endowed with graphic tallow and amazing dexterity. Every detail is realistic, like the bear's fur, the cars and buildings, the phone and the apps. A mix of reality that scares and fascinates the viewer at the same time.

Art Curator Ilaria Falchetti

Kinga Basilides

Mixed Realities

Kiumiyazaki

Art, in all its manifestations, is the highest human expression of creativity and imagination, and it is the only moment that allows man to externalize his inner self. The meaning of the word "art" is not uniquely and absolutely definable. Its definition has varied in the passage from one historical period to another, and from one culture to another. The arts are generally regarded as realities too noble and lofty to enter and shape the lives of ordinary people, but in reality the opposite is often the case. Art can help man to stop to observe, reflect and contemplate, to thus arrest the ebb and flow of actions and passions, to immobilize the spiritual life and look at it. In this condition it is possible to understand oneself more deeply and come to full self-awareness, to stop to grasp the meaning of reality, to make conscious choices and plan one's life. But at the same time, the work of art itself is a reflection of ways of thinking, living, feeling of the artist who continually corrects, replaces, remakes.

In summary, it can be said that art makes man more man. There is a universal language of art, which all men know, that takes form and visibility through artistic and spiritual pursuits. This language binds past, present and future by means of a feeling inherent in all men of all times of all places. Color, chromatic variation as well as the stain and the graphic sign are the letters of an alphabet for images capable of expressing what one has deep inside oneself.

Kiumiyazaki

Kiu's art is powerful, at times violent, and grounds its expressive power in the simplest balance of contrasts there is: the balance between black and white and between full and empty. These four elements we can consider as the foundational elements of any artistic expression. They are the foundations on which all representation is based.

The artist therefore goes to the core of the matter, to the intimate and essential meaning that lies in the contrasts.

"Untitled 02" and "Untitled 03" are two works formulated with the same approach but expressed on paper in diametrically opposite ways. The first is dark and dense. A large black spot interspersed with coves and sinuous white lines seems to want to engulf us. The contrast of balance is, in this work, all played out by the presence of an empty corner at the left end of the work. Slowly the blackish blanket will arrive there as well, probably swallowing up the last remaining empty space as well. "Untitled 03," on the other hand, is diametrically opposed. A delicate weave of black threads and veins characterizes the compositional space. Everything is very delicate and extremely ethereal. The memory instantly goes to a cut tree trunk. "Untitled 02" and "Untitled 03" are two works made differently but telling the same story, the atavistic and perpetual balance between opposites.

Art Curator Lisa Galletti

Kiumiyazaki

Untitled 02

Kiumiyazaki

Untitled 03

Kseniya Redina “If you love life, do not waste time, for time is the commodity of which life is made.”

(Benjamin Franklin)

For the international exhibition “Liquid Arsenal” at M.A.D.S. Art Gallery, Kseniya Redina presents the artwork entitled “Galaxy - Time and Life series.” The artist immerses herself within two of the universal and inseparable concepts: time and life. And so it is that Kseniya depicts two pyramids, placed one as a reflection of the other, as if joining together to form an hourglass: the two opposing sides also represent heaven and earth, the feminine and masculine universe, fullness and emptiness. Around it, a golden ring is visible: a path to follow, just as the Milky Way traverses a part of the universe. Such iconography sets the stage for the importance of another key element in the artist's artwork: the rigor and simplicity of geometry in art. A painter such as Piet Mondrian, for example, had exceedingly approached this theme through the square; while Kseniya, in her innovative and abstract vision, depicts two triangles (which become pyramidal solids) with its three perfect sides (an extremely crucial number on a symbolic level) and a circle of the life, interposed between the aforementioned forms. Each element appears almost in relief: in fact, the silver background seems to be the surface of the Moon, with its very special texture. Hourglass, time, triangles, circle, life: everything shows the viewer the fundamental task of time and its incessant and inexorable passing throughout the entire journey of human life, which becomes the most precious asset that can ever exist.

“Time is one of the few important things we have left.” (Salvador Dalí)

Art Curator Alessia Perone

Kseniya Redina

Galaxy - Time and Life series

Kyotsube The Japanese artist Kyotsube participates in the international art event "Liquid Arsenal" held by M.A.D.S. Art Gallery by exhibiting three magnificent works of the marine abyssal world. Author of an illustrated book of the augmented reality in 2021, the artist's main goal is to amaze the observer with the use of harmonic colors and chromatic frequencies that go into the blue of these magnificent realities. Being familiar with the creatures of the deep sea, he thus expresses these mysterious liquid universes populated by wonderful creatures. Through the fusion of digital illustration and liquid art, the artworks depict beings of the abyss such as the coelacanth, the enypniastes eximia, and the phronima sedentaria whose titles are indicative of these subjects. The outlines of the figures are sinuous, thus emphasizing their graceful movements. In fact, the images seem floating as if you were looking at a large aquarium. The chosen chromatic tones range from blue to warm fluorescent colors that create a pleasant harmony in the eyes of the beholder.

Although we're in front of illustrations, Kyotsube manages to project us into these abyssal worlds, and it is possible to almost hear the muffled sounds, the light and solemn atmosphere that govern these universes.

Art Curator Angela Papa

Kyotsube

Coelacanth

Kyotsube

Enypniastes eximia

Kyotsube

phronima sedentaria

Lika Ramati

Water: purifying, vital, cyclic, fresh, clear, mysterious, dangerous, metamorphic. A simple element can contain a multitude of meanings, explicit and hidden. Characteristics that can be grasped, in the same way, inside the works of the digital artist, Lika Ramati. In her compositions remains central the figure of the woman: strong, sensual, independent; while around her the events are just a frame, one has to pause and observe carefully to capture the real essence. Fluidity is what binds the works, the water reflections in Enigma, the title simply evokes the feeling that anyone has by observing the lady in the center, whose face emerges from the lake. A mystical entity that protects her territory, we wonder whether it is a safe or dangerous place. In The Water Liliy, the woman’s face is completely surrounded, the reflections of the water coloured by the surrounding vegetation creates what might look like a crown on the head of the protagonist, a nymph, who enjoys and rejoices in her element. For Tide, she compares the powerful force of a sea wave with that of the female figure, on the opposite side, uncontrollable, fearsome and unique every time it breaks on the shore. The power of water lies in its adaptive capacity, comparable to the female energy, which the artist represented in Ice Crystal, the ice that infuses its protagonist with a predominant maturity and awareness, occupies in its entirety the composition.

Water is also a symbol of birth and rebirth in Red Light with the use of bright colors that are amalgamated in a homogeneous way, gives the appearance of a burning fire, we immediately see the representation of the regeneration of a Phoenix, supported by the presence of feathers shaded yellow and blue, at the top and bottom of the image. It is the animal by excellence associated with resilience, and there is no better adjective to associate to women, the ones who perseveres in life, that keeps getting up even when the world goes against them.

Art Curator Alessia Procopio

Lika Ramati

Enigma

Lika Ramati

Ice Crystal

Lika Ramati

Red Light

Lika Ramati

The Water Liliy

Lika Ramati

Tide

Lisa Bakke “Dripping water hollows out stone, not through force but through persistence.”

(Ovid)

Metamorphosis means transformation, of one being or object into another of a different nature, the totality of morphological and physiological changes, involving a different relation of the organism to the environment. In a figurative sense, change, modification in general, in the appearance, character, conduct, moral or spiritual attitude of a person. In all ancient mythologies and religions we can find tales in which people or things are transformed into something else, this is metamorphosis, a mutation in which the form is changed but not the identity. Heroes and young people transformed into plants, animals, and constellations are numerous in Greek myth and European art.The Greeks, through the myth of metaphor, explain the origin of strange plants, flowers, or animals or those with special characteristics. Ovid among many, with his "Metamorphoses," is certainly a point of reference for artists and writers who represented this theme in their works. Bernini, Caravaggio, Escher work with transformation. In Lisa Bakke's photographic work we encounter a metamorphosis in the liquid state, proper to the photographic technique, but especially to her imagery and suggestively to that of the Metamorphoses. Drops and areas ready to become other, to change their form to adapt to a new task. Continuing to draw from the myth, a portion of Daphne at the moment when exhausted she ends her escape from Apollo by turning into a tree.

An image that crystallizes the moment of transformation, of the passage of states and the changing looseness of the spirit.

Art Curator Federica D'Avanzo

Lisa Bakke

Chemigram Photography

Lou

Hippocrates described our body as being composed of 4 fluids, 4 humours. Each of these fluids resembles a temper, a dominant set of emotions that only when balanced give peace and stability to the body and the soul. When emotions take over, however, the inner fluids create a disbalance, an internal storm that is governed by impulsivity and that won’t let the rational mind suggest the next move. The unpredictability of this inner storm can be manifested in art, and through art can be found the healing power to express and process our own emotions. This is exactly what the Belgian artist Lou wants to explore in her paintings. Her artworks are a revelation of her journey in her inner world, composed of emotions that are contrasting with each other, just like the colours on her canvas. Every colour, every splatter and rushed movement, is the embodiment of what she feels and experiences in her daily life, accentuating the complexity of the human experience, that most of the time cannot be reducible to basic emotions but instead, it should be considered in her holistic coexistence. The unpredictability of the storm within us is sometimes characterised predominantly by negative feelings, other times by positive feelings; either way, the storm pushes us to create, to strive, to be better. Thus, the storm becomes symbol of the human engine that gives us the power to go forward. Lou, by manifesting her introspection process reminds us what it means to be humans and how the balance and peace of Hippocrates’ fluids can be achieved through art.

Art Curator Francesca Mamino

Lou

Inner storm

Luna Voss "I dream my painting and I paint my dream." (Vincent Willem van Gogh)

The work of artist Luna Voss is a constant search for the intimate truth of the subconscious, a transposition of moments and desires onto canvas in the form of emotional visions. Luna's art is thus an expression of the most intimate truths that our subconscious tends to limit, cage and hide.

But it is not only a personal quest; sometimes emotions also concern others. In her painting 'Woman of substance', the figurative elements are recognisable and delimited within marked black outlines, although the lines are given the task of flattening the volumes and the colours are unreal.

The artist's research starts from the desire to represent a photograph that in its primitive simplicity demands special attention, in order to show the care with which the artist has reconstructed the details. The feeling she wants to instill in the viewer reflects precisely the need to look beyond the pure reality of light and colour. In particular, the colours serve the artist to portray the expressive power of the protagonist's face, to give it a primitive, almost wild energy. Colour serves to describe the expression, as well as to suggest an original vision and impact on the woman's expression.

Moreover, the precise and deep lines serve to enclose her in a context of clamour and precision where the expressive force appears somewhat contained. The viewer's perception of the portrait is accentuated by the colours that stand out at the points where the painter wants expressive contrasts to appear.

Art Curator Giulia Fontanesi

Luna Voss

Woman of substance

Madame Linè “What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.”

(Roland Barthes)

Emotions are essential for providing information and ensuring the survival of the individual; they enable us to assess danger, to act, to communicate and to adapt to the environment in the best possible way.

Emotions involve an interplay between subjective and objective factors. Some emotions are already present at birth, while others emerge when they have to fulfil an adaptive task. Sometimes we treat emotions as if they were facts of the world: the stronger the emotion, the stronger the belief that our emotion is based on a fact. If we believe that our emotions represent reality, we can use them to explain our thoughts and actions while ignoring the facts. It is to counter this danger that artist and mental health professional Madame Liné finds herself balancing her day job with her art practice by basing her interpretation of reality on emotional information alone. Her gracefully manipulated photographs take care of this risky urge of the human soul to be overwhelmed by emotions by creating a visual, healing world where one can surrender to this instinct. Black and white photography, by its very nature, communicates directly with the spirit and memory. Shots that allow that irrational part that so badly needs space to speak. The artist wants to indulge and allow himself to treat emotions just like the facts of the world, without having to adapt to reality, without having to find a mediation. To abandon oneself and thus enjoy the emotions, the wounds, the caresses, the Punctum, as Roland Barthes would say.

Art Curator Erika Gravante

Madame Linè

Process parts 1

Madame Linè

Process parts 2

Madame Linè

Process parts 3

Madame Linè

In between part 1

Madame Linè

In between part 2

Magdalena Gronowska “We tell ourselves stories in order to live.”

(Joan Didion)

We tell stories because we have the need to express ourselves. This has been happening since time immemorial, let's think to the Lascaux Caves and the first signs we recognize in the history of art. They were mostly stories, of everyday life, of fantasy, of hope: stories. As living beings to survive we need to communicate our needs, from simple physical needs to emotional needs, it is in our nature and necessary to evolve. Storytelling proper is made up of language, which is itself made up of many symbols and signs, but it is also made up of graphic signs, images, subject matter, ornaments, musical notes, a set of things that arise from the need of each individual, just as it does in art. That is why art inherently has a strong narrative power and makes use of the transformative power that is inherent in storytelling and thus in art.

It allows thought to be transformed into signs, complex and exposed to the cultural and dialogic constraints that push it to become more explicit and ordered and to assume a recognizable and thus interchangeable form. In Magdalena Gronowska's artworks we see again the stories we have heard about, read about, experienced. Her art, in its narrative function, lends itself completely to interpretation; here the painted bodies can be our bodies, or the artist's. We can glimpse an embrace, or a play, an estrangement as well as imagine finding ourselves. Art so called, narrative, unfolds before the viewer by caressing his or her expectations and personal desires.

Art Curator Federica D'Avanzo

Magdalena Gronowska

Positions VI

Magdalena Gronowska

Bye

Magdalena Gronowska

Freedom

Magdalena Sykut Be in harmony yet be different. (Confucius) Art is rarely synonymous with a precise conventionality of forms and subjects. Adjusting to predetermined rules can make someone skilled in reproducing already made models, but nothing can be further from artistic creation. Artistic creation is determined by an impulse, a momentary suggestion, which ignites the artist's imagination with a bursting inspirational fire. The true artist aims to surprise himself first of all, and this is the idea that drives the verve of the Magdalena Sykut. Through her photographs, Magdalena aspires to capture extracts from everyday life, small fragments of reality that hide an unpredictable universe of sensations behind their semblance of obviousness. The work presented on the occasion of Liquid Arsenal, entitled Unity - Liquid harmony - fixes a moment of a moving gesture, whose delicacy can be sensed at first glance. Black and white photography allows you to focus on the elegant simplicity of the composition, played on a soft contrast of light and shadow. The eye is led to linger on the luminescence reflected on the glass beaker, and subsequently on the two figures that hold it in the hands. Magdalena Sykut manages to convey the dynamism of the embrace, the tenderness of the hands that hold each other, and the balance of the water in the glass, which one expects to see move with the movement of the arms. Upon careful observation, one realizes that the equilibrium of the liquid is nothing but an expression of an ideal of harmony between individuals, as fragile as it is perfect in its complete realization. But not only. The artist chooses not to show the faces of the models, making the work a universal representation, in which everyone can recognize himself.

Even the weak become strong when they are united. (Friedrich von Schiller)

Art Curator Chiara Rizzatti

Magdalena Sykut

Unity – the liquid harmony

Malte Schuldt

Malte Schuldt is a 23-year-old self-taught artist living in Hamburg, Germany. Over the years he feels the need to create something growing in him. His artistic journey began in December 2021, when he started to express himself through drawing. His main subjects are portraits, finely drawn in pencil or felt-tip pen.

They are simple drawings, sometimes barely sketched, surrounded by explosions of colour. Delicate works but at the same time with a strong emotional impact, reflecting the sensitive personality of the artist. The first work that the artist is showing in this exhibition is entitled 'Fragmented'. It portrays a half-length woman with her back bare. Of her face, turned towards the viewer, only her mouth and nose are visible. The eyes are covered by an explosion of colours, blue, pink and brown. The artist uses different media (watercolour, pencil, coloured pencil, ballpoint pen, fine liner, marker) carefully dosing them to create a delicate drawing, with soft, not too bright colours, to make the viewer focus on the theme of the drawing. The girl portrayed is an allegory of shell personalities, a sensitive person who turn in on herself to protect herself, relying on others.

Malte Schuldt

The artist wants to show how these people's lives can be transformed by gaining self-confidence and returning to living reality to the full. The colours, which start from the woman's body and then explode upwards, represent all the facets and fragments of her personality, a combination of qualities, attitude and behaviour, which makes her unique. In his second work 'Hug', the artist also deals with a very sensitive subject: that of loneliness. He depicts a figure hugging herself, seeking physical contact. A lonely person feels the need to get in touch with someone but is unable to do so, too insecure to initiate any relationship.

In this work, like the previous one, we find the same range of colours. In this case portrayed as a cloud surrounding the woman. A shield created by herself to protect herself from the world. Malte's works are characterised by great expressive force, despite their delicacy. They are works that push the viewer to explore issues whom little is said about. Perhaps someone looking at them will feel less alone.

Art Curator Lucrezia Perropane

Malte Schuldt

Hug

Malte Schuldt

Fragmented

Marc Escorihuela

To be guided by change means to embrace new experiences as a paradigm of a collective memory, whose strength relies in the potential to be transformed into collective transcendence. Marc Escorihuela, presents “Les 2 pêcheurs”, “Samouraï 1” and “Samouraï” for the “Liquid Arsenal” Mixed Reality art exhibition at M.A.D.S. Art gallery. We witness three moments which carry the responsibility to accept the flow of new changes after turmoil. In the first artwork we witness how cool tones embody the stillness needed before turmoil occurs. The presence of the Samurai in both artworks recalls the protection needed. To wait upon majestic features which will absolve everyone. One artwork shows the moment when the task has been completed, the other one depicts the precise gaze upon the realization of what it has been accomplished.

The red sun will always be protected. The persistence of Robert Delaunay´s blue and Oskar Kokoschka´s stroke fluidity prevails in Marc Escorihuela´s works as a reminder, which portrays a collective strength reaction leading to a rising transcendence.

Art Curator Karla Peralta Málaga

Marc Escorihuela

Les 2 pêcheurs

Marc Escorihuela

Samouraï 1

Marc Escorihuela

Samouraï

Marco Vichi

Marco Vichi is an Italian artist. Born in Siena in 1982, he moved to Barcelona in 2003, where he currently resides. During his stay in the Catalan capital, he became passionate about photography and painting. His art is closely linked to the city of Barcelona and the relationship between man and city. In all these years, especially in the field of art, there has been much analysis of the relationship between man and nature, without ever dwelling on man's relationship with the city and how much the latter can influence his relationships and his formative process. Whether it is the city of one's birth, steeped in memories, or a new city, each of these leaves a mark on each individual. Everyone changes unconsciously by moving to a new city, adapting to new rules and rhythms. Barcelona is a living city.

New buildings are being constructed every day; old neighbourhoods are being modernised and new ones built at the same time.

Marco Vichi

A city always on the move, in which man is trying to adapt. The artist uses recycled materials, pieces of wood found in the rubbish, to recreate this relationship between man and the ever-changing city. The scraps preserve memories of the past, of something that existed and whose memory lives on through the artist's works. Marco Vichi, for the two works he is presenting for this exhibition, uses old wooden boards, painting them with acrylics, enamels, industrial colours and water colours. A superimposition of colours reminiscent of graffiti and encrusted paintings on abandoned walls. A symbol of a city that is evolving too fast, leaving debris all around it. The old gives way to the new, memories of the past are destroyed and it is up to man to recall them from memory as he tries to adapt to the new changes.

Art Curator Lucrezia Perropane

Marco Vichi

Horizon 01

Marco Vichi

Rain

María Andrea Dato "Pain is the great teacher of men. Under his breath souls develop."

(Marie von Ebner-Eschenbach)

Artist and proud mother, María Andrea Dato bases her life on art and on everything that can be traced back to it. The human being and her emotions are the basis of the artist's artistic poetics, who combines an almost abstract expressionist style with the will to embark on a path of inner rediscovery. The series of three artworks brings to mind negative emotions, connected to painful experiences which, however, enrich the human soul to the point of leading it to a full awareness of one's abilities, to an inner spiritual enrichment. Living and suffering to be able to understand the complexity but, above all, the beauty of life and of one's being. The human figures are simply sketched, to try to give importance to the totality and complexity of the work, where the color and speed of the brushstrokes play a crucial role. No planning or construction of an idea: the colors flow dynamically and freely on the canvas giving final shape to the artist's thought. The instinctive and direct painting of María Andrea Dato gives the observer a sense of expressive immediacy, ensuring that the message you want to communicate is immediate and reaches straight into the soul.

Art Curator Federica Schneck

María Andrea Dato

Phoenix

María Andrea Dato

Winged man

María Andrea Dato

Plea

Maria Boström “Like distant music these words that he had written years before were borne towards him from the past.”

(James Joyce) Maria Boström is a Swedish contemporary artist whose artistic research focuses on abstract imagery, completely abandoning the form in favour of the pure expressiveness of colour. Her works are characterized by thick spatula strokes that draw dancing waves in space, giving the vision a sense of perpetual movement. The three works ("Actam Rem Ago: Attempt, Flickering, Pink"; "Actam Rem Ago: Attempt, The end"; "Actam Rem Ago: Fluorescent, Passage") presented at M.A.D.S. Art Gallery on the occasion of the exhibition LIQUID ARSENAL, are part of a larger project entitled "Actam Rem Ago".

Translated from Latin it means 'I do what I have already done' and in fact the artist composes new paintings by putting together pieces of some previously made originals. Maria Boström performs an interesting operation: by annulling the temporal aspect, she mixes different projects that were created at different times, thus creating something new. In the work "Actam Rem Ago: Fluorescent, Passage" for example, we see how one painting conceived in black and white is crossed horizontally by another, in which red and black are the protagonists, creating a profound contrast. The visual virtuosity and dynamic expressiveness of Maria Boström's works are further amplified by this juxtaposition, which allows the viewer to enter into a denser conversation. Two pasts merging into one present, the shrinking space and the discontinuous vision, are amalgamated into a new, captivating composition. "She does what she has already done". Maria Boström uses what has been to create new beauty.

Art Curator Francesca Brunello

Maria Boström

Actam Rem Ago: Attempt, Flickering, Pink

Maria Boström

Actam Rem Ago: Attempt, The end

Maria Boström

Actam Rem Ago: Fluorescent, Passage

María Jaureguialzo "In every chaos there is a cosmos, in every disorder a secret order."

(Carl Gustav Jung)

María Jaureguialzo's art is nothing more than a small inner world, harmoniously created to give order and balance to one's soul, to shake it and free it from today's chaos and frenzy. What interests the artist most refers to the need for an aesthetic and, above all, formal balance to rediscover lost beauty, to build a hidden place to rest the mind. Her artworks are harmony of colors, balance, but also interconnection between the various geometric figures, as if to recall the closeness, the strong connection that is generated between the artist and the outside world, a world destined to be rearranged. And the canvas is nothing more than the blank page, the empty space where the artist overturns all her imagination, the will to rediscover beauty and her own inner order. The poetics of María Jaureguialzo, at first analytical and also minimalist as regards the search for formal harmony, tells of a profound sensitivity, a sensitivity that does not let itself go to the impulsiveness of the creative need but which seeks, through the tranquility and reasoning, a perfect balance and order away from the great chaos of the world.

Art Curator Federica Schneck

María Jaureguialzo

Entre cálido y frío

María Jaureguialzo

No title

María Jaureguialzo

Entre líneas

Maria T Molner "As long as I live, I'll hear waterfalls and birds and winds sing." (John Muir)

Between naturalism and impressionism, perhaps close to the Macchiaioli in Italy, Maria T. Molner's painting seduces the popular soul. Extracts of nature that take shape thanks to the painter's refined hand, which shine with their own light thanks to the use of fascinating oil paint. The memory (impression) of wind on canvas. Wind is one of the strongest natural manifestations, it tangibly connects heaven and earth, it represents a bursting power, capable of stoking fire and stirring the waters. The wind shatters the limits of individual consciousness with its vital and spiritual energy. To the ancients, wind was a manifestation of God, the Holy Spirit is named as the Breath. It thus becomes clear why we are drawn to the wind and its iconographic representations. We might even say that we are fascinated by those who, with hand and brush, are able to fern it, the wind, which is by nature unstoppable, unreliable and invisible.

Maria T Molner

Maria T. Molner manages to do this very well, with her refined technique and impressionistic inspiration.

We are captured by these natural events that appear on canvas as if this wind is pushing us toward the painting, but against all odds the impact is not violent, but rather, gentle and remarkably reassuring. Here we find, almost as a consequence of the first painting, a waterfall, seemingly docile, over which to glide in a cool stream, crossing a rainbow, and why not, a cloud, arriving on the shore with a feeling of serenity and a strong desire to do it all over again.

Art Curator Erika Gravante

Maria T Molner

Waterfall

Maria T Molner

Splash of colour

Marlies Eggers The sea possesses a power over one’s moods that has the effect of a will. The sea can hypnotize.

Nature in general can do so. (Henrik Ibsen) Marlies Eggers is a very interesting artist from Germany. She has dedicated and still dedicates her life to art and creativity: painting and photography are her home. She has been painting since he was 5 years and after graduating from the University of Fine Arts in Hamburg, she worked for a long time in creative advertising, art and cultural projects in Hamburg; since 2016 she lives and works as a freelanced artist in Langeoog Island and also offers painting and photography courses and workshops there. Marlies Eggers expresses, through her works, an overwhelming force that is an expression of her creativity: for her creativity is an inexhaustible source of energy. In Liquid Arsenal exhibition in M.A.D.S. Art Gallery the artist presents a series entitled "Big storm approaching": it is a triptych of red paintings "Red 1 (Stormy Island) ", "Red 2", "Red 3 (Storm in red sea)" realized in the year 2021 with mixed media (pigments, chalk, oilpastell, marble flour). This serie was created during an eventful period of the artist’s life; it marks an emotional and moving phase marked by the color red.

The paintings are born from the observation and inspiration of the landscapes that the artist lives directly and that surrounds her: the sea of the small island of the North Sea, the brittle dune environment, the mudflats, the movements of the tide, the salt marshes. From this pristine natural environment, Marlies discovers her motifs, she captures her abstract contemplations. The reality she sees is reduced to lines, shapes, structures, color spots and textures, with which she creates her worlds. Each image is a journey of discovery. Marlies Eggers impresses for her expressive capacity, the strength of the color always intense, impact, abstraction of reality, extreme imagination, creativity that attract and make the viewer live in her creations.

Art Curator Giulia Dellavalle

Marlies Eggers

Big Storm approaching-Red1 (Stormy Island)

Marlies Eggers

Big Storm approaching-Red2

Marlies Eggers

Big Storm approaching-Red3 (Storm in red sea)

Martin Bergeron

Martin Bergeron is a self-taught abstract artist who discovered his artistic talent after leaving a troubled existence and embarking on a journey that led him to overcome his inner demons. Having found in art the strength to improve himself, he decided to make it a means to communicate with the world around him, using his works to inspire moments of epiphany in his viewers. The paintings presented in this exhibition address the theme of materiality and in particular the artist's attempt to detach himself from it in order to achieve a more meaningful existence. In The Jester he warns of the danger of allowing oneself to be dominated by the profit mechanisms of our society to the point of losing oneself. The criticism of egocentrism and superficiality is evident in the choice of subject, an almost caricatured figure with a dollar sign instead of eyes and a crown on his head made from a collage of banknotes. The choice of using fragments of counterfeit banknotes, which also recurs in another of the three works presented, The Bait, further underlines the artist's rejection of the materialism that dominates society. Mona La Rata is the only one of the three paintings presented to have an abstract subject. However, the reference to the theme is evident in the choice of the title, which uses the metaphor of the rat to emphasise the risk that, according to the artist, conforming to the logic of materialism entails for mankind. A risk that he also questions whether it is worth taking in The Bait, in which the comparison between the mouse who, in order to earn his cheese, faces the danger of being caught in a trap and the man who runs the risk of being trapped by society returns. The works presented on this occasion, as well as most of the artist's paintings, are not only an expression of his difficult but cathartic journey, thanks to which he abandoned his previous life to get closer to true happiness, but are above all an attempt to shake the viewers and free them from those material constraints that prevent them from living a fuller and more fulfilling life.

Art Curator Marta Graziano

Martin Bergeron

Mona La Rata

Martin Bergeron

The Bait

Martin Bergeron

The Jester

Masa Yazuki There is a profound synesthetic capacity that characterizes painting. Although based on visual representation, pictorial art not only solicits optical perception, but is also capable of intervening in other sensory channels, enlivening different dimensions of perceptual experience. In this way, art works with lines, shapes, colors and figures to gratify not only our gaze. It thus builds configurations that appeal as much to sight as to hearing, touch and taste. Thus, the red that Raphael uses to make the velvet robe that covers the mozzetta of Leo X in the famous portrait is not only caught by our gaze as a red, but also as a velvet red. In that color, and especially in the way the Urbinate spreads it, our visual perception grasps not only the merely optical or chromatic data of the object, but even the material with which it is made. Similarly, the green with which Cézanne paints the vase present in one of his still lifes is described by Maurice Merleau-Ponty in terms of a "ceramic green." Here again, the drafting and the very choice of color used suggest to the viewer's perception as much the color of the object as its material. To sight is added touch, the optical experience also becomes a quasi-tactile experience. What about taste? Is it possible to express taste and smell sensations through pigment? Certainly, and Masa Yazuki's paintings are tangible evidence of this ability. "Fragrant Universe" is pure expressive force and power. The colors are vivid, vibrating with every slight blink. A large dark spot stands out in the center of the composition. The atmosphere is bluish, and the combination of traditional and digital art creates strokes and brushstrokes reminiscent of sea waves. The force of nature is palpable in this work, and the vigor of the blue blob resonates throughout. The pigment transforms, takes on the appearance of a green and fresh meadow, veers into warm and sensual red, and changes its appearance to an extremely rich and suave purple. Masa combines colors as in an alchemical recipe to recreate a memory, a narrative of a sensation he himself experienced while drinking a Poillac wine in Bordeaux. The hue is strong, vigorous, florid as is the land that created the good wine. "Fragrant Universe" as well as "Rosa" and "Opus 16" can be considered as true experiments in synesthesia. A synesthesia that combines art and taste, two experiences in life that have in common the concept of discovery, of pleasure. One savors the tannic taste of wine just as one tastes the vivid, throbbing color that unfolds within a work.

Art Curator Lisa Galletti

Masa Yazuki

Fragrant Universe

Masa Yazuki

La Rosa

Masa Yazuki

Opus 16

Masaki Hirokawa Masaki Hirokawa is a renowned Japanese artist whose wide range of activities includes digital artworks, graphic design, smartphone app development, interactive movie production and website development. At “Liquid Arsenal” exhibition hosted by M.A.D.S. Art Gallery, Masaki presents five beautiful works with all different deep meanings. “Astaroth” portrays a total white lady who looks straight at us and whose wings we can see behind her. This work was born from Masaki's reflection on cities abandoned due to infectious diseases: walking alone through the silent and deserted streets, he let himself be inspired by this work which he does not elaborate in negative terms, but on the contrary positive, because change does not it must be seen as a deterioration, but in fact it often gives us the strength to do better things.

“Burial at Sea” depicts a woman who, immersed in the sea, is lifeless and who seems to be letting herself go. As Masaki says, death is creation, reunion with God and the mystery of the twinkling of an eye. When the soul returns to the original fountain of life with its memories, it will be born again as a drop of water. At that time, the former personality will be gone, and it will become a piece of someone else's soul. When all reincarnations are complete, there will be no loneliness or suffering, hoping to reach someday the nirvana of eternity. "Entering Nirvana" represents a lady in purple, caressed by a clear light that makes her belong to another dimension. This artwork was created with a heart of blessing and tribute to all beings, wanting to remember the joy of the birth, the day we walked on two legs for the first time, the first words we uttered, the blessing we received…Lastly, "Grounding" portrays two beautiful dancers, captured in the moment they jump into the air making wonderful shapes. Once again, Masaki wants to produce a reflection through his work: the best way to unlock a person's potential is through "grounding. When left unchecked, human consciousness tends to immediately jump to the past or future, but by simply focusing on the "now" and this moment, we can maximize our true potential. Even the concept of time, such as the past or the future, is an illusion, and ultimately there is only the present moment. By focusing all our attention on this moment, we free ourselves from the egoic cage of the mind, which brainwashes us with miscellaneous thoughts. This work expresses the idea that people are constantly receiving blessings not only from the heavens but also from the earth, and that it is important to be grateful for both.

Art Curator Matilde Della Pina

Masaki Hirokawa

Astaroth

Masaki Hirokawa

Burial at Sea

Masaki Hirokawa

Eden

Masaki Hirokawa

Entering Nirvana

Masaki Hirokawa

Grounding

Mayu Arai

A feeling of peace pervades our limbs. The eyes are rested, the muscles are relaxed. Everything is peace, everything is calm. A mild and delicate color palette invites us to observe the color landscape with curiosity. The eye moves from one spot to another as moved by the color dance revealed by Mayu Arai's works. Observing "Water Surface," the space is divided in two. On one side, a whitish surface fouled by gentle flesh-colored spots.

On the other, a bluish area with blurred and indefinite boundaries. The chromatic tone turns from light to dark blue in an extremely natural way. The color used and shaped by Mayu Arai is indeed melting, malleable, moldable according to the needs of creative intuition. The artist's hand moves with extreme freedom going to dirty the entire surface of the canvas. The gesture is instinctive, moved by artistic inspiration and moves over the support like a fluid in water. What is produced by this amalgamation of gesture and color is a purely instinctive canvas that conceals in the brushstrokes and drippings its essential characteristics. Mayu Arai's art turns its gaze to small things, to those sensations and emotions that only an attentive look at the world can give. For emotion is in the fresh morning air that hides the sparkle of the newborn day, it is in the moonbeam that bathes the sea in silver reflections. Little things, tiny and invisible at first glance but giving an irrepressible thrill when they reveal themselves, stealthily, to our gaze.

Mayu Arai

Epiphanies of fleeting beauty hidden in the gray sea of the everyday. Then there are, those times when the malleability and fluidity of the sign surrenders its sweetness and turns into a concise and swirling rhythm of signs. Such is the case with "Calm Sea II," a work in which space is visually broken down into many small round blocks. And this is how the abstract mixes with the real, inspired by reminiscences of a sea so calm that it manages to reflect the golden light of the sun's rays on the seabed. Purple, pinkish, blue and greenish spots stand out on the canvas. They are dirty, within them they have smudges and drippings that go to flood the milky chromatic contours that envelop them in a tight embrace. Nothing is defined, there are no sharp contours or solid colors. After all, we are talking about water, an element by its nature that does not present an unambiguous form, an element that can be shaped at will according to place, time and eventuality. Water has the ability to become anything, and the same is true of Mayu's works. The color is alive, walking on the canvas occupying all the space available. It cools, it smears, the color spots know each other without lingering on the form or the content they are spreading. Color as water, artistic inspiration as a spark of life. Mayu's art is an instinctive art that conceals its expressive power in the wonder of small things, in the casual discovery of beauty.

Art Curator Lisa Galletti

Mayu Arai

Calm Sea I

Mayu Arai

Calm Sea II

Mayu Arai

Sunrise

Mayu Arai

Water Surface

Meg Art has the ability to narrate emotions, feelings, past episodes of life. It has the power to convey the soul of the creator, the thoughts and hidden sides of people's souls. Yet, art is not exclusively self-referential. Since antiquity, art and creation has enabled civilizations to tell their story, traditions and ancient knowledge. Art to proclaim a victory, as in the case of the ancient Romans. Art associated with a new phase of society, as in the case of the Renaissance. Art as denunciation, with purely fiery episodes during the twentieth century. Artwork, color and form concur in the creation of ideas in images, of statements towards the world and those who inhabit it. We can safely declare that art, with its alphabet of signs, spots and color is one of the most powerful languages human beings have ever created. Because we are talking about language, and the artistic process is nothing but the verb translated into images. "Stop environmental destruction" is a work with a purely sarcastic flavor that conceals its expressiveness in the aggressiveness of the lines and the purely acid colors. Spontaneous, at times acerbic mark-making and an extremely free and devoid use of color combine to create a work that literally has the ability to shout at the viewer. It spits through pigment the crude reality, wounds ignorance with its dry, sharp and rough lines. We are completely astonished before this work.

The individual protagonist of the composition has his tongue out and his eyes narrowed; he is laughing with relish. But we sense bitterness and awareness. Meg wants to get to the point of denouncing the miserable condition our planet is in, and she does so with art that at first glance elicits hilarity. The device is particularly effective. Only by looking closely at the work and examining the dry, acidic color can we understand the true meaning of what we have in front of us with the hope of changing - today, not tomorrow - our poor dying planet. And if "Stop environmental destruction" is an acidic cry to the world, "Guardian Deity" is a pictorial depiction of the guardian of our planet. A yellowish being stands at the center of the work. All around, purple, pink, bluish and green pigments occupy the space. The stroke is sharp, dry and scratchy and carries with it a sinister feeling. The arcane is revealed: the guardian of the earth is in danger. He is simultaneously hit by harmful ultraviolet rays, destroyed by global warming and poisoned by water pollution. His bright yellow body may become dirty or even may disappear forever. Who is to blame for this catastrophe? Human beings. Who could save the keeper and the whole planet? Us again, human beings.

Art Curator Lisa Galletti

Meg

Guardian Deity

Meg

Stop environmental destruction

Meg

What kind of flower is this?

Meng XiaoFeng

Past and present come together, tradition and innovation dialogue in unison to create works that bear witness to the past. And so it is that the dusty blanket of time unravels, revealing luminous color folgurations. Meng Xiaofeng tightly clutches his country's culture and preserves it while simultaneously transmuting it to pass on information through the use of digital art. And so it is that millennia-old legends and centuries-old stories are stripped of the patina of the ancient to glow with pure color. A color that takes its expressive fervor directly from the contemporary, fast-paced and digital world. And so it is that bright blue is juxtaposed with shimmering orange and fluorescent pink. A neon color palette that seems to have been shaped by computer servers and fluorescent gases such as argon, xenon and krypton. The colors work in unison, producing fluid images with undefined contours, chromatic clouds that know each other producing works with a mysterious flavor. Fluid digital strokes concur to create an image. We can glimpse black fuzz contouring a face. Is it a human being? No. Or at least, not yet. Then what is it?The face is ape-like, with extremely hard features. The forehead is recessed, the nose is flattened, and the nostrils flare out horizontally.

Meng XiaoFeng

The mouth is quite prominent and is hidden, in part, in the thick, black hair that covers part of the face, head and neck. What we are looking at is a primate, our ancestor and ancient relative. More precisely, it is the ape that was discovered in Zhoukoudian, Beijing in 1929. This discovery, anticipated the birth of humanity by 500,00 years.

At that time, Chinese society was in precarious conditions and poverty, and, such a discovery inflamed everyone's spirits. The pride and pride of inhabiting the cradle country of humanity brought a burst of positivity to the weary Chinese people, lifting the dignity and spirit of men. Meng Xiaofeng takes the story of this find in full stride and transposes it into images through digitality. The primate that lived half a million years ago merges inextricably with the contemporary world, erasing the boundaries of space-time. And so it is that the primate is invested with blue, yellow and fuchsia lights. At first glance it might look like an inhabitant of a city illuminated by neon night lights. Meng Xiaofeng has the ability to literally nullify distances through extremely skillful use of technology and digital. Space-time, which proceeds in a straight line and always moving forward, comes to a standstill in the artist's works. Past and future are inextricably united, formulating novel scenarios and bringing centuries-old history and legends closer to our everyday lives.

Art Curator Lisa Galletti

Meng Xiaofeng

Beijing mountaintop cave man

Meng Xiaofeng

Chinese ape

Meng Xiaofeng

Chinese Dragon

Meng Xiaofeng

Pretty Girl III

Michael Cardinale In all its forms, artistic expression has been a manifesto for the history of humanity, bearing witness to human souls from prehistoric times to contemporary ones. With the changing of time, not only has the creative process of artists evolved in their representations, but also the tools at their disposal in the production of works of art.

In the 1960s, "digital art" developed, a new way of thinking about art, which saw the use of digital technology in the creation of artistic works and which allowed artists to find new creative solutions capable of expressing their interiority , thanks to the use of digital devices. American artist Michael Cardinale, with a deep background in imaging and multimedia arts, becomes a promoter of digital art, thus starting to create works of complex charm, synthesizing abstract reality. The oxymoron that sees the combination of abstraction and reality, manages not to cancel itself out thanks to the realization of the impossible guaranteed by art, which with significant colors and intermittent light is able to express the intimacy of the work and its artist. The first and second work of the series, respectively “What Matters, when No.18”, and “Untitled I”, are works rooted in photography and highly digitally manipulated. This creative production process expresses the intent of its author especially in the use of color, which is modulated in shades and colors, to give a pictorial effect to the photograph, thus able to communicate with the viewer in a more intimate and empathic way. The use of color is also thought of from a compositional perspective, which seeks to bring balance to the final composition. The first work has Nephophilia as the central theme of the work, a topic that recurs frequently in the artist's works, which re-proposes clouds as protagonists in his works. The image with dull colors blinds the viewer for the emotional pathos it communicates, recalling the sublime that characterized romantic artists in their art, where nature so majestic but unpredictable contrasts with the infinite smallness of the human being placed in its presence. In the second work, the protagonists of the work are the colors which, with bright and warm shades, return a simple image in a complex beauty. The latest work in the series is a video entitled "Capillary Action" designed for loop playback, created by combining digitally modified photographs. From the title of the work, its intrinsic meaning can be understood in the chromatic progression and in the close scanning of the images that highlight its depth.

Art Curator Benedetta Battaglini

Michael Cardinale

What Natters, When No.18

Michael Cardinale

Untitled I

Michael Cardinale

Capillary Action

Michela Cosimi "What interests me is human sensibility, man, his inner world, his emotions, his thinking, his childhood, his becoming, his being born, living, dying" Michela Cosimi Baroque, energetic, decisive is the art of Michela Cosimi who at the international contemporary art exhibition "LIQUID ARSENAL," hosted by M.A.D.S International Art Gallery presents The Ballad. Various influences mingle in Michela's art, Gauguin's primitivism, graffiti art, and a reference to two-dimensional, gold-background medieval art can also be found. The vivid palette and the tendency derived from cloisonnisme to outline the contours and spread the color evenly and sharply make the work exquisitely communicative. The figure is highly ornamented and embellished, it could be called Baroque "The woman recites a ballad and shows a mocking grimace on her face, a clear attitude of mockery towards the adversities of life" The artist's metaphor and message is extremely profound and thought out, on the canvas there is "a complex figure, a metaphor for a liquid society in crisis of identity". The deeper the doubt, the indecision, the sense of emptiness, the inconclusiveness, the sense of loneliness, the more externally the figure is enriched with details. Michela's art presents the complexity of man in light of the complex era we are living in.

Art Curator Mara Cipriano

Michela Cosimi

La ballata

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

Look at a color and feel an emotion; observe a work and start traveling with your mind to a magical world never explored before. Art is universal and powerful; art is research and discovery; art lives within those who make it and who makes it lives within it. Michelle Siemer is a German contemporary artist for whom painting means self-expression, revelation of emotions, sharing of thoughts and experiences.

"Splash" was created in 2022 with the acrylic on canvas technique. The white background comes to life thanks to fuchsia splashes that branch out from the centre. Quiet and normality - white - are interrupted by a cry of joy, an exclamation of amazement, a leap into the void, unexpected news - fuchsia. "Splash" is a metaphor for the journey of each of us: there are days that pass slowly during which boredom and routine are our faithful companions. There are days when a rainbow emerges from the clouds and so a smile lights up our face, anguish gives way to good humour, enthusiasm overwhelms us completely. The work is a hymn to the positivity and energy with which each of us should face every day of his life.

Michelle through her works writes stories to read, plays symphonies to listen to and paints our eyes with the colors of her soul.

Art Curator Camilla Gilardi

Michelle Siemer

Splash

Mikel Eizmendi Zabala “I consider myself a sculptor, practically all my work is based on volumes, emptiness, space, depth, textures” (Mikel Eizmendi Zabala) Mikel Eizmendi Zabala is a revolutionary, decidedly original and creative, provocative artist. He is a multidisciplinary and eclectic artist, although he defines himself primarily as a sculptor. Three of his works that are part of the Volume Development series are exhibited at the international exhibition "LIQUID ARSENAL," hosted by the international art gallery M.A.D.S: Bolumen garapenak 577, Bolumen garapenak 588 and Bolumen garapenak 592. These are photos of sculptures that are edited using a special technique.

The work consists of creating small plasticine sculptures of about 20 to 30 cm in size. The creation of the sculptures takes into account volume, emptiness, space and depth. The artist dialogues with his works, not subjecting them to his own will but allowing them to have a life of their own, to dialogue with him. Speed is another key feature of this series, which is why Mikel prefers to work with plasticine rather than wood and stone. A next step is photography; the artist plays with light and shadow to create the desired effect. Once photographed, the sculptures are destroyed. The last step in his work is to manipulate the photographs by applying Painnt artistic filters. These are filters that the artist himself has created over the past four years, for each plasticine sculpture he tries one filter after another until he gets a satisfactory result. The filter is the key to Mikel's work, in fact, it is it that creates confusion in the viewer, which is ultimately the artist's goal. To provoke, to stimulate the mind, to stimulate imagination, creativity, free thinking. In this way the artist communicates with the viewer, and the dialogue is different for each person because it depends on the uniqueness of his or her thinking.

Art Curator Mara Cipriano

Mikel Eizmendi Zabala

Bolumen garapenak 577

Mikel Eizmendi Zabala

Bolumen garapenak 588

Mikel Eizmendi Zabala

Bolumen garapenak 592

Mikel Parra "I am my paintings and I am my dreams embodied in them, in them I see life and people expressed, the criticisms are my strokes and colors represented in expressive bodies full of stories and thoughts that scream to be seen.” (Mikel Parra) Deconstruction and reconstruction are the beginning of the process to create something new, and emerging Mexican painter Mikel Parra likes to construct the human body in an expressly new and deformed way. Strongly interested in the human figure and its environment, Mikel’s art is simply the embodiment of himself, his feelings and ideas on the canvas.

He paints not only what he sees and thinks, but also what he knows about the human figure. His subjects are depicted always naked: moving, standing on their feet, or sitting in strange and uncommon poses. Here, Mikel simplifies the forms of the human bodies and reduces them to almost humanised volumes with no clear identity. The forms are broken down into their essential parts and reassembled on the canvas in such a way to make the viewers question what the bodies are doing. These procedures of deconstruction and reconstruction of the body give dynamism to the work and “El danzar de las musas” is the perfect example of such dynamicity. On a dark yellow background, two naked bodies are dancing by following a rhythm that we can almost hear in silence, within our souls. They are in front of each other and look at each other. One body is almost hidden by the other, who gives us the back. Their hands are up and their legs are moving; we cannot see their faces but we can see their dance, representation of their naked souls, and we can feel their energy. The dancing muses are captured by expressive colours, which are not limited to a flat application, but are used with shadows, light and dark gradations of brownish and pinkish shades. The bodies that Mikel offers us are naked and raw, decorated with a series of expressing, vivid and basic colours’ tones that are inserted into a whirlwind of emotions coming to life on the very same corporeal figures. Along with these corporeal expressions of human beings, in his paintings, Mikel shows us his constant criticism of the world he lives in. What do his works tell you about the world you are living in?

Art Curator Martina Lattuca

Mikel Parra

El danzar de las musas

Monika Kovatsch “Art is the highest form of hope.” (Gerhard Richter)

The connection with nature is of fundamental importance in the research of Monika Kovatsch, a contemporary German artist. Her studies in ecological engineering and environmental planning still prove to be fundamental to the development of her painting style, where the need to translate the skills she has acquired into a new visual language is evident from the outset. Shades that like flames rise upwards devouring the support, foamy waves crashing down on invisible cliffs and colours that veer from purity to dissolution in layered fusions. The result is an interesting play of depth in which the eye is lost in the particles of colour distributed in space. In the five works ("Arctic", "Dew", "Sailing", "Spirit", "Vital") presented at M.A.D.S. Art Gallery on the occasion of the LIQUID ARSENAL exhibition, we can see how her style, completely abandoned to the informality of matter and disconnected from the figurative, is essential to her communication. Partially influenced by the research of Gerhard Richter, the great contemporary German master, Monika Kovatsch's paintings are characterized by carefully studied stratifications, where the colour glides smoothly. With broad strokes the colour is distributed unevenly, at times unpredictably, incorporating the essence of nature, so perfect and unstoppable at the same time, into the painting. The artist goes deep down to analyze every element of the Earth, every particle and bond, which before our eyes become like dense magmas in continuous change. She investigates the subsoil and the waters that flow there, letting them run and imbuing each of her works with vibrant manifestations.

Art Curator Francesca Brunello

Monika Kovatsch

Arctic

Monika Kovatsch

Dew

Monika Kovatsch

Sailing

Monika Kovatsch

Spirit

Monika Kovatsch

Vital

Monika Ratuszyńska To love is to burn, to be on fire. (Jane Austen) Portraiture has always been one of the main interests of Monika Ratuszyńska, who finds her inspiration in the stories told by the features and expressions of the faces. It can be said a spontaneous and instinctive vocation, which has been refined over time with an incessant and passionate study and practice. For some years Monika has found her expressive dimension in acrylic and oil painting, which for grace and poignant beauty recalls the refinement of Klimt's works. The artist, in fact, does not limit herself to a simple reproduction of reality, taking it as a starting point to express her own vision, dominated by contrasting colors and an extraordinary accuracy in the details. Frozen Love - the artwork presented by the artist on the occasion of the Liquid Arsenal exhibition - at first sight recalls a famous film scene, which Monika has reworked into a suggestive work of great visual impact. The composition, characterized by a chromatic system in shades of blue, focuses on the figures of the two lovers, tight in an icy embrace just before the end. Monika captures a moment of great dramatic intensity, which marries the ancient concept of eros and thanatos (love and death) according to which the climax of the feeling coincides with the absolute loss of the beloved. The artist, however, also seems to suggest a third protagonist of the painting, water, which with its cold and swirling waves is ready to cancel everything. It is everywhere, it surrounds the lovers on all sides, and her frozen waves are also evoked by the woman's curls, who with her tears almost sanctions a union with the marine element. Monika Ratuszyńska transports the viewer through an incredible corollary of emotions, which communicate a passionate message that is as silent as it can be heard by the innermost strings of sensitivity.

One word frees us of all the weight and pain of life: that word is love. (Sophocles)

Art Curator Chiara Rizzatti

Monika Ratuszyńska

Frozen Love

Moniqqques Monika - Moniqqques is born in Czech Republick. She has been painting since she could gold a painting brush and she never stopped. Her focus currently lies on figurative art: she likes to capture feelings, relationships, sex, deep emotions of couple during their connection. At “Liquid Arsenal” exhibition hosted by M.A.D.S. Art Gallery, Moniqqques presents three works, all related to intimacy of relationships. In “I am glad for having you” the couple is caught in a moment of pleasure, when the woman embrace the man from the front, the couple almost merging in info single person. The lines of the outlines are well defined, but the colors are soft and only hinted at in some parts. In “ The power of my desire” the body of a woman is portrayed excited woman on the beach. The colors are warm and the title of the work confirms the energy and strength of this image, emphasizing her female power. Lastly, “ When you hold me” depicts a more romantic scene of couple: the one in which the two lovers sleep embraced almost intersecting each other. Their colors are intense, their bodies vibrate almost the same as they sleep peacefully. Moniqqques’ works therefore want to represent the power of love, desire and sexual drive, through a delicate and suffused painting that does not, however, fail to communicate strength and energy.

Art Curator Matilde Della Pina

Moniqqques

I am glad for having you

Moniqqques

The power of my desire

Moniqqques

When you hold me

Morvarid Ahmadizadeh “Colors, like features, follow the changes of the emotions.” (Pablo Picasso)

What happens when an artist gets lost in a journey of self-discovery that enables her to face and explore her inner feelings? The result could only be a deep and intimate personal research which results in an image of infinite perceptions and profound emotions. With this in mind the artist Morvarid Ahmadizadeh allows herself to investigate and wonder about the impact of life experience on her own artworks and way of painting. The main aim of the painter is to put the emphasis on emotions that everyone could feel, giving to the viewers something about which to ponder or relate to. Morvarid Ahmadizadeh wishes to offer – through her artworks – a maze of colours, shades and nuances, invoking the nodus of human emotions. Every detail and particular is a reference to those shades that make the human soul so distinctive. To reach this effect the artist finds in colors, acrylics, resin and ink the ideal and perfect tools; that are considered essential such as space and composition to convey a feeling of tranquillity and cosiness, creating a sense of harmony between the artist and who is looking at the paintings. The artworks are completed by using high relief Iranian calligraphy, to point out the importance of her origins and the connection with her culture.

Art Curator Manuela Fratar

Morvarid Ahmadizadeh

Pinky waves

Myriam Azoulay-Naim

Myriam Azoulay-Naim’s art is an intimate art that stems from strong emotions. Her artistic career began in 1996, as a self-taught artist, experimenting with oil colours. She copied some paintings by famous artists such as Van Gogh, Corot and Picasso, to study the technique, and then tried her hand at more abstract techniques. Despite her studies, she felt dissatisfied with her work and put painting aside for five years. Her art was reborn after facing events in her life that led her to feel the need to vent her emotions on canvas, to let them go and feel freer. Painting becomes a liberating, almost meditative act that brings out repressed emotions. Oil colours are replaced by acrylics, which dry more quickly and allow faster and more immediate work. Knives, rollers and fingers take the place of brushes for a more material painting.

The artist lets herself be guided by deep feelings and passions without having an idea of how the painting will look in the end.

Myriam Azoulay-Naim

Colour after colour, layer after layer, the painting comes to life. In this case, the title of the work is also very important, because it reflects what the artist wants to convey. The four works the artist is showing in this exhibition all have a very strong title, a symbol of the artist's inner journey towards self-knowledge.

'Cascading Scars', 'Desolation', 'Metamorphosis' and 'Lovers' are paintings that reveal a part of the artist: her feelings, her cicatrices, her sensitivity, her passion. Abstract paintings on which the hands move quickly so as not to miss even a small sensation. The dark colours convey the sad and sometimes gloomy emotions of the artist. They are striking paintings that represent emotions that everyone feels but is afraid to show. Looking at them, the viewer feels those hidden feelings resurface, processes them and feels more relieved.

Art Curator Lucrezia Perropane

Myriam Azoulay-Naim

Cascading scars

Myriam Azoulay-Naim

Desolation

Myriam Azoulay-Naim

Metamorphoses

Myriam Azoulay-Naim

Lovers

N Works capable of telling something. A place, a feeling, a memory. Color is shaped on the canvas. Veils, shades, brushstrokes of color, vital and energetic pigments are transformed into letters of an alphabet whose primary purpose is to translate through visual transposition the artist's emotions and feelings. It happens that when an individual expresses his thoughts verbally, a part of the latter's soul spills over into the real world going to interact with those around him. The thought, transformed into conversation, reaches other individuals, and it is from here that the sharing of experiences, the participation in each other's problems and desires, arises. Yet the spoken idea, although immediate and extremely effective in its expression has its limitations. Opening up to others and literally exposing oneself to the world is often an obstacle, a high mountain full of pitfalls. One cannot find the words, one is afraid that the interlocutor will not be interested in what one is trying so hard to express. One is afraid to expose himself to the world: a medium as direct and efficient as the spoken word leaves no time to think, no time to stop and reflect. Immediacy is its cross and delight. Art-which we can consider as a real language-is for its part defined by rules that the artist himself imposes on it.

It is not immediate, that is for sure, and it responds to certain rules that develop from time to time, canvas after canvas and stain of color after stain of color. Slowly the work reveals itself: one has plenty of time to listen to one's heart and then try to translate one's emotions into graphic signs. Oil color is the perfect medium to express, calmly, the creative spark that has sprung up within N. Fluid and extremely glossy, it requires long drying times. In this way, the creation of a work slows down its moment of execution by taking all the time it needs to be represented. And that is how we catapult ourselves into the abyss. We are on a seabed and the head is turned upward. All around is blue and darkness. We raise our heads and catch sight of a bright spot radiating through the water and current, and all of a sudden we feel the desire to swim toward that bright spot, toward the surface.

The higher you go, the more transparent and luminous the water becomes. Now it is possible to see the concentric circles that the light radiation makes when it invests the water particles: a circular movement in fact characterizes the whole work. N succeeds in expressing places, feelings and memories not so much through color as through the sign, the brushstroke. If "Deep sea of the Mind" is characterized by a very strong circular movement, "Hearthbeat" is built through the overlapping of horizontal brushstrokes of color. The pigment is uneven, veering from bright red to a darker, guttural red. Scattered here and there are filiform bluish elements reminiscent of the electrocardiogram line. Everything is warm, everything is muffled. One has the feeling of being inside a heart and hearing it beating rhythmically.

Art Curator Lisa Galletti

N

Deep Sea of the Mind

N

Forest bathing behind the eyes

N

Heartbeat

Nándor Bozsóki

Three artworks depicted to rejoice to change. Nándor Bozsóki, presents “Fight against oil”, “Soft breeze on the river Danube” and “Venus” for the “Liquid Arsenal” Mixed Reality art exhibition at M.A.D.S. Art gallery. The first artwork presents how fluidity can be altered in order to be transformed into a new perspective. Warm tones carry the responsibility to welcome a new strength to participate in what has already been created. “Soft breeze on the river Danube”, depicts the moment in which the surroundings change due to the persistence of time, light cool tones transform the stillness of the environment to relinquish its pride and embrace humbleness. “Venus” portrays the celestial body´s evolution. Its final transformation is brought to the light. Nándor Bozsóki recreated Venus as a fluid composition, whose strokes recall Piet Mondrian’s tree compositions, such as Tableau No.3: Composition in Oval (1913), in which he was beginning to understand how to create a new paradigm of beauty by revealing its essence using visual balance. Nándor Bozsóki’s awareness of visual balance has led him to create three masterpieces, where the transcendence of “Venus” is showcased as balanced beauty.

Art Curator Karla Peralta Málaga

Nándor Bozsóki

Fight against oil

Nándor Bozsóki

Soft breeze on the river Danube

Nándor Bozsóki

Venus

Narunaga

Nature has a thousand faces. It can be cold, icy but at the same time mysterious and reflective. It can be hot, torrid, dry and arid and hide lush aquifers beneath the hard crust. Nature has a thousand faces; it is up to us to discover which ones they are. Yet, it is not necessary to grind miles, it is not essential to look at the world from above. Art has the ability to narrate things, events, situations and places. Its expressive capacity is such that it makes the unimaginable, the untold and mental ideas visible. Form, expression and color work in unison to create what is peculiar about nature. And it is surprising to discover how multifaceted the world is, how myriad Habitats are scattered in all places on earth. Narunaga, with his works, pays homage to the thousand faces of nature and, through fluid art, creates true ecosystems. Above our heads, a multicolored universe. Below our feet, white and blue come together to form an abyss of ice and water. Purplish, yellowish and bluish hues merge in unison to create a chromatic curtain in the sky. We are stunned by the beauty of this moonless night. We stand astonished before the aurora that makes our irises sparkle. Yet, what is below our feet? We sense coldness and a feeling of instability. A sheet of ice looms before our gaze. An extremely deep blue mingles with the milky white of the ice on the surface.

Narunaga

The latter is cool, has just solidified, shines when bathed in sunlight and blinds us with its dazzling whiteness.

The eyes ache, needing something dark, something that can soothe the pupils and retina. And there our gaze rests on the deep sea, never searched until now. The ultramarine blue calms our spirits, relaxes us and lowers our heart rate. It is cold down here and yet, our bodies are too busy admiring the whitish and bluish reflections in the water. The heart beats slowly, very slowly. The pressure drops. Yet, all of a sudden, the senses suddenly awaken.

Where are we? What place have we catapulted into? We sense a strong heat, the sun shines above our heads.

Yellowish rivers, pinkish lakes and blue reliefs merge in unison to create an extremely unusual landscape. Ours is an aerial view, from our position we can see how nature is shaped by the force of wind and salt spray. We seem to be observing beautiful salt marshes illuminated by the warm light of sunset. Narunaga succeeds in telling with form and color the bursting power of nature, the wonder that only she can create and that each time lights up our eyes with wonder.

Art Curator Lisa Galletti

Narunaga

Aurora Curtain

Narunaga

Drift Ice

Narunaga

Enka

Narunaga

Rakuen

Neha Singh The colors live a remarkable life of their own after they have been applied to the canvas.

(Edvard Munch) Some people are born to be artists. The creative impulse is a natural and sponean force, which cannot be stifled. Sometimes it can take time for it to mature, but at the right moment it emerges in all its bursting energy, arousing wonder and amazement at the beauty it is capable of achieving. This was also the case for Neha Singh, a professional computer engineer with the ardent spirit of an artistic vocation. Despite her instinctive and precocious propensity for art, Neha fully embraced the activity of a painter only in adulthood, and finally grasped the potential - up to that moment never fully expressed - of her talent. The work presented on the occasion of Liquid Arsenal, entitled Everything flows (nothing lasts forever), is a joyful demonstration of a free attitude to emerge, pure and ethereal, but at the same time alive and material. The artwork, created with the knife technique palette, is configured as a splendid carpet with shades of cyan, which are emphasized by the three-dimensionality of the dense and heavy texture of the color. The observer's gaze is captured by the veins until he lets himself be guided by them in an almost dreamlike, suspended dimension. Through this luminous chromatic apparatus, the artist seems to evoke an idea of transience that resounds since ancient times (like the Heraclitean expression panta rei, precisely "everything flows"), and which is found in the sweet "waves" formed by the layers of color.

Neha responds to the melancholy of this concept with a vigorous attempt to exorcise a pessimistic feeling through her ideal dimension, that of art. Art, in fact, becomes a tool to escape oblivion, and to seek a higher, lasting and extraordinary form of existence.

The world of reality has its limits; the world of imagination is boundless.

(Jean-Jacques Rousseau)

Art Curator Chiara Rizzatti

Neha Singh

Everything flows (nothing lasts forever)

Nel ten Wolde Absence is a house so vast that inside you will pass through its walls and hang pictures on the air. (Pablo Neruda) Nature has always exerted a particular fascination on the sensitivity of artists. The immensity and beauty of its multiple forms has illuminated extraordinary artistic minds, which have found a place of continuous inspiration in the colorful expressions of the natural world. From a certain point of view, Nel ten Wolde's approach to art and nature recalls the feeling of astonished admiration of romantic artists in the face of the sublime magnificence of creation. Indeed, in the search for communion with nature in long walking routes, which led to explore many types of landscapes in different countries. The walks become a unique opportunity to capture multiple and unexpected stimuli, which the artist elaborates into original creations after having captured them in photographic format. One of the most interesting projects of Nel ten Wolde is called "Ropas Abandonadas". This series was born from the artist's curiosity towards the abandoned clothes found on the street during her travels. These random finds become objects of reflection and intuition, as we can admire in Rhapsody. At the center of the work is depicted a fabric in shades of pink and gray, oriented diagonally and folded on itself in voluminous draperies of fabric. Between the folds, one almost seems to glimpse images of faces, almost like an echo of the memory of the people to whom the object belonged. And the black line that joins the edges of the fabric vaguely recalls a face in profile, a memory almost completely erased but still perceptible. The same logic also animates the creation of Togetherness, in which contrasting chromatic tones of red and blue triumph. Once again the artist undergoes the fascination of the inanimate object as a starting point for a creative process that re-proposes the original context in which it was found. With this operation, Nel tries to steal the mystery about their past, about the reason that prompted someone to get rid of it, managing in an original way to give them a new dimension, as we can also admire in Uplifting. The artwork is configured as a collage of photos, reworked by the artist on the Ipad, in which a seascape is the background to an original superimposition of inanimate elements, which give the whole a great dynamism and visual impact. Nel ten Wolde manifests an extraordinary creative originality, demonstrating the artist's own sensitivity to consider and see with new eyes even what normally goes unnoticed, only apparently unimportant.

Art Curator Chiara Rizzatti

Nel ten Wolde

Rhapsody

Nel ten Wolde

Togetherness

Nel ten Wolde

Uplifting

Nerys Levy "The richness I achieve comes from nature, the source of my inspiration." (Claude Monet)

The artist Nerys Levy takes inspiration for his paintings from nature, she tries to portray the forms and forces of nature that change with time, light and seasons. With a keen eye for the culture of the place. The technique used by the artist is the juxtaposition of brush strokes of varying thickness that give the paintings the effect of abundant vegetation. The colours and shades of verse present nature in all its forms and facets to the viewer's eyes. Stillness and silence are the protagonists of her depictions, where nature lends itself to the viewer's eyes, giving them a degree of light-heartedness.

There is a lack of movement so as not to disturb the peace, accentuated by the distribution of light, the landscape thus acquires a special emotional charge, dense with serenity and memories, dear to the artist. Nerys takes up the colours of the places she has seen, accentuating the shape of the vegetation and lightening the natural force of the light. In particular, the power of the sea, depicted in various facets, engages the viewer in the manifestation of the strength and beauty of nature. The sea immediately attracts the viewer's attention, it takes on such a force that it becomes more important than the protagonists, it becomes lactation itself. The mixture of clotted colour gives strength and greater intensity to the waves represented, as to the other elements. There is a simplification of the figures that gives the representation light and clarity. The colours become autonomous and are given the task of inspiring sensations of the soul in the viewer.

Art Curator Giulia Fontanesi

Nerys Levy

Sapphire Pool, Biscuit Basin, Yellowstone National Park, Wyoming, USA

Nerys Levy

Sea Ice, Svalbard, Norwegian Arctic, a triptych

Nerys Levy

Ice Form, Svalbard, Norwegian Arctic

Nicholas P. Kozis “The nature of women is intimately allied with art.” (Johann Wolfgang von Goethe)

Nicholas P. Kozis presents six new artworks (“Haze 1”, “Super Bloom 1”, “Untitled 2”, “Untitled Artwork 19”, “Venus of Redondo 2” and “Venus”) for the international exhibition “Liquid Arsenal” at the M.A.D.S. Art Gallery. The artist creates a perfect union between the background of each work and the sinuous and sensual representation of the woman placed in the foreground. For works such as “Haze 1”, “Super Bloom 1” and “Untitled 2” the feminine beauty is emphasized by the presence of a purely naturalistic atmosphere: in this way, Nicholas blends every element of the composition, as if the young women were fully immersed within an ocean, a forest or a seaport. And this is how a double valence of nature can be seen: both as a plant or aquatic environment and for the purity of each girl. In fact, their perfect and harmonious bodies manage to unite with the shades of the backgrounds: each aspect inextricably linked to one another.

Nicholas P. Kozis

While in the other three works, “Untitled Artwork 19”, “Venus of Redondo 2” and “Venus” Nicholas depicts women within an almost theatrical environment: in fact, large curtains, either colored or in black and white, can be seen in order to bring out from them the female presence, which is absolutely fascinating. While one lightly touches her mouth, the others caress their hair: both such gestures wish to put passion and love, sensitively stimulating the observer's moods. The latter feels enveloped by so much beauty and that idyllic atmosphere typical of the mystical and mysterious feminine universe.

“My soul cannot find any stairway to Heaven other than the beauty of the Earth.”

(Michelangelo Buonarroti)

Art Curator Alessia Perone

Nicholas P. Kozis

Haze 1

Nicholas P. Kozis

Super Bloom 1

Nicholas P. Kozis

Untitled 2

Nicholas P. Kozis

Untitled Artwork 19

Nicholas P. Kozis

Venus of Redondo 2

Nicholas P. Kozis

Venus

Nils Lagergren “...which seemed to hover in a limbo between creation and decay…” (Thomas Mann)

The concept of time in its infinite variations characterizes the artistic research of Nils Lagergren, a contemporary Swedish artist. His works are the result of a profound reflection on the action that this exerts on our lives, aging us and transforming the things we are surrounded by. Working mainly with papercut techniques and mixed media sculptures, the artist investigates this theme not only by letting his works interact directly with time, but also with collages, where this concept takes on a more philosophical value. In the work entitled 'The Elevator', presented at M.A.D.S. Art Gallery on the occasion of the LIQUID ARSENAL exhibition, the artist offers us a completely innovative vision of the city, transforming it into a paper landscape, made up of coloured patches of which we can only perceive the outlines. The depth is given not only by the colour, but also by the overlapping of the different sheets of paper, the thickness of which traces thin shadows along the carved edges, allowing a further reading of the work. Part of a larger project entitled "Paperworld", this work stems from a reflection on the concept of the city, particularly in connection with the pandemic period that has affected our planet in the recent years. The only presence in the deserted city is the Venetian mask of the Medico della Peste (Plague Doctor), which symbolically refers to the famous Black Death, a pandemic that spread across Europe starting in 1346. The artist asks "What's left of a city when we remove its' very soul: the people who live there?". The city, a place where people live, exchange and meet, suddenly becomes empty, losing its identity. Time freezes, leaving everything devoid of detail and the shadows are the only ones left to enjoy the space.

Art Curator Francesca Brunello

Nils Lagergren

The Elevator

Noa Ry

Noa Ry is a Swiss artist, extremely eclectic and dynamic, her works of art combine physical and digital art, in fact Ry creates digital animations starting from his own physical creations. For the first time she was the guest of an exhibition organized by M.A.D.S. Art Gallery, Noa Ry exhibits a work of great communicative and visual impact, entitled "holding together" which turns out to be an illustration of a story, the story of a girl who wants to represent the human being in its entirety as a organism, in fact Ry explains “The artwork reflects the drowning and holding together of the human being as an organism”. On the one hand the many facets of a person, one connected to the other, which are never lost, on the other the vision as the artist herself explains "If individual figures seem close to death, others are born at the same time in an embryo position. ". It is also possible to interpret the work as the search for salvation and survival, the personality traits of the girl who seems to drown in herself, instead fighting to find a way to return to live and breathe, in search of a ' balance, between what the world wants and what the individual wishes to be. “The video plays with the blurring optics as a mirror as our different identities try to hold each other together. A last attempt not to disappear into the depths of the human soul.”

Art Curator Martina Viesti

Noa Ry

holding together

Norma Gabriela Suarez "Those who do not want to imitate anything, produce nothing" (Salvador Dalí) Norma Gabriela Suarez is an imaginative and creative artist who has also studied design, illustration and fashion. The influence of these studies is evident in her creations, which reveal a marked taste for colour combinations and juxtapositions of shapes. Pop art is the artistic movement from which he draws most inspiration, recovering reference models, colours and techniques. She revisits the themes of mass culture through a personal and intriguing style. During the creative process, she focuses on ethics and visual value. In her painting 'Marilyn Monroe', Norma takes up an icon of international stardom, repeatedly represented by different artists. In particular, this work is reminiscent of the iconic prints of Warhol, the undisputed protagonist of pop art. Norma does not intend to criticise consumer society but to use it to create an effective communication mechanism that will appeal to the public. Marilyn is in fact one of the most well-known and loved women in the public eye, so people immediately recognise her. Norma therefore isolates the face of the actress and focuses on the details. The expression is sensual, the chin turned upwards, the gaze intense and the eyes half-closed, bewitching. Norma does not contour the work with the stroke, but lets the colours create volume. The patches of colour create the image on their own, giving a cheerful and playful final effect. The area of the face has flat, homogeneous fields that contrast with the strokes made for the bright, wavy hairstyle. Here, in fact, the artist mixes the colours, letting the coloured hues intersect and create new combinations. Every iconographic element of Marilyn is emphasised: the lips, the mole, the hairstyle, the gaze. Norma does not invent the subject but merely reproduces it in her own personal style, referring to an image already known in the collective memory.

The result is bewitching, colourful. The artist revisits elements of the past, making them contemporary through her taste for aesthetics and her painting skills..

Art Curator Ilaria Falchetti

Norma Gabriela Suarez

Marilyn Monroe

Ogasun There is something magical hidden in the instant a drop of color touches the paper. The fibers loosen, preparing to receive the color that has just fallen. After a moment of stability on the surface, the paper yields its strength and lets the pigment drip, fiber by fiber. Now the stain has formed and can no longer be erased. And so it is that the color tells of a gesture, an action, a moment in the artist's life. Celere instant that produces the memory. And that is how Ogasun's works come to life. Drop by drop, stain by stain. The color at first expands, then clumps together. Wet, bright, saturated it then becomes delicate, dry, dusty. The magic of color is in every moment and the chromatic alchemy invests the eye of the beholder in a way that is always unprecedented. "Love Earth" is a succession of these chromatic sensations and vibrations. Photograms consisting of pure pigment follow one after the other enchanting the viewer and making him a participant in a healing energy that seizes its life force directly from nature. For that is what it is all about. Of a chromatic melody with nature for nature's sake. Ogasun invites us to observe color lulled by the melody of "Earth" and "Aqua" two music boxes played by the artist himself. Color and sound lead our minds to experience a healing journey. Ultramarine blue pigment contrasts with the brightness emanating from lemon yellow. Fresh, balsamic bottle green blends with a sweet peachy pink that smells of spring. The image changes, the sensations are renewed, now our attention is all caught by golden flecks shining above patches of fluorescent pink. They look like tiny golden straws lying on the bottom of a sandy riverbed. Pigment and paper blend in unison to the sound of the melody sung by music boxes. It is the power of nature resonating among the reliefs of the paper, among the fibers, among the clumps of color. It is magic, it is alchemy among materials that feed on the life force of the world. "Love Earth" is a hymn to all aspects of nature, to water, air, fire and earth. Parent of existences, mother of life, our mother earth is always with us, always present in our very short lives. From the height of her atavistic knowledge, nature takes us by the hand and teaches us how to live. Ogasun senses the love that the latter gives us every day, every moment and urges everyone who sees this video to take care of her, to love and respect her. Because she has always been there for us, but we are killing her. We don't breathe air but savor the oxygen that comes in and out of our lungs. We don't drink water but remain mindful and enjoy the freshness that trickles down to our stomachs, watch the light refract in the clear liquid, and admire the beauty of nature in the small and wonderful things it gives us.

Art Curator Lisa Galletti

Ogasun

Love Earth

Omnia Gamil

Omnia Gamil is an Egyptian contemporary artist, born in Cairo in 1988. Her art is closely linked to her birthplace, history and culture. Although Egyptian contemporary art has emerged late due to the Islamic ban on pictorial art, it is spreading strongly in the international art scene, also with the help of social media, while remaining true to its national culture. An example of this is one of the paintings that the artist exhibits for this exhibition, "Love trance", which depicts a Sufist entering a state of trance through dance in order to get in touch with divinity. Through this work we enter the mystical and spiritual world of Sufism, a current of the Muslim religion little known in Europe due to the great secrecy of its adepts.Sufism leads, through a strong spiritual and mental discipline, to the search for contact with divinity. And in this painting the crucial moment of the dance is described in which the adepts lets himself go, guided by the music. The artist creates a very blurred effect in the background, thanks to the skilful use of the knife, used like a palette knife to place the colour on the canvas, emphasising the movement of the man, creating an almost ethereal image. Another theme often present in contemporary Egyptian art are women, portrayed mainly by female artists to denounce the suppression of their rights. The artist in her painting 'Be Free' depicts a beautiful dark-skinned woman in profile looking far into the distance towards a better future for women and for all. Abstract Egyptian art is also influenced by the culture and places where the artists were born and raised. 'The road to sunset' is an abstract representation of a street at sunset. The predominance of yellow and the small ripples given by the colour passed with the knife are very reminiscent of desert dunes. For the artist, abstract art is a medium that allows her to give vent to her imagination, experiencing an immense sense of joy. This feeling is conveyed by her paintings thanks to her innovative way of painting. The use of the knife allows for a more fluid overlay of colour, creating waves that give movement to the painting. This makes the work convey a unique energy.

Art Curator Lucrezia Perropane

Omnia Gamil

Love Trance

Omnia Gamil

Be free

Omnia Gamil

The road to the sunset

Pål Török

Pål Török’s art is undoubtedly a colourful art, but above all it is an art that is born from change and wonder and that transmits them. The works under examination, although different, are similar both aesthetically and conceptually. On a graphic level, in all three works, we can find an almond-shaped geometric form that can remind us of a human eye; we could read this form as “the eye of the mind” that each of us possesses, but that we must learn to "open" to live a better life. In the titles of the works, the Swedish artist therefore invites us to pay attention to what we feel, think and see, because on the basis of this we will attract those specific things into our lives. “WYSIWYG” is undoubtedly the most material work among the three. The acrylic color is distributed in several non-homogeneous layers, one on the other. The color tones are quite dark, but the last layer of acrylic looks shiny and creates a bright optical effect. In this work Pål Török invites us to look at the beauty that surrounds us. The other two works are in a sense opposite and complementary to each other at the same time. In them, there is a figurative contrast between verticality and horizontality and between the two main colors, red and blue. The use of these strong colors (both in fact are primary colors) and of these ancient forms (they were widely used in the Byzantine era) arouses deep emotions in the viewer because of the strong visual impact. Pål Török therefore embraces abstractionism, but with a personal interpretation. His type of abstraction cannot be defined either fully geometric or non-geometric because he gives importance to both the expressiveness of color and the harmonious relationships between the figures. Pål Torok’s painting is characterized by a pasty use of color that is spread without a real preparatory drawing. The contours appear poorly marked and the entire composition takes on a gestural aspect. The works of this Swedish painter are works that may appear as minimalist, but that are actually quite complex. At a closer look they reveal deep meanings, thus demonstrating the artistic ability of Pål Török.

Art Curator Francesca Catarinicchia

Pål Török

WYFIWYG

Pål Török

WYSIWYG

Pål Török

WYTIWYG

Pamela Chrabieh “Art is to console those who are broken by life.” (Vincent Van Gogh)

Pamela Chrabieh is a Lebanese-Canadian visual artist, whose artistic research appears as a cross between West Asian iconography, calligraphy and digital arts. A combination of techniques that allow her to delve into new meanings and new themes, investigating, in particular, memories and pain, torn time, and the unspoken past of people who have been through wars and traumas. Her works aim to give memory a new light by altering the perception of what has been, to bring about a new rebirth. In the work 'Rise - 2', presented at M.A.D.S. Art Gallery for the exhibition LIQUID ARSENAL, the face of a woman is shown in close-up within a circle. Part of the face is enveloped in liquid. The entire image is in black and white, bringing the observer's attention entirely to the subject. The circle, immutable, perfect, without beginning or end, is a symbol of cyclical, infinite and universal time. Pamela Chrabieh's research also sees a strong connection with the concept of time as a healing tool. From this point of view we find a strong correlation with the Japanese philosophy of kintsugi - known for the repair of broken ceramics with gold castings -, often used as a symbol and metaphor for resilience. Similarly Pamela Chrabieh, wants with her icons, to embellish life in the search for a profound spirituality, to allow the soul to revive. Fatigue and violence take on new forms and new colours, transforming memory into a fluid in transition and continuous evolution, uprooting it from the stasis in which it is too often left.

Art Curator Francesca Brunello

Pamela Chrabieh

Rise - 2

Paola Poser

With her artwork ‘Embrace’ the artist Paola Poser expresses her intimacy; her feelings and her emotions. Just as the exhibition ‘Liquid Arsenal’ asks, the painting reflects on the concept of ‘liquidity’ configured as a sort of walkaway between reality and unreality. Here represented as two mermaids, made up by water themselves, are the two main characters of the scene. As the water does, the subjects as well are able to occupy the space in which they are depicted and to let themselves free to move in it.

Soft colors and brush strokes are used to represent a simple and not detailed scene, with the aim to give importance to the meaning of the embrace. As a sort of protector, the light blue character is bigger and taller than the red one, which seems to be absorbed into her emotions. The artist’s ability in using the colors and in transporting them into the scene, permits to confer to the piece a sort of soft dynamism, as if everything was represented and lived underwater. The embrace contains all the feelings spread by the two characters that, as a sort of light drop, fluctuate into the scene giving to the whole painting a pacific sensation.

Art Curator Martina Stagi

Paola Poser

Embrace

Paolo Pomarico Paolo Pomarico is a multidisciplinary artist from Mid-Hudson Valley, New York, whose practice engages with anthropocentric concepts surrounding the relationship between the human-built environment and the contemporary human condition. They are currently attending undergraduate studies for fine arts at the School of Visual Arts in New York City. At “Liquid Arsenal” exhibition hosted by M.A.D.S. Art Gallery, Paolo presents their most recent body of work in which they experiment with the medium of painting: focused on materiality and physicality, they are using process driven methods to explore the intersection between painted image and material object. Through the very existence of their being, humans are so embedded with the material environment they inhabit: they interact with it, impart themselves into it, and decay among it. As a witness to the Anthropocene – whereby humans, the human-built environment, and the materiality of the earth are so deeply entangled – Paolo sees an immense sublimity in the nature of the environments we build. Infrastructural, industrial and urban environments do not stand outside of nature: they are conceived, designed and built, only to flood, burn, erode, deteriorate, and fall. We are capable – through the power of our being – of instigating reactionary, entropic and deteriorative processes in the nature of the environment that are beyond our control. Processes that reveal the humanity, entropy, and nature inherent in all that we conceive and create. These concepts are objectified within Paolo’s work through the physicality and materiality of their creation: the works they create are not only products of themself, they are products of nature. They only instigate the work’s creation, whereby it is driven by material and entropic processes that they are a part of but also cannot fully control. Their most recent body of work and exhibited at “Liquid Arsenal” exhibition consists of oil paint on various industrially manufactured materials (steel sheet, acrylic sheet, glass, and polyurethane foam). The oil paint is mechanically printed on the surface of the material through a multilayered stenciling process, which effectively forms perspectival deep space within the image.

This stenciling process is used to construct imagery of industrial structure systems, before they are then disrupted by the physical instigation of entropic processes: the image is touched, walked on, rubbed away, dissolved, and deteriorated.

What was once a figurative image with illusionary deep space is now exposed by its materiality and physicality. What could be considered a painting is also just an object: a piece of thin, dented, and warped sheet metal with a smudgy mess running off its surface after being subjected to natural entropic phenomena and human interaction. In effect, the work reveals a contemporary sublimity in the nature of these industrial materials by the humanity that is embedded within them.

Art Curator Matilde Della Pina

Paolo Pomarico

Untitled

Paolo Pomarico

Untitled

Paolo Pomarico

Untitled

Paolo Vignati Paolo Vignati was born in Sant’Angelo Lodigiano in the south of Milan (Italy) in May 1976 and lived for years in San Colombano al Lambro. Later he moved to nearby Livraga, a village in the Lower Lodigiana surrounded by the countryside where he currently lives and works. In these places, from a very young age, he embarked on a conscious artistic path, developing it both at a scholastic level with the attendance of the art school (Liceo Artistico di Lodi), and at a later time with the first experiences in training internships regarding digital graphics. After a working interlude applying himself to different experiences, Paolo returned to work in the art sector and its market, exhibiting in small exhibitions in the Milanese area. At "Liquid Arsenal" exhibition hosted by M.A.D.S. Art Gallery, Paolo presents three paintings. "Composition of elements", as the title suggests, is entirely made up of objects and geometric shapes that are distributed harmoniously in the space: a fence on the left, a sphere in the center, a structure on the right are installed in this perspective space overlooking a landscape that is indefinite. The brushstrokes are strong, marked and material, without however leaving a trace of any defined outline: everything is as if suspended, giving the whole an extreme dreamlike and almost metaphysical sense. An image that looks like a dream. “The Mission is to put as much as possible an infinite desire to search for shapes, colors and materials and with them all its most hidden varieties of expression” Paolo says.

Everything is well dosed with aesthetic taste. In "Mother with Son" the two figures emerge from a complex stratification of full-bodied and at times violent, almost impressionistic brushstrokes, making it impossible to define the surrounding environment in which the mother and child find themselves - we can only guess a bucolic landscape. This type of representation thus underlines the strong bond between them: immersed in a context of total uncertainty, their union is the only reassurance. Lastly, “On the way…” represents a human figure that travels a path towards an unperceivable point. The composition is made up of thick brushstrokes of color that overlap each other and that create its path and thrust. The stage situation that is created appears nervous and indecipherable. Once again, Paolo manages to convey the will to search for an infinite desire for shapes, colors and materials.

Art Curator Matilde Della Pina

Paolo Vignati

Composition of elements

Paolo Vignati

Mother with Son

Paolo Vignati

On the way...

Paul Adrian Mabelis (AlgorithmicArtiste) The human mind is fascinating and its extraordinary greatness, already evident in enabling us to adapt ever anew to the changing conditions of the world, allows us to travel to distant universes. The most inexplicable manifestations of the mind also hide in the folds of daily existence and pass away whistling casually, certain of not being noticed. We can define our thoughts as a network of impulses that arise and die based on what we see, perceive and experience. The human mind is a complex system, stimulated and modified by a series of stimuli.

As scientific research progresses, although it can find the systems that underlie certain mental processes, many mechanisms that give rise to the emotional reactions that characterize behavior and our most intimate side remain obscure, our dreams and our desires. The American artist Paul Adrian Mabelis investigates these fluid and unexplored areas of the mind where thoughts float and accumulate forming expanses of water. The triptych of works proposed for the international exhibition "Liquid Arsenal" adheres perfectly to the theme of the exhibition. "Immersive Thinking #1" strikes for its lyricism: a man emerges from the water observing the horizon. On the right stands a row of cypresses that have always been a symbol of immortality as an emblem of eternal life after death, the soul that is heading towards the heavenly kingdom. The atmosphere is both alienating and introspective. There is a sense of expectation, like a stalemate; the subject finds himself suspended in a reality that is itself his mind. "Immersive Thinking #2" continues the reflection on human thought. This time the man is completely submerged, the skull cap opens leaving free the tangle of thoughts. The mind is part of a much greater and inscrutable whole. A similar vision appears in "Immersive Thinking #3" only that this time the mind becomes a vision of a dream, two other mysterious figures appear that look like a thought or a nightmare.

The background is liquid but it blends with a starry sky. Water instead finds space inside the mind as to emphasize the motions and the mutability of thought, always enigmatic and deeply ours.

Art Curator Eleonora Varotto

Paul Adrian Mabelis (AlgorithmicArtiste)

Immersive Thinking #1

Paul Adrian Mabelis (AlgorithmicArtiste)

Immersive Thinking #2

Paul Adrian Mabelis (AlgorithmicArtiste)

Immersive Thinking #3

Peng, Po-Hsun “There is no need for me to say anything in this world. For me, my paintings speak for themselves and for me.” (Peng, Po-Hsun)

Art is like a compulsive love obsession for artist Peng, Po-Hsun, that disciplines himself to create at least one picture everyday.

Art is a way of expressing himself; it is the only way of capturing identities and perspectives that come alive through colours, shapes, dots, lines and splashes on the canvas. It takes a simple glimpse at his paintings to be overwhelmed by thoughts and emotions. The combination of colours, the juxtaposition of straight, curved, thin and thick lines transport the viewers somewhere between the inner and outer space, a place being, at the same time, so close and so far, so familiar and so unknown. Everything in the universe gathers and disperses, it is a continuous flow and movement of life where beginnings and endings are eternal. Birth brings death and death brings life again: as Peng, Po-Hsun says “birth and death are an eternal complex circle of life with beauty fading in and out as our memory fades in the short lives we live”. Such thoughts are reflected in the paintings “Known Universe”, “Time” and “Time”. In “Known Universe”, colourful particles float on a black background, divided by a thick, yellow line with a yellow circle at the centre that recalls the sun. “More than 96 billion light-years, what kind of distance is it?”, Peng, Po-Hsun asks.

“Time has not advanced at all, it is we who keep moving forward”, says the artist about the two paintings called “Time”. They are similar in composition but different in colours. In the first painting, two big round shapes with orange, blue and green shades almost touch each other while golden dots flow from the top to the bottom like specks of dust in an hourglass. A similar scene is reproduced in the second work; but here, instead, thin and short lines flow between the two round and blue-coloured shapes, like the drops of water of a waterfall flow unceasingly. There is nothing disturbingly loud in Peng, Po-Hsun’s paintings; on the contrary, everything takes the shape of meditation and reflection. His primary intention is, in fact, of “healing himself and others through his paintings”. For this reason, he invites the viewers to search for themselves in the universe, to question and reflect on life, to find their special place, settle down and find harmony with it.

Art Curator Martina Lattuca

Peng, Po-Hsun

Known Universe

Peng, Po-Hsun

Time

Peng, Po-Hsun

Time

Petchcotch Anachronism. Chronological error whereby certain facts are placed in times when they did not occur and, especially, institutions, ideas or customs are attributed to an age that are discordant from the historical framework of it. Art has the ability to mutate space-time. The straight line along which meters and seconds run is totally disintegrated by the expressive capacity of art. Time, future and past merge and mix together with form and color to give rise to a dimension of its own, a dimension in which kilometers and hours no longer count for anything. Hence, the need to use and make art to narrate what in nature and more generally in life is not possible: the fusion of different centuries and unimaginable distances. Petchcotch with her works shows the viewer what is impossible, what no one can experience with her own body and mind. And that is how "Popcorn Party" takes shape, a work that blends, as in a recipe alchemy, past and present. And that is how a typically contemporary pastime acquires an ancient, atavistic flavor. The association between the title, popcorn present in the work, and the figure of the half-length lady achieve the goal of confusing and bewildering the viewer, shaking her or her certainties, and instilling questions that had never before been elaborated. This concept of estrangement is also accentuated by the strong surrealist character dictated by the rhythm of the composition. The half-length lady in fact literally has three faces and not a single one that is placed in the canonical location. In fact, in the place where there should be eyes, nose and mouth there is anything but. Against a blue background is a basket with small objects inside. Protruding from what should be the chin is a man with gray ringlets and smartly dressed attire engaged in pouring a cocktail into what should be the face of the woman portrayed. What is going on? Our minds are in confusion, our certainties wavering. Watching "What I saw in my dream," the insecurities we begin to feel about reality do not subside. A woman portrayed in ancient clothing is literally covered with octopuses. Long tentacles fall from her forehead; two more are resting on her shoulders. Icing on the cake, a vase that is supposed to hold treasure contains an octopus. Our minds keep reeling, oscillating between the everyday and a reference to a Renaissance fresco within seconds. The situation dizzily plummets when we spot, etched in lapis lazuli blue letters in Thai: "Pai paa" meaning "go to see," "go to visit." At this point, Petchcotch comes to our rescue: what we have just examined is a strange dream. Petchcotch's art is pure wonder in the most literal sense of the word. It is strange, unusual, purely anachronistic and at times irreverent. It is delight for the eyes, rebus for the mind. But above all, it has the ability to shake the viewer's certainties like few things.

Art Curator Lisa Galletti

Petchcotch

What I saw in my dream

Petchcotch

Pigeon pigeon pigeon pigeon pigeon pigeon pigeon pigeon

Petchcotch

Popcorn Party

Philina Eli "The x file is about a treasure. It can be a treasure of love, luck, maybe money or success" Philina Eli

The x file is the work of Philina Eli (artistic name) at the international exhibition "LIQUID ARSENAL" in the M.A.D.S. International Gallery. Fluidity and color are the characteristic elements of the work. The motion of fluid color becomes a representation of the motions of the artist's soul. Behind its representation is an idea, the work is not solely the result of randomness but of the dialogue between the elements, the artist's movements and his will. The result is a work that, as the artist states, represents "a treasure. It can be a treasure of love, luck, maybe money or success." The work becomes a story made of shapes and colors; after all, Philina is an artist and writer, and storytelling is inherent in her nature. Philina began to draw at age of 7 years. At first she started with watercolor. Two years later one of her pictures presented at the city’s town hall. She painted watercolor for about four more years. At age of 14 she changed to pencil drawing. One of her favorite style was anime and manga comics. She also tried oil painting and with charcoal.

Philina Eli took time out for a few years and came back at age of 24. In 2014 she started writing books. The first version of her first book was published 2014. The 2nd version 2017. At year 2019 she started her own business as an artist.

Art Curator Mara Cipriano

Philina Eli

The x file

Pilar Pérez Prado “Realism' has been abandoned in the search for reality: the 'principal objective' of abstract art is precisely this reality.” (Ben Nicholson) Pilar Pérez Prado is a contemporary Spanish artist whose artistic research revolves around the concept of geometry in its deepest sense. Fascinated by texture, her works are dense with geometric shapes that are repeated in space, creating new imagery in eternal movement. The pattern behind the repetition follows a logic that allows her to investigate the nature of the object intimately. In fact, these works seem to be decompositions of a reality, which loses its original meaning in order to find a new one. In the work "In the end everything matches", presented at M.A.D.S. Art Gallery for the LIQUID ARSENAL exhibition, the artist works in tones of red and brown and white, bringing together shapes of varying geometries in a single space. Triangles, squares, rectangles and trapezoids fit next to each other in the search for perfect stability. Influenced by the research carried out by the masters of geometric abstractionism first and by so-called Concrete Art (MAC) later, Pilar Pérez Prado gives shape to her intuitions by objectifying and reworking the visual artwork and articulating the elements of language and colour composition. Her works, therefore, are not the bearers of symbolic meanings linked to tradition, but are intended to be pure creations of objects that do not reproduce, but abstract their external nature. Pilar Pérez Prado investigates the concept of geometry by dissolving into concreteness, transcending the limits imposed by the scheme according to which everything carries a meaning. She deconstructs the object, leaving only the beauty of pure form.

Art Curator Francesca Brunello

Pilar Pérez Prado

In the end everything matches

PRussi "Painting is like a refuge, a raft that takes you where your spirit guides you: Let it wander and only satisfaction and joy will come." (PRussi)

Let yourself be carried away by emotions, by what we feel, without putting a brake on feelings; have the ability to always discover a new part of us and not be afraid to express it through an expressive medium that makes us truly free: this is the artist through art. We have an example right here: Pascal Russi, aka PRussi, amazes us with each of his works with a new register, a new language, a new way of expressing himself. He lets himself be carried away by the pleasure of creating and by the freedom to express himself and his art in different ways. In the same works presented here we see different languages ​interacting on the same canvas: lines, shapes, colors release an amazing energy on the canvas, in a vortex that transports us and makes us immerse completely in the work. Even the choice to create these works as diptychs denote a very specific stylistic choice, language and message. The two canvases are joined together by a bond and a continuity with each other; one completes the other perfectly, like two pieces of a puzzle that fit together differently. One of the two parts, taken individually, begins the telling of a story, which finds its complete development, however, in the union with the other canvas.

The technique used by the artist creates a whirlwind of lines on the canvas, a continuous movement, with continuous changes of direction. Within this vortex, however, we find anchor points, fixed points to cling to within this whirlwind of emotions that is overwhelming us: geometric shapes and lines or backgrounds of color, made with colors that create both continuity with the rest of the canvas that in stark contrast. The three works presented here belong to the same series of works, but each one has its own evident uniqueness: the choice of colors and their contrasts, textures, shapes and dialogue that create all these elements with each other, make you tell to each single canvas an emotion, a feeling and a unique story. Even at a quick first glance, each canvas gives us a unique sensation, and with a deeper look, it is able to transport us inside it and overwhelm us.

Art Curator Silvia Grassi

PRussi

3: Série Confinement Diptyque 40 x 40 x 2 Acrylique

PRussi

4: Série Confinement Diptyque 40 x 40 x 2 Acrylique

PRussi

5: Série Confinement Diptyque 50 x 50 x 2 Acrylique

Ravena María Cardoso Lopes If there is magic on this planet, it is contained in water.

(Loren Eiseley) Ravena María Cardoso Lopes is a great Brazilian plastic artist. Her career boasts of 32 years of experience with the participation in national and international exhibitions. In her artworks she shows the synthesis of her style, developed on abstraction and geometric abstraction.The inspiration is captured by nature, in particular in the aquatic environment and on this she has created a very personal style, colorful, refined with emphasis on the stylization of water animals and vegetation, colors, graphies and textures. We can see this common thread in all the three works presented in "Liquid Arsenal" exhibition in M.A.D.S. Art Gallery: "Jellyfish (Águas Vivas)", "Waters of the throne" (Águas do trono), "Waters that heal (Águas que curam)", painting by the artist in 2022, with mixed media (acrylic, color pencils) on canvas. The color palette is in shades of green, blue, white, turquoise and and the subjects are jellyfish, fishes, underwater vegetation, bubbles, water crystals. The images are defined, geometric and very stylized, sometimes overlapping, the strokes are essential to amplify the intense expressiveness of color. Ravena María Lopes stands out for the delicacy, the richness of details, the simplicity and immediacy of style and at the same time for the careful expressive research: if you look carefully at her paintings, it seems to be in these imaginary and painting environments.

Art Curator Giulia Dellavalle

Ravena María Cardoso Lopes

Jellyfish (Águas Vivas)

Ravena María Cardoso Lopes

Waters of the throne (Águas do trono)

Ravena María Cardoso Lopes

Waters that heal (Águas que curam)

Regina Dantas "Circles, like the soul, are neverending and turn round and round without a stop."

(Ralph Waldo Emerson)

Regina Dantas has a close relationship with symbols and symbology. In this case, Annaluz, she focuses and thus forces the viewer to dwell on the figure of the circle and its center: a point. The point represents the limit state of volume abstraction, the center, the origin, the beginning of emanation and the end of return; it designates the growing power and the end of all things. But while in the Point the perfections are hidden, the Circle reveals the effects created by these very perfections. We think of the Circle as a controlled explosion of a point, thus as a flowering. In such a case, the meaning of the Circle is to depict the world as distinct from its beginning. It is first and foremost a point extended and participating in its perfection, but it enhances its path. Commonly, the symbolic properties of perfection, homogeneity, absence of division and distinction, unconsciously drive artists to use it as a symbol from the time of time by serving from the innate ability to attract gaze and thoughts. At the center of Regina's circle all the rays enjoy unity, and a single point contains in itself all the lines. Perfect, unchanging, without beginning or end. Not even erasures and embroidered or sign interventions interrupt its life cycle. The thought that comes to mind is that of a great protective cordon on which the artist wants to accommodate chaos, not only her own but the collective one. An almost esoteric embrace that she sheds the unjust dark patina to show herself in all its light.

Art Curator Erika Gravante

Regina Dantas

Annaluz

Rei Amaishi

A spot of color has the potential to express many things. It can be a lightning-fast gesture or the outcome of a studied, well-thought-out movement. A spot of color can spring from a rush or be the result of contemplation toward oneself and the world. Color is moldable and malleable as needed. It gets darker and then becomes almost ethereal; sometimes it is solid and compact other times it takes on the appearance of a silken veil. The strength of color lies precisely here: in its versatile and ductile existence. Impetus, understanding, slow or fast gesture, studied or instinctive movement. These are all elements, emotions and sensations that contribute to the creation of the individual pigment stain. And the beautiful thing is that none of these elements excludes the other. A stain is all this and more. It is the story of a person and his or her ideas, it is the representation through a medium of the spark of creativity, a flame so subtle and lightning-fast that it can be grasped in full force and developed when it becomes apparent. Almost imperceptible shades follow one upon the other. The hues are natural, essentially earthy, gentle and calm. Pigment veils come one after another, knowing each other and blending together going on to create unprecedented hues. An essentially dull green-gray brightens when it comes in contact with bright yellow and suave purple.

Rei Amaishi

Rei Amaishi's art is all about the ability to represent half-tones. The artist's mastery lies in the juxtaposition of tones in such a way as to create a work that is extremely organic and, at first glance homogeneous. Yet, looking more closely, one glimpses the wonder of the minute change in tone, the subtle difference between two almost identical shades of purple, the varied and multiple hues that the color gray can have. This skill comes from a strong experience with color, an intimate history that binds the latter inextricably to the artist. It then happens that this chromatic alchemy wants to interrupt its placid existence to accommodate vibrant and highly expressive stains and marks. "Blue that I Don't Remember Springs Up" is a perfect example of the juxtaposition of these two modes of expression. A large bluish stain unfolds in the compositional space carrying with it a highly expressive aura. The gesture is impulsive, instinctual and at times violent. The contrast with the placid backdrop enhances this feeling of vigor by creating an incredible expressive contrast. Rei's art is chameleon-like. It is shaped on the dichotomy between soft form and vigorous momentum, between suave melody of tones and irreverent contrasting color interventions.

Art Curator Lisa Galletti

Rei Amaishi

Blue that I don't remember springs up

Rei Amaishi

Era 13E2 The rain as seen by a certain bard - 10,000 years before the end of civilization

Rei Amaishi

I stop in front of a muddled memory - I still don't have you

Rei Amaishi

Lamentations lie beautifully. Its rivers are like cotton. -The sleep of giants

Renata Dyk

The artist Renata Dyk presents three particular artworks: three mannequins that are dressed up with her painted motives inspired by nature. Each artwork is the representation of a particular and meaningful subject that corresponds to the artist’s emotions and feelings. ‘Miss Peony’, as the title itself, refers to the particular flower which is the symbol of luck and glory. Renata plays with this element and its meaning to exalt the feminine figure and her power into the society. Every decoration that covers the feminine body is balanced and the nudity is subtly marked. The blue body, that can represent the liquidity to which the theme of the exhibition refers, is cut by the golden parties that coincide with the ends of the human body: the head and the limbs. The first one symbolizes the reason and rationality that permits the movement. On the contrary, ‘Mr Cage’ is adorned with painted motifs, on a blue background on his chest while the rest of the body is covered by a gold color. Realized during the pandemic, the artist has transmitted her sensation of isolation and forced quarantine - represented by the birds closed into their cage - on the male’s body, to focus the attention on the importance of social contacts between the human beings. Different is the representation of a theme that the artist wants to share with her viewers: to have the freedom to make choices in life. ‘Have a choice’ is, in fact, the title of the head covered by the black and white checkerboard. The pattern is made up by grey’s spots, here and there song the black and white ones, that remind the viewers that there are other possibilities apart from the extremes. What suddenly comes to the eye is the shocking yellow that guides to completely different roads, symbolizing the irregular. Renata’s aim is to remind people that everything is possible in life, and that everyone is free to choose according to their beliefs. As the water, the colours and the element that build up a painting - and so the art itself - is important as the water for human life and this is why the artist has chosen to transport it on the mannequins.

Art Curator Martina Stagi

Renata Dyk

Miss Peony

Renata Dyk

Mr Cage

Renata Dyk

You Have a Choice

Ric Conn

Ric Conn is an international artist winner of numerous awards and recognitions, he is a permanent artist among the guests of the exhibitions organized by M.A.D.S. Art Gallery and, on the occasion of "LIQUID ARSENAL" he exhibits four works of art with a somewhat gloomy and reflective atmosphere. Emblematic, in the artist's work, are the themes that are treated, the woman is always placed at the center of Conn's artistic creations, the battles and torments of women are the themes that are dear to the artist and his works are as a warning to the observer. “Beyond the Minotaur” is inspired by Françoise Gilot, the only woman who was able to leave Picasso and live her life independently and satisfactorily without him. In this particular work the central theme is toxic relationships and men abusive towards women.

Ric Conn

This work is a celebration of Françoise Gilot who managed to break the vicious circle of this negative relationship with Picasso. "No Return" wants to remind us of the impossibility of returning to the past, the artist's saying that living in the past is negative, although the memories that are part of it can be comforting, Conn reminds us that it is essential to live in the present and think about the future. “Uphill Battle” tells of a battle, the battle of not giving in to temptation and fighting for ourselves, exactly as the girl who pushes herself over the hill is doing. "Used-ta doesn't live here anymore" has the theme of remembrance as its fil Rouge, a bit like in "No Return", Conn pushes us to take care of our life and our future, leaving the past in the past.

Art Curator Martina Viesti

Ric Conn

Beyond the Minotaur

Ric Conn

No Return

Ric Conn

Uphill Battle

Ric Conn

used- ta doesn't live here anymore

Rika Maja Duevel "If you ask me what I came to do in this world, I, an artist, will answer you: I am here to live out loud." Émile Zola Artist Rika Maja Duevel calls herself a global nomad, and it is this connotation that forms the core of her work. Thanks to the adventures and experiences she has experienced, her canvas is always coloured with new motifs and forms. Her works are the transposition of her feelings, of her experiences that she manages to capture by imprinting them on canvas. Through adventures she finds inspiration, through experiences she finds new colours, through creativity she manages to express herself and capture the viewer's attention. Rika Maja Duevel uses painting as a journey in which the memories of light and colours that our land gives us are alive. Bright colours skilfully used, yellow and white to give the work the light of lands visited and imprisoned on the canvas, red that gives it the character of the typically warm boundlessness, juxtaposed with the quietness and tranquillity of shades of blue. It seems that the artist draws on colours as true poetry, to excite the viewer, to take him too on the journey, to make him experience and feel new emotions. The light that transpires from these contrasts is represented as a means of detecting, showing, making one see another dimension of reality, accompanying the emotion of observing the colours reflected on the canvas. To the colours, the artist alternates the lines of different thicknesses that overlap in the foreground with the patches of colour, interrupting their shapes. The marks become powerful symbols that arouse emotions, evoking the mysterious power of nature in constant change and the inner strength of man. Evident is the taste for chromatic vivacity and the sense of the fantastic, the colours are intense, the marks symbolise the light-heartedness given by the carefree artistic technique of painting. Rika therefore does not represent reality proper but that told by her unconscious; the elements that come to life in her works give access to that which lies beyond the visible, she searches for the interiority of things with increasing attraction and develops the imaginative potential of the unconscious to reach a cognitive state in which harmonious and profound forms are reconciled.

Art Curator Giulia Fontanesi

Rika Maja Duevel

Stop and Breathe

Rika Maja Duevel

Vibrating Through the Space

Rika Maja Duevel

The Internal and External Fight with that Grey Day

Rika Nakatani “It’s not what you look at that matters, it’s what you see.” (Henry David Thoreau)

Few strokes, a single color and a world of meanings and interpretations. On a white sheet the brush dipped in Sumi ink moves to create the so-called kanji. Rika Nakatani is a Yokohama-based calligrapher who, through her seemingly simple works, wants to convey important messages to viewers. “Water” (2022) is the representation of one of the five elements of nature: water as a symbol of life, purity, and rebirth. We look at the ocean, its waves wet our feet, and, in its water, we reflect in the hope that our image will give us answers that we cannot find in our heads. The water is immense and powerful, the water is our friend and adviser. In "Flow" (2022) the circular brushstrokes suggest a path: it is the passage of time, the succession of events that fit together to build a story - this is the story of the life of every man who, through knowledge and emotions, enriches his soul. “Light and Darkness” (2022) represents one of the most fascinating combinations - day and night, sun and moon follow each other continuously, marking time and our rhythms. The light shows us the path to take, but it is in the dark that we must find the courage and strength to create ourselves the light that allows us to reach salvation. Through her works, Rika invites viewers to understand the messages she wants to convey by giving a personal interpretation of what they see: that her works can be a starting point for an unforgettable imaginary journey.

Art Curator Camilla Gilardi

Rika Nakatani

Flow

Rika Nakatani

Light and Darkness

Rika Nakatani

Water

Rinata Shaka “Do not disunite” (Paolo Sorrentino)

Images that are born from the infinite possibilities of a mind and that digital techniques allow to express and appear tangible. Art at the service of human desire. A magical world, in harmony with the elements.

This serenity seems possible when looking at Rinata Shaka's artwork, a sense of peace comes immediately, and the desire to gently enter this fairy-tale environment becomes an almost essential need.

A dimension in which everything important finally and naturally takes its place of honour. A place that seems to have always existed in fairytales and travellers' tales, a promised land that everyone knows exists.

Rinata Shaka

One thus enters, on tiptoe, so as not to interrupt the chirping, the rustling, the hissing. The light illuminates a place that is a moment, where catharsis takes place. The artist inserts himself as a visual image, in turn reflected and doubled, into this idyllic context, thus accompanying a reflection on the presence of his own self as possibly being doubled without becoming disunited. Thus, enjoying the present to the full appears possible and achievable. A moment that truly contains 100 more. It seems that the artist shows us how the inner journey is really desirable and the basis of a successful life's journey.

The synergies that her paintings bring to light, manage to caress and take care of the viewer's needs, accompanying him by the hand towards a pleasant visit to those possible and attainable ideal worlds. A few colours, in the end, is all that matters.

Art Curator Erika Gravante

Rinata Shaka

A terre

Rinata Shaka

Enfin quelques couleurs

Roberta Pignanelli

<<I search for rules and theories in order to find out what happens when I break them.>> This is a consideration of Roberta Pignanelli. With these words she wants to express her way of artistic creation. Something that wants to be different and to break specific rules. At the international art exhibition Liquid Arsenal she presents three different pieces that have a similar style although the resolution in terms of composition is different. Starting from the first titled The legendary crystal skull peers into the future, we can see one specific shape put on the foreground that represents a skull. With this formal choice the artist seems to put the viewer inside this skull, to watch the rest of the composition from this point of view. This kind of technique is particularly interesting because it interacts with the action of watching the observer. In a very simple way the artist seems to say to the viewer: <<this is the right way to watch my art>>. The second work is titled <<sometimes my mother makes me feel like an alien>> and presents some similar elements to the first work. In fact we can see a white figure put on the centre of the composition that seems to resemble the image of an alien. The colours used on this occasion are vivid and bright as if the artist wants to underline the expression of this fantasy figure. In the third work titled Past brooding the composition becomes more complex. We can see a lot of different shapes and colours that create a grid of different meanings and allegories. As the artist says, the art made by Roberta Pignatelli seems to investigate rigid rules in the composition to break them for the creation of something fascinating, to discover new points of view and new ways to intend the art.

Art Curator Elisabetta Eliotropio

Roberta Pignanelli

The Legendary Crystal Skull Peers into the Future

Roberta Pignanelli

Past Brooding

Roberta Pignanelli

Sometimes My Mother Makes Me Feel Like an Alien

Rozeta Hallenbarter “To love beauty is to see light.” (Victor Hugo)

Rozeta Hallenbarter is a contemporary artist of Swiss origin. Her works are dense containers of interior landscape abstractions, where beauty sometimes shows itself in the guise of figuration and in others dissolves completely in colour. Her artistic research is in fact born as a fluid intuitive expression, which sees colour as the determining element around which to build each work. Warm and fascinating suspended atmospheres, undefined and evanescent subjects, dense mists enveloped in perfumed tones, are characteristic components of the artist's aesthetic. Her style is the result of a combination of influences that, starting from the Romanticism of William Turner, extends to the early 20th century avant-gardes. In the three works ('Dream'; 'Masai'; 'Morning Mood') on display in the LIQUID ARSENAL exhibition at M.A.D.S. Art Gallery, it is evident how her language stems from an elegant fusion of different stylistic influences. In the painting 'Morning Mood', we see a landscape taken to almost total abstraction. The shades chosen by the artist blend delicately on the canvas. A green stain merges with a violet, which in turn disperses into a sandy hue. The vertical brushstrokes create a dynamism that absorbs the small silhouettes of the passers-by, elongating their shape almost to the point of dissolving it. The importance given to light in Rozeta Hallenbarter's works is fundamental: her subjects often surround themselves with earthy and golden colours, becoming evanescent to the eye. For the artist, the creative act takes on a divine role where it can be allowed to flow freely. Colour, in its purity, accompanies her on this path of golden mists, where she can savor the beauty of light and silence.

Art Curator Francesca Brunello

Rozeta Hallenbarter

Dream

Rozeta Hallenbarter

Masai

Rozeta Hallenbarter

Morning Mood

Rüdiger Carius “The source of art is being” (Rüdiger Carius)

The art of Rüdiger Carius proves to be unique in today's art scene. The creations are completely original and stage human emotions, activities, feelings and metaphors with extraordinary effectiveness. Rüdiger's highly personal style, presented at the international exhibition "LIQUID ARSENAL," hosted by the international art gallery M.A.D.S. is called Split Art. This new, innovative current is free from figurative schemes and operates in the decomposition of figures. A full example of Split Art are Moods and Water activity. The first work is central to understanding the artist's philosophy of action. He works with color and the combination of geometric shapes, deconstructs figures to represent something that is, after all, intangible and belongs to the soul. The complexity of the human mind is captured in Moods, which speaks of emotions, of motions of the soul. Water activity does not abandon this trend but takes a step toward tangible reality.

Art Curator Mara Cipriano

Rüdiger Carius

Here a parallel universe is created that has references from reality but remains completely untethered from it. The colors of Split Art are related to psychology and neurology, as are the "destroyed" forms presented by the artist. Rüdiger, a German artist, studied biology and theology and worked as a teacher. He is self-taught, reads books and watches videos on the following topics: Color Psychology, Colors and Shapes, Neuropsychology. His readings are reflected in his works. Enigmatic but intuitive are also Closed in the heart and The golden course. These are two works that approach the real but remain simple in form, still geometric and fragmented, and preserve a dimension out of time and space, beyond the visible. His exquisitely human themes return: love, emotions, nature, sports. In these works the artist acquires, moreover, an empathic charge: it is enough to look at the red figures within the yellow ones in Closed in the heart that they acquire emotional charge for the viewer.

Art Curator Mara Cipriano

Rüdiger Carius

The golden course

Rüdiger Carius

Closed in the heart

Rüdiger Carius

Moods

Rüdiger Carius

Water activity

Sabine Windischbauer

Sabine Windischbauer is an incredible artist that presents a really particular and personal style. It is very easy to recognise one of her works, because she is consistent in colours choosing and in the shapes used for her artworks. On Liquid arsenal she presents the artwork titled Revolution. We can see in the foreground a woman's face that seems to gaze at the observer as she wants to say: <<I want to look at you too>>. Sabine wants to invite the visitors of Liquid Arsenal to let their go on this game of glances and in this way enjoy the beauty of the art.

Art Curator Elisabetta Eliotropio

Sabine Windischbauer

Revolution

Saila Kousa According to Kandinskij, art must respond to an inner need, that is, to be intimately necessary. In this sense, in painting, rather than using material forms to physically represent nature, we should consider the form and color as inner energies, psychic energies that transcend the material world and speak to the interiority, that is, to the "spiritual". The deep knowledge of the self, the inner motions and the soul are the most represented subjects in the work of the Finnish artist Saila Kousa. The circular format of her works is free from the dominant structure based on vertical, horizontal and diagonals that so strongly characterizes the quadrangular formats. The circle suggests the idea of the eggshell that preserves life. The feeling of being within the circle can perhaps be interpreted as an impulse towards the centre or as the search for a mysterious unity of life. On the other hand, an active life radiates from the invisible center outwards, toward the circumference. Being outside the circle reminds us of the sun, the indispensable dispenser of life with its rays radiating from the circular shape, and the moon, which illuminates the night reflecting the sun. The reflection on the divine, the sublime and the spiritual are at the center of the artistic research of Saila Kousa who with her works of art suggests us to listen more carefully to the stimuli and signals that nature gives us. "Soul" is the representation of an inner journey. Liquid colors mix together with thoughts to create a unique work. Always different. "Glacier" instead represents climate change. It is a cry of alarm, a proof of the malaise of the planet in which we live. The colors blend just as the glaciers are melting. We just have to act, do our best to counteract this decay. The message is to look inside, to let out the light that is in us: "Protection" speaks about this. The light of hope that dwells in the soul is connected to the divine in a dialogue of strength and protection.

Art Curator Eleonora Varotto

Saila Kousa

Soul

Saila Kousa

Glacier

Saila Kousa

Protection

SAM OSYS By printing a piece of news in large letters, people think it is unquestionably true.

(Jorges Luis Borges) Sam Osys is an artist living working in England and graduated from the Academy of Fine Arts in 2010. Her artistic research is focused on aspects of the human experience. Using the collage technique, she is able to combine paint and clippings of existing material. The colors blend completely on the canvas accompanied by the collage elements that can be glimpsed between the shades. Her paintings are made to be carefully investigated both physically and conceptually.

The main subject of her artworks in fact reflects the feelings we feel in today's society. Nowadays in our age the media reign undisputed and with the amount of news, that annihilates us every day, we no longer know what is true and what is false, feeling more and more trapped, without an exit. Sam manages to convey these moods in an absolutely original way using three shades of different colors, blue, yellow and red. The colors fill the whole canvas and instantly capture our attention. But if we look more at the painting we can see hidden elements that emerge behind the color. In the artwork entitled Unintend Consequences, even if blue is the dominant color the detail of the writing Lovers capture our attention, in fact this artwork focuses on what are the relationships between people. The Yellow takes the whole canvas in Not having anything to say. In the center you can see a trapped face, this is the detail that characterizes the meaning of the work, that is, today's world is so chaotic and difficult and most of the time people get lost and isolated. The third work entitled It's in the detail is always a reflection on the society that surrounds us, increasingly chaotic and difficult to decipher.

Art Curator Miriam Passoni

SAM OSYS

Unintended consequences

SAM OSYS

Not having anything to say

SAM OSYS

It’s in the details

Samar Jashan Satamian Samar Jashan Satamian is a Jordanian Palestinian artist based in Dubai with her Art Studio. Samar is one of the best Jordan and Palestine’s upcoming artists, known for her contemporary portraiture and nudes created on very big canvases. Thanks to her father's love for art and her landscaper mother, she started to paint from a very young age, being able to perfect her technique during the years and to explore different themes and uses of colors. Samar, in fact, progressively discovers her preferred medium in acrylic and oil painting. Her art is focused on the dialogue between the figurative and expressive abstract art, merging the material and the immaterial. On occasion of the international art exhibition “Liquid Arsenal” at M.A.D.S. Art Gallery, Samar presents one very big canvas titled “Top Models”. Protagonists of the painting are three beautiful girls, different between them for their characteristic faces and pose. She shows us her ability to represent every face with variety and richness. The spectators can see the form of models' bodies but the artist decides to paint in detail only their faces and hair, while the rest of the bodies are covered by the same colors of the background. This is abstract with lively and strong brushstrokes and patches of colors. Blue, pink, black, green, purple, red: these are Samar’s color palettes that are vibrant, dynamic and dazzling. In this way, the spectators can focus their attention on the faces’ models, their proud and confident look. The figures are peaceful but, at the same time, austeres and can transmit to the viewer an emotional charge and energy.

"Colour is a power which directly influences the soul."

(Wassily Kandinsky)

Art Curator Federica Acciarino

Samar Jashan Satamian

Top Models

Sambaratcha “Art is not very prone to regulations, excluded from every preconception and every programmed intervention, the artistic epiphany emerges as a magmatic fluid from the inner self of the artist, showing itself to the eyes of the world” Sambaratcha, a Japanese artist, lets himself be guided by his own instinctive ideas and bases his art on the immediacy, the speed of the creative act, the rough touch instead of the precise technique. The artist creates heterogeneous works without following a single type of style. The defined and realistic trait that creates the outlines of Sambaratcha’s subjects is mixed with filaments of vibrant and unrealistic colours that add a liquid and alive component to his works. "Psychedelic Head" depicts a woman smiling mischievously looking at something that the viewer cannot see. The dynamic element of the work is given precisely by the thoughts of the woman, bright and colourful thoughts that light up in her head and that the viewer can only try to guess. In the case of "Elephant" the dynamism used by the artist is different: in this case the subject is represented in motion and the coloured filament strokes cover the entire surface of the animal’s body that seems to be pervaded by a dancing energy. The third work of Sambaratcha is a fascinating and mysterious landscape, the viewer is faced with the slopes of a majestic mountain and pervaded by the fog of dawn. From this fog emerges the silhouette of a giraffe, an element that gives a wild and at the same time peaceful note to the work. Through the combination of hand-drawn textures with the mechanical flatness of digital tools Sambaratcha creates immediate and vivid images using the power of colours.

“I do not take time. I cherish the ideas and sensations that come to me at a moment's notice and try to create before the freshness escapes. I don't mind if the rough touch or the shape is not exactly right. I try to value the sensation of the moment.” (Sambaratcha)

Art Curator Sara Giannini

Sambaratcha

Psychedelic Head

Sambaratcha

Elephant

Sambaratcha

Mountain

Sandra Döring What is now proved was once only imagined. (William Blake) Sometimes to seek beauty we direct our gaze far beyond the everyday. We are looking for something literally extra-ordinary, like a treasure that few can contemplate. However, not everyone aspires to this.

Someone has the ability - even rarer - to recognize beauty everywhere, to look at it with different eyes every time. This is one of the traits that distinguishes the artist, and it is certainly part of the inspiration of Sandra Döring, who shares her vision of the world through the eloquent language of art. The artist found her ideal dimension in acrylic painting as a self-taught, expressing herself fully thanks to the versatility of abstractionism. Honey stone - the work presented on the occasion of Liquid Arsenal - is a perfect example of the philosophy that drives Sandra's creativity. The composition is structured on a geometric system, which divides the canvas into four sections. The sharpness of their contours makes them almost seem like four "moments" in their own right, each alien to the other. But upon careful observation, one begins to notice that the sharpness of the lines is but the starting point for a multitude of mesmerizing shades of gray, which combine admirably with a sumptuous shade of orange. This bright chromatic contrast leads the observer to direct attention to the right part of the work, following the artist's intention to decentralize the focal point of the composition. With this choice, Sandra Döring demonstrates that she has succeeded in visually rendering the tendency to be surprised by unpredictable elements, to give dynamism to what seems to be immobile, and to indicate to the viewer the right way to contemplate reality with the amazement of the artist.

All colors are the friends of their neighbors and the lovers of their opposites. (Marc Chagall)

Art Curator Chiara Rizzatti

Sandra Döring

Honey stone

Sandra Molines

Even as a little girl, Sandra Molines appreciates art in all its forms, since it has the ability to make her relax and make her feel realized. For this reason, although she is a nurse by profession, she has never abandoned her artistic passion, but on the contrary has continued to nourish it, creating works of the most varied themes and styles. This French artist is always looking for new subjects and new ways to create artworks, but among her favorite themes there is certainly the pure female figure.

Sandra Molines loves to represent the female body without hiding the voluptuous forms, as we can see in “Attirance” and “L'impudique”. Already the titles of the works, “Attraction” and “The immodest” in English, focus on the power of seduction that is intrinsic in the body of women, power that is accentuated in these works by the sensual poses with which the artist represents them. These are certainly contemporary poses; they are far, in fact, from the shy attitudes with which Nymphs and mythical goddesses were represented in the past. The women of Sandra Molines do not care about the judgments of others, they are completely free to be themselves. The palette of colors used to represent these bodies is characterized by bright, cheerful, happy tones. They strike the viewer with their energy and seem to emanate a force of their own. A similar force is emanated from the work "Bouddha". Also, in this case, the bright chromatism present plays an important role; the contrast between the yellow-gold and the blue of the face is an always winning combination in the history of art. These two colors, close to the light and therefore to the divine nature, lend themselves perfectly to represent this theme and thus show the wellstudied reasoning of the artist. Buddha is certainly an unusual subject in Western culture and it is precisely for this reason that Sandra Molines' work stands out most. The viewers in general, and the art lovers in particular, are always looking for something new, something not yet seen, and certainly this work catches their attention. Sandra Molines therefore proves to be an artist who thinks outside the box and her works, never canonical, remain stuck in the mind of those who look at them.

Art Curator Francesca Catarinicchia

Sandra Molines

Attirance

Sandra Molines

Bouddha

Sandra Molines

L'impudique

Sato Hiroshi "In each person there is a sun. Just let it shine." (Socrates)

In Hiroshi's photographic works we see the human figure at the center in relation there is the human figure that becomes the subject and object of the relationship with the work. The protagonists watch, scrutinize, seek the complicity of the viewer. Through a gap created to be filled with emotion, a feeling of expressive curiosity that engages in an almost childlike way. A game of glances, a child's cuckoo that brings everything back to the natural order of things. Light and life. The subjects of Hiroshi's photographs with their innocence and poetry perform heroic deeds that make the world go round. In How she sets the sun the camera witnesses magic. With a gesture as delicate as it is spectacular, the sun is placed in the right place and everything begins, and everything ends.

Sato Hiroshi

For Greek mythology, at the end of each night Eos arrives from the east in a chariot drawn by two horses.

Homer describes her as being intent on opening the gates of paradise for the sun to rise and wearing a saffron robe and golden arms. Among her divine lovers was Orion; from this union four children were born, one of whom died. Since that day, every morning Eos inconsolably mourns her own son, and her tears form the dew. Perhaps in these works of art we are confronted with an Eos who manifests herself in the mortal world to put everything back in line and remind us how much we are and where we are going.

Perhaps instead the artist's eye can recognize the essential and the essentiality of gesture. Refinement and delicacy meet the philosophical thought that the sun is within us.

Art Curator Erika Gravante

Sato Hiroshi

Lock eyes with

Sato Hiroshi

Sundown

Se_6 A dark spot catches our attention. It is opaque and extremely dense. Its shape is unknown, resembling nothing that exists in this world. Its contours are faint, its boundaries indefinite. An ethereal halo, bordering on transparent, unfolds from its edges. The blue tints the paper indelibly. The pigment expands, stains the white sheet, leaving a glimpse of its fibers.

What is this stain? Why is our attention equivocally captured by it? Like a magnet, the dark stain obscures vision: all around is a clear, bright, evanescent space. Yet, once our vision has adjusted, we can make out organic, almost transparent shapes. They look like amoebas lulled gently by the current, like single-celled organisms vibrating in the dense fluid of the water. The silhouettes are transparent, we can glimpse the texture of the white paper emerging from the pigment stains. Their shapes are soft, probably reminiscent of the natural world. Once the view is accustomed then, there is a whole world to discover. Looking more closely, below the bluish amoebae we unearth purple spots even more faint than the unicellular beings above them. They are scattered throughout the composition and yet we did not notice them right away. It took a few moments, just enough time to focus on the composition without being drawn in by the bluish spot. What's next? What more is there? Let's look closely: we can make out nearly invisible spots that dot the entire representation. They are large, jagged-edged, and scattered entirely throughout the composition. Invisible at first glance they are there, within the work. They always have been. Se_6's art is delicate and ethereal. It is not art to be enjoyed at first glance. One does not need quickness to observe "Liquid Money...." One must savor the work, observe it in every minute detail by moving one's gaze back and forth from the composition. Only then will one be able to observe the delicate wonder of Se_6's work, only then will one be able to enter a new dimension, inhabited by microscopic and invisible beings.

Art Curator Lisa Galletti

Se_6

Solid Liquid...?

Selena Xiao “The object isn’t to make art, it’s to be in that wonderful state which makes art inevitable.”

(Robert Henri)

The waves crash on the rocks, the sun sets, and a flock of swallows fly into the infinite sky. Listen to the voice of the ocean, it suggests something to you; watch its colors change in the light, their beauty will amaze you. Selena Xiao is a contemporary Chinese artist who paints to tell with a brush - and not with words - her personal and unique vision of the world. “ocean · spread” was made in 2022 with ink and mixed media technique. Broad brushstrokes of different shades of blue follow each other creating a pleasant play of contrasts with the white background. The protagonist of the work is, as the title itself says, the ocean: infinite, deep and powerful, it leaves us breathless every time we find it in front of our eyes. The ocean is impetuous when the storm arrives to shake its waters, but it is at peace and in perfect harmony with the nature that surrounds it when the sun's rays warm it and a light wind caress it. Observe Selena's work, sail among her blue waves and reach faraway destinations. Art allows you to dream big, feel invincible and experience special emotions. Robert Henri stated that the goal is not to make art, but to be in that wonderful state that makes art inevitable. Selena is the perfect demonstration of this: for her, art means life, it is the essence of every day.

Art Curator Camilla Gilardi

Selena Xiao

ocean · spread

Setsuko Onishi “One eye sees, the other feels.” (Paul Klee)

Our eyes enter into an outer spatial dimension while staring at Setsuko Onishi’s paintings. They are beautiful and delicate snapshots of both natural and artificial elements, and human figures that seem to come from an almost angelic world. With almost imperceptible minimalism, Setsuko captures moments through her paintings, where a small, seemingly meaningless detail may be the starting point from which a web of different and untold stories begin. “I paint as if I were swimming in a river between reality and fantasy”, Setsuko says, and it is this sense of fluidity and harmony that her works convey to the viewers.

Her subjects lose all material forms, marked by unusual delicacy and refinement as an ethereal matter where the light filters softly and touches the viewers’ soul. “Listen to the voice”, “reception” and “one’s inmost self” are the representations of three ethereal creatures with ethereal beauty. Here, the subjects recall a childish figure: it is as if Setsuko were painting the child soul that is in each of us, with its thoughts, emotions and fears. “Listen to the voice” and “reception” are similar in colours and composition: a close-up of a child’s face with eyes closed, in white and light pink colours, almost mingles with the light background. What differs is the position of the head of the two figures which perfectly reflects the paintings’ titles. Whereas in “Listen to the voice” the head of the subject is straight as if it is listening to something in meditation; in “reception”, the head is facing up in a solemn expression as if it is receiving something. Different is “one’s inmost self” where, surrounded by a cold blue, the subject is in the fetal position, recalling a baby inside the amniotic water of the mother’s belly. The human figure has closed eyes, its hands touch its feet and its expression is focused on inward reflections. In all three paintings, Setsuko brilliantly uses cold colours to suggest different shades of calmness and contemplation, sadness and melancholy at the same time. She invites the viewers to follow an introspective path, a spiritual and thought renewal of themselves. “The moment in which we are living now will eventually be swallowed up by the whirlpool of the great flow of time, and one day it will come back to life as a beautiful illusion”, says Setsuko.

Art Curator Martina Lattuca

Setsuko Onishi

Listen to the voice

Setsuko Onishi

reception

Setsuko Onishi

one's inmost self

Shoko

Experimentation as the driving force behind the whole. Getting involved with forms, lines, colors and all the foundational elements of our visual perception is the prerogative and foundational part of Shoko's creation process. In her works there is all the expressiveness of color, the freshness of the sign and the heterogeneity of forms. Round brushstrokes, swipes of color, pigment stamps and stretches combine to create highly expressive works that ground their sense of being in the contrast between color and form. Take "Green and Pink." The expressive capacity is enormous. A greenish mass rests against a pale pink backdrop. The stain is heterogeneous, its features reminiscent of a multifaceted crystal. Straw yellow, an earthy guttural orange, and an extremely intense bottle green combine to create an extremely solid and compact stain of color. Our minds begin to wander for an explanation, something to juxtapose with this work. We are reminded of tree canopies swirling in the dawn of a cool summer day, and yet, that side of the color composition so straight reminds us of something sharp and sharp as if Green and Pink is showing us the side of an icy Iceberg. Shoko's is a painting that does not give unambiguous certainties. On the contrary.

Shoko

With the expressive power of color and sign it allows our mind to create continuous parallels between works and the world around us without ever finding a satisfactory answer. And that is precisely the beauty of it. It is an art that inspires doubt, questioning, questioning of oneself and toward one's surroundings. "Garden" is a blatant example of this observation. A warm orange stain introduces us to the work. It is ethereal, seeming almost transparent. Above and below it, a myriad of marks, scratches, lines, and blotches that are one on top of the other. We greet the color green again. Bottle green, meadow green, pea green. The heterogeneity of hues is shifting. We then discover, among dry and dark marks, pinkish spots, dots of reddish pigment here and there within the composition. The feeling is that of savoring a moment of respite sitting within a lush garden in late spring. Yet, something doesn't add up; the whole composition is extremely complex to have such a simple meaning. Our mind does not rest. Then the intuition. What if "Garden" represents a garden mirrored in a small pond? The faint spots, the alternating shadows and lights inspire this interpretation. In reality, we will never know the truth. Only Shoko knows about it, and that's okay. The important thing is to keep relentlessly asking questions.

Art Curator Lisa Galletti

Shoko

Green and Pink

Shoko

High

Shoko

Garden

Shoko

Everyday Life

Siegmund Angyal "For an artist, painting nature does not mean painting the subject, but concretizing sensations." (Paul Cézanne) From Monet's Impressionist current to modern and contemporary art, among the four elements, the liquid one is certainly one of the most fruitful from the point of view of artistic inspiration, both for its characteristics of transparency and fluidity, and for the strong symbolic meaning that it has always been attributed to it in philosophy and mythology. We think of the importance that the ancients attributed to it, to the depictions of Egyptian art in which water is personified in the divinity of the Nile, or to the classical art in which the goddess Venus is born directly from the foam of the ocean, up to the baptismal sacredness that Giotto represents in his paintings in which water plays a fundamental role. They are all elements of strong symbolic representation which are connected to an unearthly and untouchable sphere.

In impressionist painting, water is often present and permeates a large part of the painting thanks to its ability to create suggestive plays of light. The liquid element represents a real iridescent protagonist within the works of art, as it has the possibility and the ability to become what the artist wants, to occupy all the spaces and get anywhere especially in the heart of the viewer. This incredible ability to shape water is an evident talent in the works of the artist Siegmund Angyal, who not only uses water as an expression of a state of mind, but modifies it to give us who admire a new and free from geometric shapes. Water is a free and strong companion capable of being everything.

Art Curator Letizia Perrieri

Siegmund Angyal

Flood

Siegmund Angyal

For Ligeti

Siegmund Angyal

UNTITLED 54/4

Sierra Barnes Inspired by daily life, experience with a brain tumor and her desire to help others, Sierra Barnes’ paintings are layered in color and emotion. Sierra began to paint while she was sick and from there, she focused on her recovery and improving her art practice: as she explains, “Everything that I experience is a way for me to grow and learn in some way.” At “Liquid Arsenal” exhibition hosted by M.A.D.S. Art Gallery, Sierra presents “Embracing The Blue”, an acrylic mixed with rose quartz on canvas. In the work, three abstract figures with marked black outlines that enclose blue and blue brushstrokes are silhouetted against an orange background with marked brown stripes interspersed with quartz. Sierra’s artistic style is abstract, intuitive, and figurative: when she paints, she tries not to plan but rather create through feeling, painting when she feels called or inspired to work on a piece: the main things that inspire her art are her daily life, things she has experienced, and things she observes in the world. With acrylic paint, watercolors, pastels and paint markers at her disposal, Sierra releases her emotions, loving also to experiment with different substances - recently has started adding crystal powders such as rose quartz, amethyst, and citrine to her paintings.

Moreover, she also expresses herself through the art of writing: she writes poems corresponding to each of her pieces, and her original paintings come with these poems handwritten on the back. The one for “Embracing The Blue” is “Digging deep/ Going within/ Embracing the shades of blue/ The things that hurt/ They all make up me/ Making me a masterpiece/ Making me stronger/ As I try / And find my way.” Sierra's is therefore a complex type of art, which is not limited only to painting but also extends to writing and poetry.

Art Curator Matilde Della Pina

Sierra Barnes

Embracing The Blue

Sige Nagels "Freedom lies in being bold." (Robert Frost)

Influenced by the Bauhaus aesthetics, the artistic research by Sige Nagels, a contemporary artist of Belgian origin, shows itself as an intricate geometric imagery, where figuration surrenders to pure abstract form. The rational and functional stylistic essentiality typical of the Bauhaus school, however, take on a different meaning in the work of Sige Nagels, whose main objective is to achieve freedom. For the artist, the geometric scheme, contrary to what it may seem, is in no way synonymous with limitation or constraint; on the contrary, it becomes the creative stimulus par excellence. The use of bright colours and the possibility of breaking through the wall of reality allows her to create something new and to feel free. In the three works ("Freedom for U", "R2C", "Resonance"), exhibited in the LIQUID ARSENAL exhibition at M.A.D.S. Art Gallery, we immediately notice how the artist is deeply connected with the works she creates and how they are filled with playfulness and joy. In "R2C", blues, azures, yellows and oranges are painted in large horizontal and transverse stripes, telling an abstract landscape full of emotion. We catch a glimpse of a sailboat plying the sea with a large blue eye looking out into the distance. Blue is the colour of calm, of infinity, of peace and harmony. With this work, Sige Nagels wants to tell us about the importance of building a community of people who share our expressiveness, who are akin to us, so that we can feel free to fully express our personality. Open to the fluid world of digital contemporaneity, she invites the viewer to open up to new experiences and to rely on the inner compass to encounter beauty even beyond the physical world.

Art Curator Francesca Brunello

Sige Nagels

Freedom for U

Sige Nagels

R2C

Sige Nagels

Resonance

Silvia Patamia

The palette used by Silvia Patamia presents bright and vivid colours as if each colour has a particular meaning and message to send to the observer. In the three pieces presented in Liquid arsenal we can see different styles and intentions. She uses elements more decorative and ornamental in some occasions and in other ones she wants to be more representative in the composition. Her art is composed of different elements and details, the viewers lose their gaze through these games of shapes and elements. Starting from Dreaming Australia part II we can see marine elements that remind us of the idea of playful places that let you go as if you were a child. The second work titled In the ocean uses these kinds of elements in a lamp cover. This design object seems to create a playful interaction with the viewer. As if the artist wants to communicate the idea of art seen like a game. The third work is really different in fact the visions become more representative. However the constant element in the composition is this fantasy atmosphere. As the artist says about this fantasy word:<<Her paintings seem to radiate hope and light, but behind them lies a deeper meaning. A melancholy tangled in a loop of dreams, a metamorphosis of butterflies, dragons and creatures, a desire for redemption. Silvia’s world loses itself in infinite details, in the search for decoration that brings out her passion for medieval art and illuminated manuscripts.>>This means that there's a deepest meaning under the fantasy surface of the compositions made by the artist. Something that belong the artist and revel to us something deep about her.

Art Curator Elisabetta Eliotropio

Silvia Patamia

Dreaming Australia part II

Silvia Patamia

In the ocean

Silvia Patamia

Suspended between heaven and earth

Sireen Khalifeh “The world is but a canvas to our imagination.” (Henry David Thoreau)

It is the world around her that emerging Palestinian artist Sireen Khalifeh draws inspiration from to create her paintings. The Palestinian struggle plays an important role in her art, through which Sireen creates and reimagines narratives from the Palestinian culture and its heritage. At the same time, her works move beyond Palestine and picture simple reflective moments of life which everyone can relate to, with imagined worlds and scenes that she draws from reality. Sireen’s painting practice is intuitive-driven, led by a free instinct which reflects a sense of freedom and spontaneity in her paintings. Her artistic choices recall early primitive art, textile design and abstract expressionism, and are oriented towards vivid and altered colours and exaggerated renderings of light. Her paintings are, in fact, neither gloomy nor dark, but brilliant snapshots of a figurative scene or a marriage of colours and abstract shapes; “Orange grove in Palestine”, “Ladies in prayer” and “Abstract pink” are three examples. “This is a painting from my mother’s memories of her life in Palestine before the diaspora”, Sireen tells about “Orange grove in Palestine”. The painting echoes tranquillity and cheerfulness: beautiful oranges and white flowers hang on trees, with bright green leaves that iterate vitality and joy while, at the same time, conveying nostalgia for the past, as “orange trees symbolise longing for homeland”. On the same wavelength, the atmosphere in “Ladies in prayer” is calm and magical, almost idyllic. Here, four women with long, red hair and no facial details are praying. What is surprising is that they are praying with their feet in the water, while white flowers sprout from the green ground. Different is “Abstract pink”, where Sireen moves away from the figurative and prefers to communicate simply with colours. On a pink and orange background, pinky thick lines freely move by following their own path. “This painting is about flow”, Sireen explains, “making connections in life, making decisions at crossroads”. Hers is an imaginary world imbued with reality, where history, heritage, prayers and colours take the scene by creating something unique and original. With her works, Sireen lets us see that the world is just better with a touch of imagination.

Art Curator Martina Lattuca

Sireen Khalifeh

Orange grove in Palestine

Sireen Khalifeh

Ladies in prayer

Sireen Khalifeh

Abstract pink

Solveig E. Larsen "Don't be an art critic, but paint, therein lies true salvation."

(Paul Cézanne)

Alain de Botton says that art can not be reduced to a vehicle of pure abstraction, because it is also medicine. That art can offer a privileged observatory from which to study the travails of the human condition is a valid consideration especially for works that are sublime in the romantic sense, depicting stars and oceans, majestic cliffs and great mountain ranges. These are works that make us aware of our irrelevance by arousing in us a pleasurable terror. One of our main flaws, as well as a source of unhappiness, is precisely the difficulty in realizing what we have around us. We suffer because we lose sight of the value of what is in front of us, vague, often wrongly, attractions that we imagine exist elsewhere. Art is a therapeutic process through which an individual explores his emotions, reconciles with his emotional conflicts, forms his awareness. Thinking about the biographies of the great masters of art such as Vincent Van Gogh, Yayoi Kusama, Antonio Ligabue, common denominator is the totalization of art in their life, which somehow becomes unique life perhaps. That creative possession with which these masters are afflicted coincides perfectly with Schopenhauer, "he who makes a ray of light penetrate the darkness of existence." Solveig E. Larsen with her works wants to dedicate a moment of light into the existence of others. A medicine, if not for herself, for those who observe her works of art.

Art Curator Federica D'Avanzo

Solveig E. Larsen

Longing and hope

Solveig E. Larsen

Chemical reaction

Solveig E. Larsen

Peace and freedom

Soul Hwangso “Treat a work of art like a prince. Let it speak to you first."

(Arthur Schopenhauer)

When one is moved by an ancestral passion that meets a primal need, that is when everything becomes art. Inspiration comes from all things, this kind of approach to artistic expression opens a door to the soul, allows one to come into direct contact with the artist's spirit and at some point with one's own. The sincere and honest translation of one's fascination conquers the human being's own instinct to surrender to emotionality. The pleasure that must have no reason to be other than the very presence, at a given moment, of a given wonder. "Spring Pink Soul" takes its cue from a drawer in the artist's memory, a Korean legend that who knows how, who knows when she was told and ended up right there, at a given moment, in the presence of a given wonder, flowers. Legend has it that a king fell in love with a girl who, once tragically killed, became for him an object to be hated, so much so that he forbade the cultivation of the flower after which she was named. Another girl in the kingdom disobeys and grows a plant of it. Once discovered, she justifies herself by declaring that the flower would be red and therefore, not against the law. Waiting therefore for the judgment and flowering, the girl with her own blood colored the blossoms.

She bleeds to death and the blossoms are born red. Of this legend the thinker absorbs the fact that these flowers can represent and reassure two women, so she decides to put this sentiment on canvas. This is the passionate artistic process where beauty happens for no apparent reason but encapsulates the history of the world.

Art Curator Federica D'Avanzo

Soul Hwangso

spring pink soul

Soul Hwangso

summerforest

Soul Hwangso

passion

Stefan Woerz Nature is an integral part of the world we live in. It is alive and surrounds us. Yet to our eyes it seems almost invisible and imperceptible. Stefan Woerz attempts to recount an unknown world with his photography, taking the observer inside a microworld. Through bright, luminous colours, the artist leads us into a mystical tale, in which every detail, invisible and incomprehensible to our eyes, is brought to light. Woerz's photographs become, in this sense, a world told and explained to the unaware, to those who unconsciously cannot see and cannot understand. The intention is to get close to enclose a glimpse of living nature, almost leading to an invitation to detach ourselves from our hectic and unconscious lives, to embrace the nature that surrounds us. The artist delves into his feelings, displaying a violent personality, lucid and brilliant, which pushes its limits on a freeway but always tries to retain contact with the human being and nature. Thus, each one of his works seems to show a microorganism in which each vital being unravelled within the photograph, coming to life from the shades of the colours. One is captured by the intensity of the scene he has depicted, remaining focused on the vivid and intense colours, leading the viewer to wonder what is really there, to try to see what lies behind and what is hidden: it is a search for the new and for a transcendent world that grows and changes.The two images clearly show the cycle of life to which we are subjected, creating a fascinating aura around them. It is a search for a lost connection with nature: the leaves are a living part of a natural world, growing and falling, referring to a constantly changing state of life. Almost as if brought to light by a microscope, the details, laminations, and colours become visible, thus entering a world that seems almost non-existent. At the same time, the video is a homage to fragility. The jellyfish shines in the infinity of its surroundings with its elegance and adaptability. The jellyfish's involuntary movement as it is carried along by the sea current is emphasised by the crisp, bright colours, giving a surreal and compelling perception of the surrounding space: almost as if the jellyfish is not in the sea but is just dancing, the observer is transported into an infinite imaginary universe. The final result is consequently stylistically homogeneous, a shot that traps a delightful and enchanting view of the world and a sensitivity to life and what is part of it. A passionate way of presenting what he has absorbed in his existence and a linear vision of the phenomena of reality that man sometimes observes without discovering and understanding its details.

Art Curator Alba Morosini

Stefan Woerz

La Medusa

Stefan Woerz

CRYO

Stefan Woerz

Alpha & Omega

Stefanie Aren “One eye sees, the other feels.” (Paul Klee)

Stefanie Aren is a contemporary Mexican artist whose artistic research focuses on the profound need to tell and express feelings and emotions, which take shape on her canvases through an intense use of colour. In fact, her works often depict faces and bodies narrated through a dynamic figurative language, where the subject is composed of a myriad of strong hues. The representation far removed from realism and much closer to cubism and expressionism, is in some ways reminiscent of the research undertaken by Wilfredo Lam, whose painting is the result of a synthesis between primitive graffiti and the magic of Latin American sculptures, with echoes of cubism. The automatic freedom of the sign that characterized his work also becomes fundamental for Stefanie Aren, who uses the medium of painting to let her emotions and beauty flow through her, telling her story with energy and vivacity, also drawing on Expressionist teachings. In her three works ('BOCA'; 'GEO'; 'NOSOTROS'), exhibited at M.A.D.S. Art Gallery during the LIQUID ARSENAL exhibition, we notice how strongly all these elements emerge. The eyes of her faces are always open to a world of beauty to be fully experienced and the fleshy mouths ready to communicate fascinating stories. The long colored eyelashes and long thin noses are reminiscent of tribal masks, used in rituals and ceremonies to dialogue with the afterlife.

Those who wear the mask, especially in the African tradition, abandon their human essence and transform into a spirit. Stefanie Aren's works contain a combination of elements, leading the observer into a world where geometry merges with colour, to tell a new vibrant and intense world, where the real is abstracted to awaken the ancestral.

Art Curator Francesca Brunello

Stefanie Aren

BOCA

Stefanie Aren

GEO

Stefanie Aren

NOSOTROS

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

Stelios Stylianidis is one of those artists who are inspired by everything that surrounds them: there is no single thing that does not provoke him some thoughts or some actions in painting and photography. His studies in France, his travels to the Canaries and Greece, all the places he has visited, the traces that they left in his memories, their smell and their people fulfil Stelios’ creative appetite to always create something new with his paints and camera. Whereas he captures perfectly recognisable moments of real life with his photos, the depiction of the visual experience in a direct and realistic way fails in his paintings. Exponent of abstract expressionism Arshile Gorky explains that "abstract art allows man to see with his mind what he cannot physically see with his eyes”, and Stelios seems to follow this path. By combining colours, lines and shapes in an almost kaleidoscopic manner, the artist creates abstract sceneries that want to express messages and transmit emotions. “Traveling dimensions”, “Cyclades” and “Waves” are three different and yet similar paintings, all of three having their own identity and their own place. “Traveling dimensions” is an explosion of bright green, violet, blue and orange brushstrokes overlapping each other like magnetic waves with white round lines upon them. The composition perfectly reflects what the title suggests: travelling in time and space, where different dimensions cross over each other. Differently, both “Cyclades” and “Waves” present almost a monochromatic colour palette of blues and greens, and address the same theme: the sea. With “Cyclades”, Stelios remembers the Greek island group in the Aegean Sea, arranged around Delos, the birthplace of the god Apollo and the goddess Artemis. Round lines navigate the sea by giving the impression of being the same small islands that give the name to the painting. Similarly, with “Waves”, the artist wants to express his love for waves, remembering how powerful and smooth they are at the same time, either hitting the rocks or caressing the beach, creating sinuous shapes embellished by different colours. Time is what is needed to capture every colour, every shape and every movement of Stelios' paintings. Through them, the artist invites the viewers to travel into his world and memories, with the hope that they feel and experience his same feelings and emotions.

Art Curator Martina Lattuca

Stelios Stylianidis

Traveling dimensions

Stelios Stylianidis

Cyclades

Stelios Stylianidis

Waves

StellarFire

Bill Rogers (alias StellarFire) creates his works using Californian sunlight where he lives: refracting the light with crystal filters and capturing the colors with a high resolution digital camera, through computer tools he then shapes those colors into unique art images “The sun is my muse, the rainbow my palette. My art is a celebration of light and color” he says. At “Liquid Arsenal” exhibition hosted by M.A.D.S. Art Gallery, StellarFire presents “Crystal Falls”. On a starry sky that hosts a large source of heat on the left, in the center develops a trail of different colors that blend and overlap each other: making a curve from the right side of the work to the center, this torrent of colors guarantee the image a great sense of movement and depth, thanks also to the combination of lighter and darker colors that generate a strong three-dimensionality, power and energy. With this work, StellarFire explores the relationships between color and form through an abstract image that allows his imagination to run free. “I go where the colors take me” is StellarFire's mantra, and he draws inspiration from fireworks displays, laser light shows and astrophotography. If the great impressionist Claude Monet said the true subject of his art is the light, for StellarFire it's the colors.

Art Curator Matilde Della Pina

StellarFire

Crystal Falls

Stephen Linhart "Art is not what you see, but what you make others see." (Edgar Degas)

A dense flow of thin lines distinguishes the works by Stephen Linhart, an American contemporary artist, whose artistic research develops around the digital image in its most modern sense. Through the interpolation of several images and digital processing using algorithms, he scrupulously analyses reality, revealing previously unknown points of view. His images take on a fluid flavour, completely losing their connection to the original reality and becoming true abstractions. The material of which they are composed seems to dissolve at the sight, inviting the observer to question what he sees. In the five works ("Deep Ocean Vent", "Deep Sea Life", "Spheres", "Under the Ice", "Undersea") displayed in the LIQUID ARSENAL exhibition at M.A.D.S. Art Gallery, macro photographs become the basis on which Stephen Linhart builds his interpretation of the world. For the artist, the analysis of detail and the decomposition of matter are the place of investigation par excellence. He does not narrate the image as we are used to conceiving it, but insinuates himself into its limbs until he discovers its underlying structure. He brings to light what the eye cannot see, manifesting the numerical flows that make it up: the lines, the colours, the details are nothing but the fruit of mathematical processing. And so it is that his works are rich in textures and details to be discovered, flowing across the surface. The beauty of his pieces lies in enlarging them more and more, until we lose ourselves in a meticulous reading of his particles.

Art Curator Francesca Brunello

Stephen Linhart

Deep Ocean Vent

Stephen Linhart

Deep Sea Life

Stephen Linhart

Spheres

Stephen Linhart

Under the Ice

Stephen Linhart

Undersea

Su Moon “Painting is silent poetry, and poetry is painting that speaks.”

(Plutarch)

Today, when everything is increasingly within everyone's reach with the consequent easy risk of getting lost and losing interest, does it make sense to ask what is happening to poetry? "It is not credible that mass culture, due to its ephemeral and dilapidated nature, does not produce, by necessary backlash, a culture that is also a curb and a reflection", was Eugenio Montale's answer back in 1975, but like all his work, it was nothing short of prophetic. Faced with the countless amount of written words by which we are constantly bombarded, we need something to act as a bank. Poetry, then, is still possible precisely because as our world is fast-paced and our lives can only try to keep up. poetry forces us to stop, to confront something that requires greater effort and concentration to grasp its meaning and beauty. It to remind us that something else exists, to pull us out of the everyday and put us in touch with our soul.

Sometimes a few words whose meaning we may not even understand are enough to evoke unknown worlds, to make some dusty chord vibrate. A work of art such as Su Moon's gifts us of a moment of reflection elsewhere, where not everything is created to be assimilated at the first stroke but exists because we exist and therefore requires dedicated time and concentration. Like the lines of a sonnet, the artist's visual poetry is easily remembered and gracefully appreciated.

Art Curator Federica D'Avanzo

Su Moon

Letting Go

Su Moon

Somewhere In Time

Su Moon

Dagger Lady

Sung Geun Lee At “Liquid Arsenal” exhibition hosted by M.A.D.S. Art Gallery, the Korean artist Sung Geun Lee exhibits three of his works. “A Lover in a Dream” portrays a boy in the foreground whose only element rendered in a realistic way are the eyes: everything else is hinted at with marked outlines that leave us little idea of ​his personality. The boy holds his arms to his chest, as if he wants to hug, conveying a sense of closure and introspection. The background on which it is placed is indefinite: blue spots alternate with a white background, on which there are some writings such as "Pepsi Cola". Through this work, the artist wants to convey his belief that there is no fundamental difference between the image in reality and the image in the work. He sees the commonalities between the past of the real world and the world of the animation. By using the viewpoint of the anime protagonist that he enjoyed in his childhood as a filter, the light of the present world that sees the world and flows into the past with animation colors draw by projecting it into the present. The protagonist of the anime in the past was the woman of his dreams. In “Temptation”, the second artwork exhibited, a woman looks straight at us, determined and a little sensual.

Around her, on an indefinite background of white and blue colors, writings, drawings and graphic signs emerge once again, giving the whole a great movement and depth. The woman seems to tempt us but as Sung Geun Lee says, temptation is sweet, but is also painful. It is not easy to refuse that earnestness amidst the temptations of everyday life. Among the many temptations, the one for beauty is more than any other one: it is a temptation not to be missed. Lastly, "Thinking about the sea" wants to be, as the title suggests, a tribute to the sea: a woman's profile on the right makes space between a series of images such as a seagull, the sign of the pedestrian crossing, fish and other elements that recall the marine theme. Not surprisingly, the artist lives just five minutes from the sea and being able to see it everyday with a little effort for him it’s luck and happiness, because all everyday things are precious. The woman in the picture, like Sung Geun Lee says, also misses the sea: she is someone who he misses everyday and maybe who can find her looking in the sea…

Art Curator Matilde Della Pina

Sung Geun Lee

A Lover in a Dream

Sung Geun Lee

Temptation

Sung Geun Lee

Thinking about the sea

Tadashi Nishida

Tadashi Nishida is a Japanese professional artist. Reworking images taken with his phone, he creates his artworks by adjusting color tone, lightness, darkness, etc. from what is already there, confronting the phenomena born from the dirt and scratches created by nature. When Tadashi increases the brightness and saturation and distort the shape a little, an impression is born: he considers the work complete when it is in perfect harmony with his sensibilities. At “Liquid Arsenal” exhibition hosted by M.A.D.S. Art Gallery, Tadashi presents two artworks.

In "Liquefying phenomenon" a rectangular structure with pink tones that recalls a large rock is placed on the right of the image; below, bordered by a continuous strip of land, its reflection appears on the water of a lake, generating more intense colors and more suffused and delicate shapes. By having a dialogue with this picture, Tadashi says that he has imagined a myth: the Solid God as Guardian and the Gas Goddess lying in front of him. A fountain fills their world. And this mysterious expression of the sky appeared to him as a liquefying phenomenon created by the two deities.

Tadashi Nishida

“Water” instead consists of an overlapping and overlapping of shapes, colors and graphic signs whose result is so material that they almost seem to emerge from the surface, generating a strong sense of depth and three-dimensionality. As the title suggests, Tadashi depicts in this work a mirror of water on which water lilies or herbs seem to lie and which, perhaps moved by wind or rain, generates waves that give life to fascinating, albeit different, results. The different spaces that appear are two separate worlds, one on the left and one on the right, but they merge into one at the center. The world on the right is a river that progresses from a torrent to a gentle current, while the left is the sea. When I see the expression of the liquid that breaks through these two separate spaces almost at the center, and passes to the left and right, we can feel the unity of the fluid created by the water. As for every work of Tadashi, this one is the embodiment of the world created by the subconscious mind too, through which the viewer can expand his or her own image.

Art Curator Matilde Della Pina

Tadashi Nishida

Liquefaction

Tadashi Nishida

Water

Takahashi Kento “Fantasy is hardly an escape from reality. It’s a way of understanding it.” (Lloyd Alexander) Geometric shapes, balanced color combinations, studied and sometimes instinctive brushstrokes.

Contrasting sensations, strong emotions and imagination come together to give life to abstract paintings that represent the world in a personal way. During the creative process, the Japanese contemporary artist Takahashi Kento sets off on a magical journey in which reality and fantasy, past and present, light and shadow meet. In “to shine in the wind” (2022, rock paints and Japanese paper) the two main colors are green, a symbol of hope and nature, and pink, which is linked to feelings of calm and innocence. The wind is a vortex that overwhelms us and forcibly leads us to places where we do not want to be, but it is also the one who chases away the clouds to make room for the sun. The secret is to have the courage to always shine, both in the quiet and in the storm. In "map" (2021, rock paints and Japanese paper) the artist does not paint a classic geographical map as one might deduce from the title but represents in an alternative way every facet of his original personality. "1 day" (2021, rock paints and Japanese paper) is the story of a memory that he wanted to imprint on paper so that it may never die. The green arrow has come a long way, but it has reached its destination. What happens at the arrival point? Use your imagination, you can imagine it. Takahashi Kento invites us to immerse ourselves completely in his works by learning about the artist, his art, but also to dig within us to discover the deeper sides of our soul.

Art Curator Camilla Gilardi

Takahashi Kento

1 day

Takahashi Kento

map

Takahashi Kento

to shine in the wind

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

(Marc Chagall) It all begins with emotion - in this case, Tathina's art. The artist based in Japan and India, during the creative process follows the flow of her feelings and her instincts. No fixed pattern, but only a brush that exclusively listens what comes from the heart. In "Living Things" (2019, acrylic) the artist represents the living beings that populate the world through large and thin overlapping brushstrokes and color contrasts.

Men, animals, and nature have souls, they communicate with each other in different languages. They make the world an earthly paradise in which diversity is its true richness. In "Mutation" (2020, acrylic and pastel) the protagonist is change: during the life of each of us, the knowledge we learn, the people we meet, the experiences we live contribute to triggering an evolution within us. The world around us is constantly renewing itself and it is up to us to capture the positive aspects of this development. Tathina visually represented the mutation through two lines which, following an interruption in a stretch, resume their path later. They seem apparently the same as before, but something has changed inside them. "When spring comes" (2019, acrylic) pays tribute to the season of the year that symbolizes rebirth: flowers bloom, the sun accompanies us until evening, new projects come forward. Green - the color of nature and pink and yellow - the color of hydrangeas and sunflowers - illuminate the work. Tathina paints her own personal vision of the world so that her viewers can get to know her, but also get to know themselves better.

Art Curator Camilla Gilardi

Tathina

Living Things

Tathina

Mutation

Tathina

When spring comes

Tereza Tomastiko

Tereza Tomastiko, born in the Czech Republic in 1992, is an abstract artist whose works represent her inner self.

She started painting as a hobby and has been working as a full-time artist since 2021. Her works are intuitively painted on cotton canvas using acrylic paints and structural pastes. In painting, the artist indulges in her own creativity, listening to her emotions. She combines colours freely, without thinking of a final design, playing with textures and shades and releasing her creative flair. Painting in this way gives the artist the opportunity to bring out her own self, without giving in to the blocks imposed by the more rational part of her, giving voice to feelings that have never been expressed. In the three works the artist presents for this exhibition, we can see how her artistic process doesn't involve the use of many colours. In all the canvases, the artist uses two or three colours at the most to create a very shaded background over which are arranged, from the base of the painting, some paint splashes made three-dimensional by the use of structural pastes. These splashes are the focal point of the painting and embody the true emotions of the artist who, after carefully blending the background, carefully choosing the colours, lets herself go, creating drawings that animate the painting, conveying different emotions to each viewer. The most important part when painting a picture intuitively is the process involved in making it.

The artist, when painting, follows a desire, her own emotion and all the reflections that accompany the process tend to increase self-awareness. Quoting the artist, “My paintings are an imprint of my inner self. The final version of every painting is enriched by my best state of being.”

Art Curator Lucrezia Perropane

Tereza Tomastiko

Jiva

Tereza Tomastiko

Nommo

Tereza Tomastiko

Roots

Tove Berglund “Study nature, love nature, stay close to nature. It will never fail you.” (Frank Lloyd Wright)

Nature is a great source of inspiration for the artistic research of Tove Berglund, a contemporary Swedish artist. Surrounded by vast expanses of landscape, where nature shows itself in all its power, she cannot help but let it flow in her works, mostly characterized by an abstract language. Realized through layers of colour, resin and pure gold, they become precious gifts dedicated to mother earth. Delicate and intense shades of colour expand in space, in an apparent eternal movement. The strong three-dimensionality resulting from the layers of colour conveys a liquid sensation, transferring the immortality of Nature into the material of the work. In the work 'LINE OF LIFE - EMOTIONAL' displayed at M.A.D.S. Art Gallery on the occasion of the exhibition LIQUID ARSENAL, different shades of brown convey the artist's connection to her land. Along the surface, we notice thin golden lines that embellish the painting, which for Tove Berglund represent the lines of life. As the title mentions, in fact, this painting belongs to a larger series (Line Of Life) that aims to explore the theme of our ancestral connection with Nature. Light is also an important element in the artist's research, who adds LED strips to her paintings so that they can illuminate it. The whole is reminiscent of a long walk along a forest path, where the freshness of the air mixes with the sound of a stream, while the sun filters through the branches of the trees. Tove Berglund's is a journey into Nature to rediscover that primordial bond that can never be broken, but is sometimes forgotten.

Art Curator Francesca Brunello

Tove Berglund

LINE OF LIFE - EMOTIONAL

Tove Tømte "I see my pictures as a part of a dialogue with other people, wishing to touch and move them through recognition" Tove Tømte

A long-awaited return is Tove Tømte's return to the international contemporary art exhibition "LIQUID ARSENAL," hosted by M.A.D.S International Art Gallery with two of his new creations: Glimpse of memories and Untitled. Figures belonging exclusively to Tove's artistic imagination return, new creatures come to life and tell stories to the viewer, stories of great intensity that belong to the artist's life experiences, to how her soul lives and imagines certain situations that involve her emotionally. Glimpse of memories makes us confront memory. The artist perceives memory as something increasingly evanescent, increasingly intangible. The human mind tends to remember unclearly and to modify memories according to what it experiences in the present. That is why the present is a moment; everything else is memory.

Tove states "We live just in the moment, the next second that moment is memory. The figures in my artwork disappear more and more and the countours of the memories will just stay back as glimpses of memories."

Tove Tømte

The second work, Untitled, sees the characters we are fond of, exquisitely Tove's, taking shape in their surroundings. The creation was subjected by the artist to different points of view, Tove states "I have experienced that this artwork can give people different feelings; sadness, homecoming, losing your identity, feeling lonely and without hope. For myself this artwork of mine represent the human being's relationship with the elements around us, water, soil, air. You can be invisible, but I feel you in the wind, I hear your sad song when the waves reach the Beach." Tove's universe belongs to the imagination, to the artist's mind, but in form it is anchored in reality. The atmosphere created, thanks to the palette used and the typical style of the artist, belongs to a parallel, metaphysical, otherworldly reality. Returning, with Tove, is the joy of the union of groups of subjects, the choral movement. "I wish to tell stories that describe social relations, stripped of religious codes, gender, ethnicity to try to achieve the authentic human," Tove says.

Art Curator Mara Cipriano

Tove Tømte

Glimpse of memories

Tove Tømte

Untitled

Tracy White “You must have chaos within you to give birth to a dancing star.”

(Friedrich Nietzsche)

The infinite and geometric beauty of the nature of thought can be translated visually, and in this case in mathematical and geometric language, with Fractals. In general, a fractal is a set that has certain characteristics: self- similarity, i.e. the union of copies of itself at different scales; fine structure, i.e. the detail of the image does not change at every magnification; and irregularity, i.e. that it cannot be described as a locus of points that satisfy simple geometric conditions. In Tracy White's work, a reference to this kind of representation immediately leaps to the eye, but not only, it seems that this technical aspect is the result of an unconscious elaboration of the artist's mentality, aided by her training but not only. This is one of those cases where the artist's biography enters to support her aesthetic production. The visual representation of the fractal, by definition finds a way into chaos, it does not dominate it, it does not have the intention, it does not even seek a way out, on the contrary, it lives it to the full, it therefore inhabits chaos. We think about dividing, fractioning, chaos, everything that seemed confused and contaminated is somehow resolved, shapes and spaces are recognized, even moments of emptiness and perhaps silence, the rhythm is less tight and moments of harmony and peace can be discerned, and so, as the artist declares, we find ourselves being present in our lives, without the search for a way out becoming spasmodic, but by following and living in all its course the escape route becomes the simplest and that is: to remain.

Art Curator Federica D'Avanzo

Tracy White

In My Minds Eye

Ulla Hasen "Art goes beyond the limits within which time would like to compress it, and indicates the content of the future."

(Vasily Kandinsky)

Experimental and incisive are two keywords to best express the art of Ulla Hasen, her need to analyze and reproduce how life is expressed in our eyes. Although her artworks are of abstract matrimony, they hide a deeper study of the world around us, going beyond aesthetic formality. What interests the artist is to represent the essence, the presence of the human being beyond space and time. The abstract figures that populate her artworks show themselves as a physical act of a creative necessity that goes beyond the circularity of time, becoming a memory. The intrinsic strength of making art generates in the artist a disruptive charge, a force that pushes her beyond her borders, which leads her to collect the pieces of her existence to re-propose them as personal symbolism within her own artistic poetics. Energy and action.

This is Ulla Hasen and her art resounds in the void with a constant, present music that calls to reflect on time and on one's own existence through the creation of mental landscapes.

Art Curator Federica Schneck

Ulla Hasen

1343

Ulla Hasen

1371

Ulla Hasen

1375

Ute Leuffen "Seeing is in itself a creative act". This is what Henri-Emile Matisse said at the beginning of the twentieth century. Seeing is a fundamental action, a necessity known to all artists for their natural curiosity. The world around us has always been a source of great inspiration; but only for those who really know how to look. This is the case of the German artist Ute Leuffen, a multifaceted soul capable of deeply perceiving the motions and energy of the world around us. With a past as a professional goldsmith, Ute has fueled his artistic sensibility during the 7 years spent in Namibia, a fundamental stage for her artistic research that led her to a gestural awareness and a great mastery of color. The artist has learned to feel nature very closely. A free and tortured nature, bursting and sublime. Living an experience like the one experienced by Ute Leuffen allows you to enter into symbiosis with the most ancient colors and scents of the earth. We find the essence of the artist’s artistic baggage in each of her works. "Birth of beauty" impresses with the richness and body of the colors. The concentric circular motion captures us to take us back to a bygone era or to the remote dimension where it all began. It also talks about origins "Unstoppable" its slow and inexorable movement reminds us of the flow of time, the lava that slowly flows to create new layers, new stages of life. At the center of the work a touch of green reminds a flower, the birth of life even in adversity. The journey into the universe ends with "Summer rain" with its liquid movements. The rain falls like a dance, gently. It is a light rain, almost a caress on the skin.

The drops fall and melt mixing with everything in a typical feeling of calm and sweetness during a summer afternoon. Ute Leuffen is an unconventional artist who uses liquid acrylic paint. The artist loves this technique that allows her to create ever new colors and shapes that are well suited to her original and unmistakable style.

Art Curator Eleonora Varotto

Ute Leuffen

Birth of beauty

Ute Leuffen

Unstoppable

Ute Leuffen

Summer rain

Vaida Kacergiene “Painting is a state of being ... Painting is a process of self-discovery.” (Jackson Pollock)

Vaida Kacergiene exhibits two wonderful artworks for the international exhibition “Liquid Arsenal” at the M.A.D.S. Art Gallery. Through “Falling in Love” and “Spring Fountain”, the artist wishes to immerse the viewer in an enchanted world, in a parallel universe where well-being, nature and harmony come together in an incredible energetic force. In the first painting, Vaida conceives each brushstroke as a connection through which the observer can be fully involved both physically and mentally. An extension of the earthly world where dreams and imagination have the freedom to cross all boundaries. In the center appear two large wings unfurled in the wind as they are about to soar through the air, emerging from that great dynamism nuanced with shades that turn from blue, to light blue, to green and finally to purple. This wave is overlaid by another, more delicate and warm one: between pink, yellow and orange, the wings take flight with such harmonious movement, giving the whole composition purity and beauty.

Vaida Kacergiene

While in “Spring Fountain”, the artist depicts a large blue flower in the middle of its spring bloom, as if it were the tree of life and perfect and unspoilt nature, surrounded by a mystical and candid atmosphere. With such a soft background that turns from white to blue and surrounded by pink trees (probably cherry trees), the flower wants to instill in the viewer great hope, a source of life for all mankind. By awakening her creativity and externalizing positive feelings, Vaida interprets and paints a peace of mind, a purification, a new beginning: she is able to release numerous dynamic sensations that rekindle the energy of anyone who admires this painting.

“Look at the trees, the clouds... the whole of existence is filled with joy! Everything is pure happiness.” (Osho)

Art Curator Alessia Perone

Vaida Kacergiene

Falling in Love

Vaida Kacergiene

Spring Fountain

Valéria Mendes Imagination was given to man to compensate him for what he is not; a sense of humour to console him for what he is. (Francis Bacon) For Valéria Mendes, art is synonymous with a unique expressive freedom, which has its foundations on a stratification of cultural stimuli. The extraordinary creative verve that he pours into visual art, in fact, also draws inspiration from the mixture with other artistic forms, such as music and psychedelia.

Those who approach Valéria's art, in fact, must be ready to let themselves be overwhelmed by a visionary universe of fluorescent colors, fantastic creatures and unpredictable shapes. The artist explores his own vision of the unconscious by expressing it in the creative process, as happens in the work presented for Liquid Arsenal, entitled Arte Symbiose. The representation focuses on a magnificent creature with fairytale features, and captures the attention on its large eyes, which seem to observe the viewer, as if to invite him to open his mind to new possibilities. The composition is dominated by wavy motifs, which cover the face and body of the figure and are also found on the indefinite background, dominated by shades of red, purple and pink. The contours are mobile, fluid, and give the impression that the image changes continuously, just like the ripples of the water that unravel like a sinuous cobweb in the upper part of the artwork. The artist manages to render an everchanging universe with a mesmerizing set of contrasting colors, and captures a snapshot of a sublime vision by focusing on a fixed point, the drop on the creature's chest. Just like a dewy tear on a body of water, so Valéria Mendes concretizes the mutability of her artistic vision, as ineffable in words as it is powerful and magnificent in every single glance.

Art Curator Chiara Rizzatti

Valéria Mendes

Arte Simbiose

Veesono Tightening hands, mouths that almost touch, arms crossing. Each gesture has a corresponding physical response that can be observed on someone. These body expressions are universal across cultures and act as a way for people to communicate with each other. A way to communicate with others without using words. Every emotion can be expressed by imperceptible or evident changes in body expressions. Every minute, every second, the muscles and nerves of our body never stop moving. Every thought is connected to a movement, every idea is at the basis of the change of expression, great or imperceptible as it may be. On occasion of the International Art Exhibition “Liquid Arsenal” at M.A.D.S. Art Gallery, Veesono presents three beautiful and intense digital works. It is impossible to remain impassive in front of Veesono’s “relation” project. His works act like real mirrors through which we can confront ourselves. We recognize ourselves in the tightening hands of "relation", we have all tried the pose in "relatioN", we know well the feelings of two lips about to touch represented in "relatiOn". These works portray undefined human beings with labile and almost archetypal characteristics. Yet, in our innermost being, we recognize the closeness with them so much that we think for a moment that they themselves are our reflection. All this is represented with fluorescent and vivid colors that highlight the gestures and parts of the body that are the protagonists of the work. Veesono’s works are an intimate and deep look at the human reality of things, at the detail that stands out from the welter of information that continuously bombards our senses. The strength of these works lies in their universality, in their closeness to anyone who looks at them. This is the merit of Veesono’s art, having created works that have the power of consonance with the viewer

“Painting is the representation of visible forms. ” (Gustave Courbet) Art Curator Federica Acciarino

Veesono

relation

Veesono

relatioN

Veesono

relatiOm

Vera Cabrita "Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art." (Andy Warhol) The Portuguese-born artist Vera Cabrita became interested in the world of painting recently, but she immediately fell in love with colours and the power they express on canvas. The painter uses colours with a strong impact; the colour tones range from red to blue to yellow in all the nuances created. The artist approaches her technique in a special way in the mode of fantasy, perhaps inspired by her children and the emotions she feels in contact with them. In fact, a taste for chromatic vivacity and a sense of the fantastic is clearly evident. The colour scheme is intense, the colours are bright, and the marks symbolise the light-heartedness of the artistic painting technique.

The work is characterised by more intense splashes of colour, the accentuation of exaggerated lines.

The painter aims to express the real functioning of thought, in the absence of any control exercised by reason; it is the transposition of immediate emotions and feelings onto canvas, the elements of reality are transformed, giving rise to the pictorial vision. The painter tends to recreate a surreal environment, dominated by colours, which deviates from the real environment. Tongues of colour intersect and overlap each other giving rise to different shapes and thicknesses, and it is precisely these contrasts that allow the artist to develop a new language for the perception of space.

Throughout the painting there is no dominant colour but a balance of alternating warm and cold tones is created.

Art Curator Giulia Fontanesi

Vera Cabrita

Danse des couleurs

Vrushalee Nachar "Why do we fall? So we can learn to pick ourselves back up.”

(Marcel Proust)

Batman is the epitome of the superhero who has a very present dark side. Every superhero brings with him a load of humanity: superheroes with super problems. Every superhero thus hides a super problem and will have to, even before he comes to terms with his villain, confront his greatest flaw, with what determines his inner negative force to fight, configuring himself on the outside as his nemesis. Heroes are such because of super powers or supernatural gifts, but their minds and hearts are those of an ordinary person. These same heroes have to handle all the cons of heroic activity, and they must of necessity do so in the best way possible, or else the villain of the day will win. The superhero derives his power from his super problem. His own dark side then becomes the motivation and strength that enable the hero to be what he is. Here is the human element that makes us feel close to the hero. Each of us carries heavy burdens that, over time, have become our strengths. This is the greatest quality of the superhero: making his super problem the raison d'être of his existence. An almost sacred image of humanity: he/she who perfectly embodied both the human and divine functions of being human. Vrushalee Nachar puts these reflections on canvas so that in a fluid way heroes, superheroes, gods and humans draw from each other, blend into a perfectly functional mixture but keep the components distinguishable, finally, blur together for a moment, show their dark side and continue on the path of the righteous.

Art Curator Federica D'Avanzo

Vrushalee Nachar

Mindfulness

Vrushalee Nachar

Duality series: Ironman-Buddha

Vrushalee Nachar

Duality series: Batman-Shiva

Yahaira Maduro

Through her canvases, which favour bright colours and bold colour combinations, Yahaira Maduro aims to instil in her viewers the vital and joyful spirit that also characterises her personality. In the works presented in this exhibition, the artist renders the concept of liquidity, which inspired the event concept, through the use of Pollock's Action Painting technique. Characteristic not only of these canvases but also of a large part of her production, this technique allows her to give a material consistency to her works through the application of several layers of colour, which is poured and sprayed onto the surface of the canvas, arranged horizontally, from all angles. In True Colors, the artist plays with a rich palette of colours: traces of red, purple, white and green dance across the surface of the canvas, blending into each other and celebrating the value of diversity through their variety. The title is inspired by Cyndi Lauper song of the same name and, like the lyrics, is a celebration of the uniqueness of each individual.

According to the artist, one should never be afraid to show who one really is, because our true colours, as the lyrics of the song also state, are as beautiful as a rainbow. Through a vital and cheerful choice of colours, Fountain of Youth tells the story of a mythical fountain capable of restoring youth and of the desire common to us all to cling to life despite our awareness of its fleetingness. The idea of youth is recalled by the colour green and that of the unstoppability of life by the colour blue, which evokes the idea of a stream of water, suggesting a parallelism with the flow of life. Through this work, the artist intends to leave a positive message to her viewers, urging them to embrace the awareness of the transience of life in order to enjoy the journey.

Moon Water Magic is an ode to the magic of the moon, which, according to holistic therapies, is said to be able to make water that has received its beneficial influences, suitable for body care. The colour range used by the artist favours pastel tones, which lend themselves well to evoking the dreamlike atmosphere suggested by the title. The delicate colour combinations, which favour shades of blue, convey the suggestions of a moonlit night, blending in a play of iridescent reflections reminiscent of that created by the moon (represented by the colour pearl white) reflected in water. Through her works, which fully express the joy of artistic creation, Yahaira Maduro represents herself and her feelings, giving viewers unexpected moments of happiness.

Art Curator Marta Graziano

Yahaira Maduro

Fountain of Youth

Yahaira Maduro

Moon Water Magic

Yahaira Maduro

True Colors

YangMD Would you learn the secret of the sea? Only those who brave its dangers, comprehend its mystery! (Henry Wadsworth Longfellow)

Experimentation is one of the prerequisites of an authentic and inspired art, which does not crystallize on predefined models, but is as changeable as the object of inspiration itself. The talented artist YangMD perfectly recognizes herself in this ideal, fully embracing an inner creative drive, burning within her since childhood. The predilection for abstract expressionism is but one of the many artistic sides of YangMD, which combines a passion for photography with the reproduction of poignant natural landscapes. We can admire works of this type in the selection chosen on the occasion of Liquid Arsenal, starting with Amour.

The painting, made in acrylic on wood, unravels before the eyes a soft expanse of blue shades, which delineate a nocturnal seascape. The artist uses the universal language of art to tell stories and emotions, and in this case it is the story of the bond between a man and his dog. The artwork seems to evoke an invitation to grasp the gifts of the present (including love) and to make good use of one's time, despite the finiteness of living creatures, in a sort of modern carpe diem. Time is a recurring theme in YangMD's art, and is also found in the superb setting of Majorca Memoir.

YangMD

Here the artist turns to the past, to the memory of a splendid beach, illuminated by the multiform orange notes that spread over the mottled sky. In this poetic vision, one seems to perceive the echoes of the romantic Sensucht, a feeling of sublime nostalgia for an unattainable moment, but equally found in the heart and in the memory. The infinity of the sea is represented as a real metaphor visible in Expanding Horizon and I am Giant!, becoming an equally boundless and inexhaustible food for thought. I am a Giant! draws inspiration from Hokusai's The Great Wave, and involves the observer in YangMD's process of artistic discovery. Taking his first steps in painting, the artist makes the feeling of absolute freedom determined by art as a means of expression in an admirable way, and portrays the joys of this freedom in Expanding Horizon. Once aware of their abilities, YangMD invites the viewer not to stop, to continually learn and explore every artistic and emotional possibility, counting on the optimism of those who enter an idyllic landscape, embracing the cerulean sky sprinkled with fluffy white clouds.

The richness of life lies in memories we have forgotten. (Cesare Pavese)

Art Curator Chiara Rizzatti

YangMD

Amour

YangMD

Majorca Memoir

YangMD

I am Giant!

YangMD

Majorca Memoir

Yen Yi Ting “If I could say it in words there would be no reason to paint.” (Edward Hopper)

When words are not enough to explain, sometimes resorting to art is the solution. The expressions of the faces suggest the thoughts of the protagonists, the movement of their bodies makes us understand their state of mind, the colors overwhelm us with their power. Yen Yi Ting is an artist based in Taiwan whose main subjects are animals, people, or both - as in the case of the analysed painting. “Inside” was created in 2022 with the eastern gouache technique. On the left we see the body of a woman with a wolf's head.

The animal howls at the sky: it is a call; it is a cry of anger or despair. On the right, as if it were the reflection of a mirror, we see the same wolf-woman, but with a different detail: in this case, we can also observe the face of the protagonist. Looking down and a thoughtful expression: what upsets her mood and doesn't make her smile? The title of the work is very evocative; the wolf lives inside the woman, upsets her quiet and animates a storm. The work wants to be the representation of every man: everyone has demons to face and destroy, fears that he cannot defeat, obstacles he cannot overcome. Yen Yi Ting through her paintings represents reality from her personal point of view: observation of the world, emotions and experiences come together through shapes and colors.

Art Curator Camilla Gilardi

Yen Yi Ting

Inside

Yeonjin Seo “Art is a granitic trace of human making and, at the same time, a smoky mirror of the continuous fluidity, of the perpetual flow of our existences and ideals.”

Yeonjin Seo, a Korean artist, uses abstract expressionism and figurism to express her essence. She creates abstract works in which the strokes of colour are the protagonists. The colour is spread on the canvas with short brushstrokes that create many small hints of colour that give body to the drawing, as if they were many fishes of a single pallet. Many small hints of colour give rise to dynamic shapes, full and dense. Yeonjin Seo lays out different shades of blue and white to create "Sea", a work that tells the essence of the artist: a sea of emotions, a sea of thoughts, a sea of desires that create fluidity and that give life to a non-solid sea, an abstract, ideal sea. She uses acrylic not only to exploit its chromatic component, but also its material component. In fact, the colour is not completely thinned on the canvas, emerges from it as a trace, an imprint that the viewer can touch if he wants: the imprint of her soul.

“In the sea there is an infinite life which we do not know.” (Yeonjin Seo)

Art Curator Sara Giannini

Yeonjin Seo

Sea

Yoshi "You don't take a photograph, you make it." (Ansel Adams)

The work of the artist Yoshi is characterised by a combination of particular elements that make it unique and special. The memory of the graffiti that has always fascinated the artist and the photograph from which he takes inspiration for his pictorial creation. In fact, the artist projects us into his photographic lens; we have the impression that we are looking into the camera lens with him and are about to focus on a photograph. Looking at his work "BREAK FREE", we get the impression that there are no reference points, even though the horizon is marked and marked by the white contours of the canvas. A format that divides the space and reduces its width; there is an absence of humanity but at the same time the painting reveals a multiplicity of moods. Yoshi's main aim is to represent nature as he sees it; through his lens, he dissolves nature between colour and form. In his painting, the painter, although he limits the formal representation in some cases, manages to preserve the essence of what he sees. The nuances created always remain within a concept of reality that we can understand and see, the visual planes intersect and make the scene come alive. His research, through painting and colour, is also a search for himself, the representation of what he experiences, the profound interpretation of the relationship between man and nature.

Art Curator Giulia Fontanesi

Yoshi

BREAK FREE

Yoshifumi Shimodate In the evocative underwater universe, in the sublime silence of the sea depths, there is a legend that tells how one of the most fascinating animals that populate the marine environment originated. We are talking about the seahorse: the last of the romantics. Legend has it that two thoroughbred horses have been in love for a long time.

Finding themselves being chased by predators, they start running to try to escape. After a long and exhausting race the two thoroughbreds found themselves on the edge of a ravine, beyond which there was only the sea. The two horses decided that a free death would be better than falling into the jaws of their predators. And so, united in fate, they threw themselves into the precipice to meet the depths of the sea. But as they plummeted into the void their bodies began to transform, their legs lengthened, the mane changed and the tail became one with the rest of the body. Once they hit the surface of the sea, the two horses had transformed into two magnificent seahorses. These creatures represent the best symbol of love and mutual loyalty. They stay together all their lives and, if one survives the other, they rarely seek in new companion. The young Japanese artist Yoshifumi Shimodate, with his work "Seahorses love each other" enchants us with a soft and comforting vision of these two wonderful animals so small but so much like man, who likewise joins with another individual to share life, for better or for worse. The atmosphere is welcoming and suffused, it almost seems to surprise the two lovers who safely in their home share love. The cool shades balance with the warmth that emanates from the two subjects.

Art Curator Eleonora Varotto

Yoshifumi Shimodate

Seahorses love each other

Yu Uchida

And here we are back in a place we know well. That vegetation, those lanterns that long ago marked the beginning of a long journey to new spaces and universes. And so it is that, the glow of panthers reminiscent of jellyfish again urges us on an unprecedented wander. A milky white, bright-eyed fish shows us the way. Its whiteness and rounded body soothe the peculiar anxiety felt before an impending departure. The jellyfish, with their wave-like motion reassure us and invite us to become aware that a new world is waiting for us. And here we find ourselves catapulted into a new dimension, a middle space within which everything is blurred, everything is smoky, and elements overlap one another. A green then purple then blue then orange curtain leads us into multiple portions of the world, almost simultaneously. The pace is frantic, the time is extremely fast. One has no time to think and assimilate what one sees. The invitation is to admire what is in front of you by letting yourself be carried along by the current. A dandelion overlaps what should be the outline of an electrical circuit, a myriad of jellyfish occupy the multifaceted space, they are a constant in our travels, faithful and trustworthy accompanying us even in the darkest places. At one point, we find ourselves in front of a yellow globe. Its color force is mind-blowing and, in our eyes, it takes on the appearance of the sun. We are dazzled by that light so warm and enveloping that within a very short time we find ourselves catapulted into a reddish and extremely dark space.

Yu Uchida

Darkness, darkness and more darkness. Once again, we find ourselves catapulted into a new universe. Where are we? In what place are we? What scenarios await us? Slowly our pupils adjust to the change in brightness. And a new world opens up before us. Multifaceted eyes, red and round, staring and peering at us. What does this insect want? Is he our enemy? Can we trust him? All unfounded fears. All unnecessary worries; being wary is never the right choice when exploring Yu Uchida's universes. And all of a sudden, we are captivated by the ethereal presence of a dragonfly. Silent and incorporeal, it occupies much of the depiction with its glass wings. It is a symbol of good luck, an amulet we can keep throughout our journey. Prejudices then, are not covered, and the same goes for the insect from earlier. These entities accompany us, make us discover new things and comfort us when we do not know which way to go. And here we come to "Cyberpunk city 001" where Yu's imagery blends with the futuristic element in an organic, homogeneous, natural way. But this is not the end of our journey. It is, like all the other universes we have visited, a stage. Yu Uchida's art is travel, it is discovery, it is that warm thrill in the heart that seizes us when we catch a glimpse of something unexpected. And even today, the journey is not yet over.

Art Curator Lisa Galletti

Yu Uchida

Cinderella

Yu Uchida

Embark on a journey

Yu Uchida

Guild Keeper

Yu Uchida

Cyberpunk city 001

Yujin Chung

The artist Yujin Chung presents for the international art exhibition Liquid arsenal the work titled Callus no.1 The painting seems to have an intense black background on which is put a blanket of red colour. The canvas seems to be invaded by darkness and shadows, as the artist Susanna wants to tell about the arrival of bad moments in life. The artwork wants to tell us about this dual way to see reality, the conflicts that emerge from the black of the background and the darkness of the shadows on the canvas. The language used by Yujin is more fascinating to explore this particular concept, because this dual face of dark and light, belongs to all the things of nature and to the flow of life. It’s like a filter to see the world around us. Another element that emerges from the work more important is the horizontal sign put in the centre of the painting that wants to demonstrate the instinctive gesture that accompanies the artist's creativity. As if the moment in which he was painting isn't a lucid moment, but the artist was immersed in the colours to talk about the suggestions and the feelings that come from the artistic action. Although the dark colours used for the shapes are more important underline also the white spots that emerge on the centre of the red spot that stay on the canvas that stand out to communicate a glimmer of light that comes from the deepest part of the canvas or also from the soul of the artist.

Art Curator Elisabetta Eliotropio

Yujin Chung

Callus no.1

Yuni Lee

Yuni Lee's art is free of conventional canons. The artist gives free rein to her imagination by creating a reality in which buildings come to life, transporting her anywhere in space and time. The artist started to develop her idea during a car trip. While driving, she saw small houses built next to each other stretching from the top to the bottom of the mountain, like LEGO blocks assembled by a child. Thanks to her vivid imagination, she began to visualise these houses as a single moving mass. This subject is called Icon B by the artist and is formed by the combination of form -a simplified pentagonal house- and mass representing the set of units in the form of lines, colours and surfaces. The various units travel around the world, changing form in each city. The work the artist presents in this exhibition is entitled 'IconGenieShanghai'. Pastel colours mix with the strong colours of the units ranging from red to green, yellow to blue. The drawing of Icon B is reminiscent of a slow-moving turtle enjoying the city of Shanghai. The grid of lines that occupies the entire surface of the drawing represents the vehicle through which Icon B moves from one space to another and is also the true map of the city. These works represent the artist's desire to escape from the ordinary, from the monotony of daily routine, moving to an imaginary space, far from time and space, where one is completely free.

Art Curator Lucrezia Perropane

Yuni Lee

IconGenie-Shanghai

Zlatan Woszerow

Zlatan Woszerow presents seven artworks (“Birds”, “Distorted Geometry”, “Horizon”, “Hot Putty”, “Hot Thoughts”, “Limbo Calling” and “Metaphora”) for the international exhibition “Liquid Arsenal” at the M.A.D.S. Art Gallery. The artist succeeds in bringing out a vision of a surreal, mystical, otherworldly world with a unique perception. Through a marked sensitivity and the skillful composition of elements (geometric and nongeometric), he triggers the many moods of the viewer. Through his digital works, Zlatan represents the power of light, of matter, but above all technology: he concentrates everything within each image, emphasizing both compositional symmetry and a sense of order and harmony that activates the viewer's perception, making it absolutely dynamic. Everything evolves and changes, culminating in a liberating explosion of colors, where even matter takes shape, creating a new space and a new conception of reality. Using bright tones, Zlatan brings out a great color contrast, giving vent to his pure expressiveness, impulsiveness and creation without constraints. In an era of speed and rapid change, the artist invites the viewer into his very personal style: with his dynamic artistic instinct, he experiments and expresses the overlap between the material and immaterial, until there is a fusion between the two parts that creates a spectacular representation. Zlatan Woszerow's works become sensory experiences available to the viewer, who can find, in this new dimension, positive energy, joy and optimism.

“The true artwork is born from the artist in a mysterious, enigmatic and mystical way. By detaching itself from him it takes a personality of its own and becomes an independent subject with its own spiritual breath and concrete life. It becomes one aspect of being.” (Vasilij Kandinskij)

Art Curator Alessia Perone

Zlatan Woszerow

Birds

Zlatan Woszerow

Distorted Geometry

Zlatan Woszerow

Horizon

Zlatan Woszerow

Hot Putty

Zlatan Woszerow

Hot Thoughts

Zlatan Woszerow

Limbo Calling

Zlatan Woszerow

Metaphora

Zofia Farrell

The paintings presented by the artist Zofia Farrell are made up of only watercolors ink and we can consider her choice close to the concept and to the exhibition itself. ‘Liquid Arsenal’ aim, is in fact an invitation to consider the flux of the water as the perfect approach to life. The artist here represents the fluidity of the liquid in her artworks, that gives birth to the main character of the scenes that seem to move into space. Just a few colors are used to highlight some details of the subjects depicted, as in ‘Emotions’ where spots of colors seem to fluctuate into the scene creating some flying butterflies, symbol of freedom and lightness. The artist has chosen to represent symbolic subjects, in its majority animals, that confer a deep meaning to the paintings. The ‘Swans’ and the wolves in ‘Wildness’ are made up of only black watercolor ink that transpires the meaning of their essence, respectively: love and strength, courage and freedom. In them too, the movement of the ink creates a soft and dynamic atmosphere that is delicate to the viewers’ gaze. Close to the concept of the exhibition are also ‘Masks’ and ‘Mask’, two paintings in which the main subject is the representation of the contemporary society forced to hide itself and its essence to respect and to answer to the imposed rules.

The fact of the colors is symbolic of the artist’s representation of these scenes, because it gives a sensation of positivity. Every element, every subject and the way it is represented, is well thought by Zofia, in order to confer a sort of rebirth of each of us, as individuals, into the society.

Art Curator Martina Stagi

Zofia Farrell

Masks

Zofia Farrell

Mask

Zofia Farrell

Swans

Zofia Farrell

Wildness

Zofia Farrell

Emotions