CENSORED "Catalogue"

Alessia Maniscalco

Chiara Rizzatti

Erika Gravante

Francesca Brunello

Giulia Della Valle

Giulia Fontanesi

Ilaria Falchetti

Lisa Galletti

Lucrezia Perropane

Mara Cipriano

Martina Lattuca

Martina Stagi

Martina Viesti

Matilde Della Pina

Sara Grasso

Silvia Grassi

Curated by Art Directors Carlo Greco and Alessandra Magni

Critical texts by Art Curators

Since ancient times, the relationship between artistic creativity, freedom and censorship has always been a delicate and controversial issue for both artists and those who have dictated rules and laws to limit such creation. Art is by definition the highest manifestation of human freedom and instinct, of great impact and power, endowed with an incredible communicative speed made possible by the fact that it is primarily image and thus easily sticks in the mind of the viewer. The artworkknows how to move the soul, arouse strong emotions and excite, but it also often succeeds in shocking or arousing deep reflections that shake the heart and head. For these reasons, it has always been a cause of concern for those in power, fearful that the artist's creative instinctiveness went against the morals of the time or might subvert the social order. Censorship, therefore, has always been seen as the easiest and most effective way to limit such freedom, exercising authoritarian control to that end over artistic creation and more generally over the spread of ideas and points of view other than those that are "socially acceptable." Throughout history, there have been quite a few events for which an artwork has been judged immoral or over the top. In 1564, for example, Pope Paul IV commissioned Daniele da Volterra to retouch the nudity in Michelangelo's Last Judgment, covering it up because it was deemed outrageous to public decorum. Another famous artist censored was Édouard Manet who in 1863 saw his Le Déjeuner sur l'herbe rejected by the jury of the Paris Salon for depicting a naked girl in the foreground, thus considering the painting unseemly and sarcastic toward the public. Even Egon Schiele himself, now known worldwide, was jailed in 1912 for contempt of court for his works of art that were deemed pornographic. And there is no shortage of examples in more recent times of provocative artworks that have provoked a large amount of criticism and controversy, such as that of the urinal entitled Fountain (Urinoir) by the eccentric Marchel Duchamp that marked twentieth-century art, those of Damien Hirst consisting of stuffed animals in vitrines aimed at generating scandal and horror in the viewer, to the more recent but no less provocative artworks of the irreverent Maurizio Cattelan. In a society increasingly under control and threatened by mechanisms more and more distant from being democratic, for "Censored" M.A.D.S. Art Gallery invites artists to give free rein to their creativity and instinct, following and indulging the creative flow without fear of anyone's judgment. M.A.D.S. pushes you artists to conceive art as something unconditional, as the absence of any inhibition in the creative act, except that which moves your consciousness as creators, without pre-set rules, without fears and prejudices. Never letting respect for human, ethical and moral values and the sensibilities of others, the founding principle of the gallery, give life to what you feel inside, to what identifies you and makes you unique, which does not have to be right, nor clear, norstereotypical, but must be yours, because only then will it be authentic! And only with M.A.D.S., it will be uncensored.

Concept by Art Curator Matilde Della Pina

Àlex Mañé

Àlex Mañé (b 1974, Barcellona) lives and works in Barcellona Recycling, giving a second chance to things she finds on the street, or collects from her friends and other people, or recycles at her workplace. They are all treasures for Àlex Mañé to recycle and turn into art. The main themes he is inspired by are: abuse of power, social denunciation (which includes all political, sexual, labor and many other inequalities), gender equality, race equality, nature, environment, human evolution, historical memory). His main goal is to awaken human awareness of topics he considers important to the planet and memories. His creations are full of encrypted messages and different readings and possibilities (depending on the viewer's perception) as hidden puzzles, such as could be conceptually, "crossword puzzle," alphabet soup or "sudoku " The artist likes to combine magazines, newspapers, books, pictures, postcards, CD covers, posters, comics, anything from different decades, people who have left a mark in history to accentuate the narrative of the work. The artist's work Byte me! deals with issues of fundamental importance and extreme topicality. He talks about everyday life, about the communication that individuals enjoy every day through television and social media. The individual according to the artist is manipulated by the popularized mediocrity. commercial conflicts, of interests, is a power game under different flags and control by superpowers. Àlex Mañé asks the viewer to disconnect from society in order to reconnect with life and people. He invites one to choose consciously and not to do so because one is forced to. Everyone is the creator of Resistance and one must seek the truth even if it is difficult to accept. In contrast, the work Censorship deals with the issue of censorship in social networks Their algorithmic artificial intelligence programs identify key words to censor and eliminate what they consider "undesirable, false or harmful words or content" even if free of social immorality for being against the system and the grand deception of globalism and information power under the control of the "hand that shakes humanity." As if artists are creative terrorists for their way of telling the story through art. To be dealt with last is the topic of Pedophilia, particularly in reference to the various cases linked to the Catholic Church. The artist's is a cry for attention, in fact it is urgent to protect the future of our children, their physical integrity and their emotional and mental health. 2012 - Versàtils de carrer, Artists Collective, Vilafranca del Penedès, Barcelona; 2013 - Versàtils de carrer, Artists Collective, Centre Julol-Can Negre, Barcelona; 2013 – Artist Love, Artists Collective, Zen Tao International, Barcelona; 2014 - Walking Gallery, Art Collective, Barcelona; 2020 - M A D S ART GALLERY International Contemporary Exhibition "FABLE"; 2021- 2023 - EXCELLENCE ART GALLERY (Marbella, Spain), International Art Fair in Marbella, Parisand Montecarlo.

Art Curator Alessia Maniscalco

Àlex Mañé

Àlex Mañé

Pedophilia

Àlex Mañé

Censorship

Amruta Heda

Amruta Heda is one of those artists who grew up surrounded by sketches and paintings, and made of art their lives. In all her artistic production, the artist suggests unexpected bridges between her sensory life and free imagination, where memories and experiences interlace. “Art is self-interpretation with a carriage of memories and boundless experiences”, Amruta says. While she gives shape to the imaginary, Amruta never deviates from a real language in which the elements of her paintings are represented. Elements that derive from her visual and emotional exposures to life during her travels, through which the artist discovers new places and cultures that connect her with nature. The power of nature is a common thread in Amruta’s paintings Here, nature is interpreted in the broadest sense: it is representative of all living organisms in the world In the paintings “Day Dreaming”, “Illusions” and “Lived Life Queen Size”, nature becomes the synonym for life, which is fragile and strong, unstable and powerful at the same time. At first glance, the paintings appear simple and placid, almost lifeless and inert. This motionless imagery, presented as dreamlike visions through which Amruta alters human experiences, is made bizarre thanks to the displacement of objects from their familiar contexts and unexpected visual associations. The bright colours, the use of material such as denim and the richness of elements, all play a fundamental role in creating these dreamlike visions. When reality encounters imagination, we become detached from it; and this detachment in Amruta’s paintings allows the viewer to go beyond what the eye sees, showing a reality that exists in a universe that cannot be touched, but yet, is affable with the help of imagination. In the end, Amruta’s paintings are her life and experiences on canvas, and as Frida Khalo once said, “my paintings are the frankest expression of myself.”

Art Curator Martina Lattuca

Amruta Heda

Day Dreaming

Amruta Heda

Illusions

Amruta Heda

Lived Life Queen Size

Analvis Somoza Jimenez

Analvis Somoza Jimenez, a contemporary Cuban artist, chooses to present three older works in the CENSORED exhibition at M.A.D.S. Art Gallery. These pieces, compared to today's works, are different both technically and expressively, especially the two works dating from 2010 and 2011 (“Alzada”; “Emigración Habanera”), showing how her artistic research has changed over time, evolving. What connects all her works, however, remains the language in constant connection with the symbolic universe. It should be noted that Cuban art carries with it a rich history of symbolism, which often reflects the cultural, political and social realities of the country (see Analvis' work entitled “Emigración Habanera”). Symbolism in Cuban art can be traced back to the beginning of the 20th century and continues to evolve until today, carrying with it the marks of not only the political but also the religious past. Religion plays a significant role in Cuban art, particularly in relation to Afro-Cuban religions such as Santería and Palo Monte. These religions are syncretic in nature and combine elements of African spiritual practices with Catholicism and indigenous beliefs. The symbolism associated with these religions also finds expression in Analvis Somoza Jimenez's art, assuming a variety of shapes, but becoming recognizable above all through the constant depiction of anonymous and asexual faces, which surround the main subject of her artworks ("Jesús de los Unidos", a clear reference to the Covid times). Analvis Somoza Jimenez incorporates symbols in her paintings to convey abstract concepts, social and political messages, explore personal experiences and represent cultural or religious beliefs. Symbols contain a profound power, because they can reach deep within us, provoking reflection and creating new layers of meaning not only in art, but also in the world.

"A symbol is not just an image or an object; it is a doorway into the realm of the unseen."

(Carl Jung)

Analvis Somoza Jimenez

Alzada

Analvis Somoza Jimenez

Emigracion Habanera

Analvis Somoza Jimenez

Jesús de los Unidos

AndyJay

AndyJay is an NFT artist who delves into the realms of the human psyche, exploring symbolism and inviting viewers on a poetic and profound journey. His creations are a kaleidoscope of emotions, dreams, and hidden meanings that unfold through exceptional technical mastery and meticulous attention to detail. In the exhibition "CENSORED," AndyJay presents two mesmerizing digital artworks that captivate with their rich symbolism and evocative imagery. "Picnic #4: Baptized cake" conveys deep intimacy and a quest for meaning through the symbolism of cakes, beverages, and religious books. The carefully arranged cakes on the picnic blanket represent the fleeting joys and sweetness of life, while the cold and hot beverages evoke sensory pleasure and the balance of opposites. The religious book, sealed letters, and wine-stained postcard hold a mystery that invites contemplation and exploration of the spiritual realm. The presence of a dove and a luminous element on the cake underscores the sacred aspect and the desire for inner peace. The two embracing "creatures" symbolize love and human connection, urging viewers to recognize the value of affectionate relationships in their own lives. This artwork encourages immersion in the present moment and finding joy in transient beauty. "Picnic #5: Noel cake" unfolds as a fascinating composition of symbols that explore the essence of humanity and our deepest aspirations. The foregrounded crown invokes notions of power and royalty, while the lavish two-tiered cake represents abundance and celebration. The "creatures" atop the cake symbolize protection and mutual care, but it is the image of one creature sleeping in a fetal position that draws attention. This figure represents human vulnerability, while the other figure watches over, representing unconditional love and support.

AndyJay

Flutes on the sides of the cake evoke joy and celebration, while the rising steam from the pot suggests hope and anticipation of new possibilities. The three gold ingots at the base of the pot allude to the desire for wealth and prosperity. The ivy framing the artwork symbolizes vitality, growth, and connection with nature. Through their poetic symbolism, AndyJay invites deep reflection on the human condition, the meaning of life, and the intricacies of existence. The artist's digital creations transport us to a world of wonder and introspection, where symbolism becomes a universal language to explore the depths of the human soul. AndyJay's works are an invitation to look beyond the surface, to contemplate our deepest emotions, dreams, and desires. With artistic mastery and a keen eye for detail, AndyJay guides us on a journey of discovery and self-awareness. Through their adept handling of symbolism and the ability to evoke a range of complex emotions, the artist encourages us to find beauty, meaning, and connection at the core of each artwork. AndyJay's works are a testament to their artistic sensitivity and commitment to conveying a profound and enduring message.

Art Curator Martina Viesti

AndyJay

Picnic #4: Baptized cake

AndyJay

Picnic #5: Noel cake

Anke Riemenschneider

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

Music has given artist Anke Riemenschneider a chance to redeem her creativity. Expressive freedom was something she sought and throughout her career has found and is building from music. A free, everyday painting and above all a further expressive metaphor. Music and art are two tools to convey Anke's thinking and way of being, which she is simply trying to be herself. From photography to her digital manipulation, with a very personal technique, where drawing and color are the main elements. The need to paint and digitally model the works and colors, turns into a meditative and creative space. Her subjects are various and varied, but the construction is always rigorous and geometric. Her painting is delicate, reaching people through the use of soft colors and everyday subjects.

Anke Riemenschneider

A step then to measure herself against the real, to break out of the sterility of normal forms and to give, especially to herself, the opportunity to convey positivity. Anke Riemenschneider is a traveler and finds ways to express herself and to paint, creating a vortex; she uses her painting and her manipulations to analyze and investigate the real, but also to study herself. Her works are above all this, where painting becomes a symbol of mental and historical precipitate. Her emptied out suburbs and her chromatic and structural rigor have certainly been an inspiration for Anke Riemenschneider, as she is a careful observer of reality. A reality mutated by digital representation but which she manages to bring to the human level with her paintings.

Art Curator Giulia Fontanesi

Anke Riemenschneider

Irisierend A Poem behind the Surface

Anke Riemenschneider

Glashaustango écritures cristal rouge

Anna Elisabeth

“In my artwork for the censored exhibition, I wanted to evoke raw roughness in my textures, and a darkness into my color palette over vibrant colors in the foreground. I wanted the viewer to experience the encroachment of being censored by the darkness, and somberness that was intertwined with the vibrancy of lively colors I utilized” Anna Elisabeth

With Fuori e-vento and the exhibition of her works in Times Square, Anna Elizabeth has decided to express the full potential of her art, today she begins a journey through the themes of M.A.D.S international art gallery. This time she confronts the theme of censorship in art and freedom of expression and presents us with three works Since ancient times, the relationship between artistic creativity, freedom and censorship has always been a sensitive and controversial issue for both artists and those who have dictated rules and laws to limit such creation Art is by definition the ultimate manifestation of human freedom and instinct Instinct that is perfectly expressed by Anna's works, which delve into her soul in a deep and courageous way, bringing to light inner representations, as if they were scenes from distant planets, as in Restricted Madness, or Angry Burst or combustion of plastic seen under a microscope, as in Holdback. Anna gathers her ideas from personal and social issues She reproduces images that reside in the unconscious and are realized through the combination of imagination and artistic talent. Her works are the perfect combination of light, color and emotion. Anna works a lot with suggestions, dances between colors and emotions, is innovative and interactive Through the use of digital, combined with watercolors she makes colors flow by projecting moods and aims to arouse complex and diverse emotions in the viewer: communication presses and becomes very powerful and the purpose is to bring enlightenment to others. These are her words for CENSORED exhibition “In my artwork for the censored exhibition, I wanted to evoke raw roughness in my textures, and a darkness into my color palette over vibrant colors in the foreground. I wanted the viewer to experience the encroachment of being censored by the darkness, and somberness that was intertwined with the vibrancy of lively colors I utilized In Angry Bursts I used short stabbing strokes with my paint brush to create a busy chaotic atmosphere, with red, orange, and yellows being juxtaposed by blue and navy tones. I wanted the darkness of the navy to censor all the vibrant colors and bleed into the shadows of the blue tones in all the artworks for this exhibition. In the artwork Restricted Madness I used more fluid brush strokes and created an organic feel to the painting I used natural tones, that then get infringed by the dark navy tones overtaking the painting. In my painting Holdback I used large broad brushstrokes in tropical colors. I also incorporated dark tones of navy, and grays to add a smoky texture over the vibrant colors I feel that my work is representative of how I feel being censored about environmental issues when it comes to global warming. We all know that we need to change how we treat our planet but a lot of times we’re censored with what we can do and what we can say and mother nature fights back with fires that burn a rainforest in woodland areas and in turn this makes me angry, so I wanted my work to reflect that in the show ”

Art Curator Mara Cipriano

Anna Elisabeth

Holdback

Anna Elisabeth

Anna Elisabeth

Angry Burst

Annica Hallman

Annica Hallman is a self-taught artist from Gothenburg, Sweden. After attending art school for one year, Annica has been painting more regularly and productively since 2020, painting figuratively and intuitively in acrylics, so art is created in the process. At the exhibition "Censored," hosted by M.A.D.S. Art Gallery, Annica returns presenting three paintings. The artworks all have as their subject a woman, always represented in a different way. "The mist" portrays a female face emerging from abstract geometries in shades of white. Her gaze is straight at us, fixed and calm, as if to instill in us a certain confidence but also strength and energy. Among the white geometries in the background, golden and bright patterns shine through on the left, and dark and gloomy patterns on the right, as if to represent the duality of her person and character, energetic on one side but dark on the other. "Juliette" depicts a woman with long hair in shades of gray and blue; a veil of sadness shines through her gaze, nostalgic and dreamy. Her hair is voluminous and thick, representing her strength perhaps lost over the years. In the background, silhouettes of women overlap like memories faded by time and to whom perhaps the woman belonged. The last painting exhibited, "The Lady in Red Dress," depicts a woman in the center of the canvas wearing a sumptuous red dress. From it and from her long light hair, two human profiles emerge to the left and right of the work, looking toward her, fragmented and in different colors. Annica ensures a certain harmony, sinuosity to the whole, infusing the woman with great energy and power. The bundles of colors mixed together generate great strength, but also three-dimensionality and movement, all of which recur almost constantly in Annica Hallman's powerful works.

Art Curator Matilde Della Pina

Annica Hallman

The mist

Annica Hallman

Annica Hallman

The lady in red dress

Antonietta Grimaldi

Antonietta Grimaldi, the genius of color, with Out and Wind and the exhibition of her works in Times Square, has decided to express the full potential of her art. With these assumptions, today begins a journey through the themes of M.A.D.S. international art gallery and will accompany us with her works full of color and movement until the end of this year. The occasion of the international art exhibition CENSORED, at the international, digital and decentralized M.A.D.S. art gallery confronts the artist with the theme of censorship in art and freedom of expression and presents us with three works. Since ancient times, the relationship between artistic creativity, freedom and censorship has always been a sensitive and controversial issue for both artists and those who have dictated rules and laws to limit such creation Art is by definition the ultimate manifestation of human freedom and instinct This is why Antonietta expresses her deepest being, her interiority and creativity through her incisive and direct abstractist vein Our Grimaldi intends to communicate in the most direct and decisive way what can be considered deep and universal messages Antonietta's stroke is energetic and communicates strong vibrations with the viewer, creating a sincere and profound dialogue Color and movement are protagonists in her works: in Walkway, simplicity is central "The artist has managed to create a unique overlapping effect that allows the viewer to delve into the work itself A true walkway to her world, through an over-the-top but never obvious technique." The dark tones of Snakes "give way to this interplay of weaves that give an unexpected light to the work and envelop the viewer A juxtaposition of tones is created that reflects the seesaw of human emotions, a continuous and sudden change, always prey to the unpredictable and never placable; just like art that eschews predefined patterns." Finally, Sourire is a pleasant play of colors, a refuge of the eye "Lively and jovial, yet never predictable and repetitive, it provides a multitude of personalistic interpretations of the work as a whole "

Art Curator Mara Cipriano

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

Antonietta Grimaldi

Sourire

Antonietta Grimaldi

Snakes

Antonietta Grimaldi

Ayaka Saitou

Crisp, moving and cheerful compositions conceal within them a heap of different meanings that the artist herself tells us about. Emotions and narratives unfold through her expressive power. Indeed, the works are often accompanied by poems or short writings that are part of both the creative process and the work itself, in fact taking on an interesting meaning before and after. They are thus part of an outfit designed to explain the emotions that arose in the creative process, from the process and after the process. If you read them, you immerse yourself in the artist's mind, you in fact enter his studio and become part of the creative process that prompted the use of certain colors and patterns. Alternative worlds are thus created that are different from what is usually understood as the space for artistic composition, the paintings are not meant to be decorative and the paintings do not seek to please the eye, but to deeply engage the viewer.

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

Ayaka Saitou

Thus an initial image surfaces on the surface, but then there are all the "subtexts" within it. Thus, it is an idea from which a story evolves on many levels and acquires another meaning through the poems that tell the story of the arist's emotions. The artist would like to get to the point where personal and subjective taste is forgotten in favor of something more objective and universal. So as to arrive, perhaps utopically, where reality meets fantasy. For Ayaka Saitou, each painting has its own story, its own concrete, real or fantastic characteristics that make it unique. Her experimental innovation and creativity release a positive feeling, a swarm of energy that seeks to explode beyond the painting to directly reach out to the viewer, engage him or her and excite him or her to the core.

Art Curator Giulia Fontanesi

Ayaka Saitou

Inner child - link line art

Ayaka Saitou

Tears - link line art

Bruno Sciaraffia

“To be an artist is to be curious to see wonder and beauty even in things seen a thousand times or in a single grain of sand. It is looking at something and seeing in one's mind how it could be and therefore how it is, from a different and unique point of view: our own” Bruno

Sciaraffia

In a recent interview, Bruno Sciaraffia said, "Even if it is sometimes criticized or even opposed, art is of great help in the evolution of man's mentality." Central idea to introduce this talented Italian artist at the CENSORED international art exhibition hosted by M.A.D.S. art gallery. Space and composition are formal elements on which Bruno operates with his dynamic lines, which do not interrupt but intertwine and intersect creating functional relationships between subjects and space. This original and specific technique of Bruno's is called "Interrelationalism." The digital format favors his technique and allows our artist to express himself and report with extreme fidelity his mental image, his original idea. Bruno's sensitivity allows him to look at the reality around him with extreme attention and originality and filter it with his artistic vision His research embraces styles such as Picasso's cubism for the fragmentation of reality and choice of subjects and futurism for the dynamism of the compositions, contaminating them with Caravaggio's depth and drama. His style, however, is highly personal and decidedly original in the media he uses, the messages he brings out, the polychromy and the search for depth in the very fragmentation and recomposition of forms. Bruno's art has a peculiar characteristic, the flight to abstraction is voluntarily restrained by the immediate recognizability of the elements of his works, immediately traceable to the concreteness of the everyday, this because the inspiration is derived from the everyday: regarding his three works presented at CENSORED Bruno says "In Photo pose I tried to show that even a simple group photo or a selfie can express a drama inherent in itself and highlighted not only by the chiaroscuro, but also by the dynamism of the characters who, while overlapping each other individually merge into a single interrelational, Woman in robe was born from the inspiration derived from the apparent simplicity of the pose that hides a deep dynamic harmony of the forms of the woman, which blend into the surrounding environment In Nude in the shadow the shadows bring out the woman's forms, in a recollected, almost fetal position, as if to hide from life and instead enhanced by powerful chiaroscuro (the light of feminine strength). The female figure, though in the foreground, does not shy away from the reassuring embrace of her surroundings to which she joins in a harmonious relationship."

Art Curator Mara Cipriano

Bruno Sciaraffia

Nude in the shadow

Bruno Sciaraffia

Woman with robe

Bruno Sciaraffia

Photo Pose

Candi Soul Sparkles

Candi Soul Sparkles is a young Icelandic artist, with various origins (a bit Irish, French, British). Candi Soul Sparkles speaks to the heart of the viewer with the emotionality, the introspection and sensitivity that she brings in her paintings, as well as with a technique full of light, energy, color, shapes. In particular, in the exhibition in M.A.D.S. Art Gallery "Censored", her imagination and interiority are demonstrated by three beautiful and significant paintings. In "Ást innan Ramma" (2023) Candi brings out all the female sensuality with a woman figure we must not censor or hide the most passionate and derived from the most hidden and impulsive passions because they can be synonymous with inspiration, to totally let oneself out as one is really without pretens. The painting is in contrast white and brown, just to increase the focus on the feeling transmitted by the looks and gestures of the woman. The second painting is "Teatro en Quietud", a stylized composition in shades of orange with in the center two faces with a statuesque look intent on leaning out a kiss on the cheek. In the background you can see other figures, always looking like Greek statues. The focus is love, passion, the link between the subjects: a pure and platonic love, without judgment. Don’t censor your love, show it, get it out of yourself. The third painting "Terra una cultura di anime" is a unique explosion of color and stylization of forms. A tiger that roars is well recognized: a reference once again to instinctiveness, to the liberation of ourselves without fear, as do the animals of this land. We have to be a little animal, not to use reason mainly but sometimes to abandon ourselves to our innate impulses. It’s as if Candi wants to tell us, "Be yourself, if you want to love, love unconditionally without restraint, let yourself out for that you are really inside." We are souls beyond matter.

"What I want to show through my painting is what I see with my eyes and my heart."

(Raoul Dufy)

Art Curator Giulia Dellavalle

Candi Soul Sparkles

Ást innan Ramma

Candi Soul Sparkles

Teatro En Quietud

Candi Soul Sparkles

Terra una cultura di anime

Catrine Lindström

Catrine Lindström (b. 1971, Stockholm) lives and works in Stockholm. Catrine Lindström is represented by Agora gallery in New York, participated in the exhibition Art Nordic Denmark in 2022-2023 and the exhibition Placrylic Art Fair in York Wales in November 2022. Catrine's work is characterized by exploration and joy. She creates intuitively, without rigid control. She follows the impulse of the moment and does what she likes. Her inspiration comes from the world around her, from the small everyday things she encounters or from her imagination. Her works are by nature investigative and experimental, especially in terms of colors, which she combines harmoniously. At first, she may have a strong vision, but along the way the feeling and energy may take her in a different direction as new ideas emerge. She paints both figuratively and abstractly, using acrylic paints and other materials. She often works on several paintings at once to keep the flow moving. With World War II, abstract art – and in particular the art of Vasily Kandinsky (1866-1944) – was seen by the Nazi regime as degenerate art and became a victim of censorship. The artwork Factory is an example of abstract art: it has no reference to reality. The canvas is divided into six differently sized panes, each with a different atmosphere outcome of the prevailing colors. Common denominator is this bright red spray that has a vertical course and seems to connect the six panes together. A different work of art is Bouquet in shadow, another acrylic on canvas in which the color red - in this case of flowers - prevails and in which the background is gray with green hues at the bottom. Here the artist followed the creative flow by letting instinct guide her. Finally with Dancing in color we have before us a dancer dressed in an orange bodice and a wide skirt consisting of numerous circles of different colors. One of these is repeated in her hair, the typical ballet dancer's bun. The same freedom with which the ballerina moves during her dance is found by Catrine Lindström during her creative act.

Art Curator Alessia Maniscalco

Catrine Lindström

Catrine Lindström

Bouquet in shadow

Catrine Lindström

Dancing in color

Chifumi

Colorful, eccentric and almost psychedelic worlds tease our vision, catapulting us into excerpts of universes within which elements of the world of the real are blended with imagination and folk and cultural elements. Chifumi's captivating and colorful works invite us to observe new worlds populated by fantastic beings and mythological creatures where the world is no longer what we know but becomes something else. As if a mythological past is associated with our present, the artist manages to merge worlds, things and characters creating extremely vivid and energetic works. In Kagura's Dance, a swirl of characters revolves around the center of the composition. The dance is excited and one can sense the rhythm from the movements of the mythical beings that populate the entire compositional space. "Kagura" literally means "entertainment of the gods" or "dance of the gods." Kagura dance is an ancient and fascinating form of Japanese theater and dance, rich in history and tradition. Originating as a form of prayer and celebration in the Shinto religion, Kagura is a way to honor the gods through dance, music, and song. During Kagura performances, dancers wear magnificent costumes and striking masks, transforming into the gods and spirits of Japanese legends and myths. The dancers' elegant and synchronized movements tell mythological stories, depicting heroic adventures, conflicts between good and evil, or the creation of the world.

Chifumi

Through its visual beauty, engaging music and the fascinating stories it tells, Kagura dance transports the viewer into a world of myths and legends, uniting past and present in a unique and evocative experience. It is a tribute to Japan's cultural richness and a way to connect with the spiritual essence of the country. Chifumi in her works accentuates this union between ancient and contemporary times by managing to combine elements, tales and traditions of the past with the contemporary world through a dry, graphic style reminiscent of manga and anime stylings. The fresh, colorful and crisp style perfectly matches the festive air that permeates the entire work and has the ability to make the minute details that embellish the entire work extremely vivid. Three female figures are preparing to dance toward the center of the composition. Their richly decorated kimonos take the form of a fire phoenix, an emerald green dragon and a turtle wrapped in a sea serpent. The three women, with their graceful movements and relaxed, joy-filled faces, seem to be in every way human depictions of spiritual entities. Their gestures, their bodies in space, and their beauty are rare things in this world, and we viewers cannot help but watch the dancers in their excited dance, getting caught up in the rhythm, the dance, and the music. Chifumi unites past and present not only through what is depicted in her works but also through the unique stylings that characterize her art. Fresh, young, and excited, her works represent a veritable breath of dynamism and transparent beauty.

Art Curator Lisa Galletti

Chifumi

Chifumi

Chifumi

Blue Jewel

Chifumi

Divine Fish

Chifumi

Girl with horns

Chifumi

Kagura's Dance

Chisen

There is something fascinating about walking in the middle of a forest. Whether it is deciduous or coniferous, the feeling is always the same: that of being walking in the midst of nature, together with nature. It is that moment when, unlike the everyday, we reconnect our biological rhythm to the natural rhythm; it is that moment when our senses are heightened, intercepting sensations that we rarely, in our cities, perceive Our nose is soaked in musky scents and our skin becomes moist; our walking is no longer frantic but calm, light and pleasantly slow But perhaps, the sense that receives joy most of all is our eyes Our gaze rests from tree to tree, then on the ground and finally glimpses glimpses of blue sky peeping from the tree tops. In "Radiance of Forest" is enshrined all the wonder of the forest. A sylvan backdrop invites us to rest our gaze on it. The surface is uneven. We glimpse lighter strokes where the color seems almost luminous and darker strokes where the pigment is saturated, dull and deep. This unevenness of the background is purely intended by Chisen. Going back in time, the artist picks up Japanese painting techniques by the handful, appropriates them and performs a reformulation of them in a contemporary key. In fact, traditional painting involves the laying of one or more backdrops - of different colors from what is intended as the end result In this way, the backdrop of the work results in an extremely natural color that is never flat but is characterized by streaks, almost invisible patches and shading that make a work unique and so special. Chisen, for her part, deliberately uses this technique and at the moment when the second layer of backdrop is drying, she throws water on the surface. At this moment, chance and the fortuitous element are the proponents of a part of the work. The result is a painting reminiscent of nature both in its outward form and in the random nature that underlies its creation. "Radiance of Forest" is the emblem of the forest and the sensations she gives to our senses The eyes rest in the sylvan backdrop and awaken in the tiny golden straws that dot the representational plane Like rays of sunlight penetrating through windswept foliage, these luminous elements bring dynamism to the entire work, making the vision extremely dynamic and sparkling. If only for a moment, we feel at one with nature. We are part of it and will be so forever even if we often forget. Chisen, an artist who bases her art making in her life experiences and her passionate study turned to the traditions of her homeland, infuses her works with techniques and thoughts that are part of Japanese history. "The beginning of the Universe" is nothing less than the beginning of the Universe. According to the Kojiki, in the beginning the universe was formless, silent and in chaos. Then thanks to the movement of light particles, clouds and skies began to take shape always in silence, until it became Takamagahara From here on, the creation of the Kami took place and the world began to take the forms we know Chisen makes a transposition through brush and pigment of this moment of the birth of the Universe Between chaos and the principle of order, between nothingness and the creation of the world and the deities, Chisen's art mirrors lived experience and the traditions and mythology of her country. It is pictorial transposition of knowledge and centuries of knowledge.

Art Curator Lisa Galletti

Chisen

Radiance of Forest

Chisen

Chisen

The beginning of the Universe

Christopher Evans

Christopher Evans is an artist who, after experiencing a personal traumatic event in 2017, found painting to be a form of expression and healing. What makes his artistic journey unique is his health condition called Aphantasia, which involves the lack of inner senses related to vision, hearing, touch, smell, and taste. Despite this challenge, Evans has embraced his condition and transformed his creative process into a journey of self-discovery and trust in his instincts. In the exhibition "CENSORED," Evans presents a work titled "Seaside Drama." This acrylic on canvas painting stands out for its bold exploration of shapes and colors, embracing distorted perspective and surreal representation. The artwork captivates with its dynamic composition and unusual elements. At the center of the piece, there is a bright orange fish depicted only by its profile and a single eye, adding a sense of mystery and uniqueness. The semi-open mouth and sharp teeth give the animal a powerful and intriguing presence. Alongside the fish, other alien and whimsical beings populate the scene, creating an atmosphere of fantasy and stimulating the viewer's imagination. The use of vibrant and blended colors, such as orange, yellow, and splashes of blue, contributes to a visually captivating and evocative effect. Evans' artistic process, guided by intuition and a connection with the canvas, conveys a sense of liberation and overcoming limitations. His Aphantasia becomes an integral part of his artistic style, allowing him to experiment and follow a unique creative flow. The artwork "Seaside Drama" reflects the joy and passion that the artist experiences in painting, despite the personal challenges he faces Christopher Evans' art invites the viewer to explore inner worlds and embrace the unexpected Through his artistic expression, Evans demonstrates that art can be a powerful form of communication and personal transformation. His ability to create captivating and suggestive works despite his unique condition is a testament to his dedication and his ability to find beauty and inspiration in every moment.

Art Curator Martina Viesti

Christopher Evans

Seaside Drama

Cony

Artists have always experimented and created works that go beyond reality, exploring imaginary worlds and creating characters that defy the conventions of real life. From ancient mythologies to contemporary works of fantasy, art has given us a wide range of fantastic creatures and characters. Think of paintings of mythical creatures such as dragons, unicorns, and mermaids. These fantastical characters allow us to dream, escape from reality, and immerse ourselves in wonderful, imaginary worlds. In addition, art itself can be considered a form of fantastic character. Artists often present themselves as creators of worlds and storytellers, conveying their unique vision through their works. Art therefore, allows us to see the world through the eyes of the artist and explore the incredible richness of his or her imagination. Cony creates veritable universes governed by a myriad of characters that are one on top of the other. Wide-eyed alarm clocks, clouds with legs and shoes, bored-looking bunnies with anthropomorphic bodies are just three examples of characters created by the artist.

Cony

There is no perspective, no three-dimensionality. One gets the impression that all the elements of the composition are squeezed between one plane and another, creating a two-dimensional structure composed of flat lines and fields. In fact, the beauty of Cony's works lies precisely in this: creating fantastic worlds and universes without the use of sophisticated spatial devices but using only line, color and expressiveness. Indeed, the pictorial mark is decisive, without hesitation and perfectly delineates the physiognomy of the characters depicted. The color also separates the space of the work into several zones, paradoxically going to create movement in a two-dimensional space. This expedient makes it possible to best emphasize the characteristics of the characters, making the vision dynamic, always new and unique. With the works, Cony transports us to new worlds, reminding us of the joy of imagination and the fact that the latter should always be vivid and fervent even in our adult hearts.

Art Curator Lisa Galletti

Cony

Character I

Cony

Character II

Dalia Slep

Dalia Slep is an artist who finds in painting a personal reflection of the world around her, where wonderful, heart-touching events coexist with depressing, sad, or even traumatic factors. Her artistic expression provides a privileged means of communication to convey what words often struggle to express, with the intention of touching the deepest emotional chords of the viewer. Attracted to abstract art and its freedom of creativity, Dalia transforms her artistic process into a journey of self-discovery and trust in her creative instinct. In the exhibition "CENSORED," Dalia Slep presents the artwork titled "New Beginning." This painting, created using fluid acrylic strokes, unfolds without defined shapes but through blending brushstrokes of color. The artist creates an abstract atmosphere that evokes the sensation of an ever-changing landscape. Vivid colors and flowing shades merge together, forming a symphony of hues that evoke emotions and stimulate the imagination. "New Beginning" captures attention with its dynamic composition and bold use of color. The fluid brushstrokes and lack of defined contours allow viewers to immerse themselves in the artwork and interpret it based on their own experiences and emotions. The artwork conveys a sense of movement and transformation, suggesting a new beginning filled with hope and possibilities. Through her abstract painting and vibrant color language, Dalia Slep invites viewers to explore their inner selves and open up to a range of emotions. Her ability to communicate complex feelings through fluid brushstrokes and chromatic harmony demonstrates her artistic mastery and the capacity to evoke a profound connection with art. "New Beginning" embodies Dalia Slep's artistic philosophy, aiming to touch the depths of the observer and initiate an emotional and intense dialogue between the artist and the viewer.

Art Curator Martina Viesti

Dalia Slep

New beginning

Emna Daoud

“A well-executed representation has the power to awaken our senses, immerse us in a rich visual world and evoke deep emotional resonance. Painting has this unique ability to bring things to life, making it captivating and powerful” Emna Daoud

Games of light and shadow, illusion of reality and exchange of energy between work and viewer. These are the characteristics that emerge from reading the works of Emna Daoud, who is presenting at the CENSORED international art exhibition organized by the M.A.D.S. international art gallery. Her compositions are simple, meticulously detailed and balanced. The surface of the painted fruit looks velvety. This expresses a tendency of the artist to fervent naturalistic curiosity and realism. The extraordinary figurative details such as the interior of some fruits such as the kiwi and the use of an unidentified light source in a gloomy context derive from Caravaggesque artistic influences. The velvety texture, on the other hand, derives from the works of Louyse Moillon, a 17th-century painter. This is in regard to the works Petit pain, prunes et citrons; Le kiwi ouvert ; Petit pichet et poivrons. A second strand of Daoud's still life (Sur la route de Sidi Bou, Graines et terre, Interstellar) in which she reveals her ability to change perspective, to break down and control the forms and masses of objects, coming to delineate her very personal style. No longer aiming to execute a work as realistic as possible but to give the viewer a different point of view, she depicts fragments on a black background. In her recent works on large canvases, the artist depicts fragments on a black background: often a fragment of fruit and a fragment of pottery, the color of which contrasts with that of the fruit. The choice of a black and brown background separating the two fragments creates a strong visual tension, highlighting the contrast between the textures and colors of the two elements depicted. Painting these fragments in large format gives a new, surprising dimension to these objects, which acquire an unexpected visual power. In this way,

Emna Daoud

Emna highlights those elements of everyday life that are often overlooked or considered unimportant and focuses the viewer's attention on the most vibrant details of these objects, their hidden beauty, vibrancy, and presence. To the still life Emna adds an additional element that becomes her hallmark, ceramics. Having grown up in Sidi Bou Saïd, a place emblematic of the richness and diversity of Tunisian culture, Emna is immersed in this culture, where Andalusian, Arab, and Berber influences blend harmoniously and continually feed her painting. The decorative motifs found in arabesques, handicrafts, and local ceramics reveal an exceptional cultural heritage and have profoundly shaped and nurtured her artistic identity. She is fascinated by the way these small motifs on ceramics stand out from the shiny surface and contrast with the color of the pottery. The vivid, velvety texture of a fruit or the opalescence of a ceramic, present in her everyday environment in Tunisia. Emna Daoud was born in Tunis in 1998. She lives and works in Paris. From 2002 to 2007, she grew up in Strasbourg, in the culturally rich region of Alsace, with its exceptional architectural heritage and the many studios of artists such as Solange Chouchana and Myriam Kotrys, which she frequented assiduously. This experience awakened her artistic curiosity and she began to paint. Between 2008 and 2016, she returned to Tunisia, where she painted in two renowned studios, those of Mustapha Raïth in Sidi Bou Saïd and Mhamed Ressaissi in Carthage. In August 2013, Emna was selected to exhibit with painter Mhamed Ressaissi at Galerie Hédi Turki in Sidi Bou Saïd, Tunisia. In 2016, she returned to France and settled in Paris.

Art Curator Mara Cipriano

Emna Daoud

Petit pain, prunes et citrons

Emna Daoud

Le kiwi ouvert

Emna Daoud

Petit pichet et poivrons

Emna Daoud

Sur la route de Sidi Bou

Emna Daoud

Graines et terre

Emna Daoud

Fabrizio Tedeschi

Abstract and gestural art is the mirror of the artist's soul, the way in which he can fully express himself, with absolute freedom, without filters. This is precisely what we are faced with when observing the works of the Italian artist Fabrizio Tedeschi, of which we see here three splendid examples, which well represent a series of works to which he is particularly attached. Art and spirituality are often an indissoluble union in many peoples and cultures, in every part of the world Since the dawn of time, art has been the most effective way of expressing oneself, of transforming thought into concreteness and the spiritual component that man seeks is driven by that irrepressible need to seek answers, to find a point of reference: therefore they are two aspects that no one, in any era, even if distant and different from each other, can give up. This marriage is transposed by Fabrizio in the works of this series. An element present in many cultures closely linked to spirituality is the totem: often a work of art of exceptional beauty. This element is the key to understanding, the starting point, which paves the way for the reflection and conceptuality of these creations: Fabrizio offers us a reflection on today's society in which spirit and reality collide, daily life and deep reflections intersect, they seek a dialogue, a meeting point, but often end up colliding. This millennial clash / encounter is transposed by the artist into his works through a very bright and contrasted chromaticism through which he photographs reality, life, everyday life. We are faced with shapes, colors, shades, textures, signs that meet, overlap, come into contact with each other, mixing, conversing, giving life to a real symphony of elements. He places us before our eyes with his contradictions and at the same time his synergies. In one of the work African totems, the artist also makes a precise reference, even figuratively, to the continent where this separation between real and spiritual is really very very thin, much more so than in the rest of the world, especially in our Western world And in which the symbology is really very strong and important. The same chromatic choice of the artist, in the various works presented here, is an example of a further tool used by him to impress a particular state of mind and sensation in the investigation of the work of art and the reflection that it gives rise to.

Art Curator Silvia Grassi

Fabrizio Tedeschi

Fabrizio Tedeschi

Totems

Fabrizio Tedeschi

African totems

Hiroshi Wada

Hiroshi Wada is a talented artist based in Japan, renowned for his calligraphic works that have garnered international attention. His art explores profound themes of world peace, beauty, love, and the importance of living life to the fullest. In the exhibition "CENSORED," Hiroshi Wada presents two significant pieces: "BRIGHT 02" and "SHOUT 01." His distinctive technique revolves around the bold use of black ink on paper, creating a striking visual impact. The strength and intensity of the black color beautifully contrast with the delicate whitish tone of the paper. The lines and forms in the artworks are marked by fluid expressiveness, reflecting the artist's spontaneous approach during the creative process. In "BRIGHT 02," the composition exudes a more chaotic nature, while in "SHOUT 01," attention is focused at the center of the piece.

Hiroshi Wada

Through his abstract calligraphy, Hiroshi Wada manages to convey a sense of vibrant energy and movement. The black ink expands across the paper, allowing details and forms to emerge organically and evocatively. Wada's works represent an intersection between chaos and harmony, providing viewers with a space for deep contemplation about the profound meaning of life. The deliberate use of black ink creates a visual immediacy, allowing each stroke to dance upon the surface of the paper. Through "BRIGHT 02" and "SHOUT 01," Hiroshi Wada invites us to explore his unique artistic world, opening doors for profound reflections on the power and beauty of art as a universal mode of expression.

Art Curator Martina Viesti

Hiroshi Wada

Hiroshi Wada

SHOUT

Hiroya-YAMADA

Hiroya-YAMADA's works convey balance through attention to the architecture of forms. Hiroya develops an awareness of pictorial space and constructs a scenario of lines, curves, and rectangles. The contamination between Eastern and Western figurative culture is well expressed in his works and makes them unique in the context of world art: he lives in Japan and studied in France, thus in Europe Hiroya's art is afferent to the strand of geometric abstraction; it is a form of abstract art based on the use of simple geometric shapes combined in subjective compositions on unreal spaces. In the case of our artist, these forms are inspired by reality and therefore maintain vague references to it, present in the colors and overall vision of the work. Geometric abstraction represents the height of a non-objective artistic practice, which necessarily emphasizes or draws attention to radical plasticity. Wassily Kandinsky, one of the forerunners of pure nonobjective painting, was among the first modern artists to explore this geometric approach in his abstract work Other examples of pioneering abstractionists such as Kasimir Malevich and Piet Mondrian also embraced this approach to abstract painting However, geometric abstractionism rejects one of the key elements of Hiroya-YAMADA's works, the emotional component. Therefore he, while fitting into this current, brings a major innovation. The inspiration that leads artist Hiroya-YAMADA to produce his works comes from the events of his daily life. The emotions, the feelings that Hiroya experiences become lines and forms. A muted palette characterizes his art, and his picture storytelling does not neglect depth, especially in Guardian of the forest and HIDE AWAY. Here, as the artist states, “The composition of the screen with various strong and weak lines is like the framework of the hierarchy of the architectural structure, and it is like the floor plan of the house and site, and the flow of the viewer's line of sight wanders around the whole screen. The artist himself expresses escapes from everyday thoughts and hidden paths as scenes of wandering while enjoying the composition of lines”. In Guardian of the forest, an "elongated black silhouette element has been added to blend in with the abstract square shape, which is mainly green It also resembles a number of humanoid figures, and is constructed and expressed" "The three emotions of “oy, anger, and sadness that spring up in the heart and drift in different forms are expressed in Pathos flottante as floating bodies like black clouds. The blue sphere symbolizes the soul and expresses the elusive feelings while arranging different forms of emotion and soul".

Art Curator Mara Cipriano

“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)

Hiroya-YAMADA

Guardian of the forest

Hiroya-YAMADA

HIDE AWAY

Hiroya-YAMADA

Pathos flottante

Humans Sato

In the depths of human existence, art stands as a bulwark against dehumanization. Through the creative act, man confronts the invisible threat that creeps into our modern society: the loss of our own humanity. When technology envelops and absorbs us, when the world rushes on relentlessly, art invites us to slow down. It calls us to an immersion in the depths of our being, where time dissolves and reveals our authentic essence. Art creation allows us to break out of the confines of conventional reality, to challenge certainties and open up to unknown worlds, and in this boundless journey, we realize that our humanity cannot be imprisoned in rigid patterns or predefined roles. Art invites us to embrace ambiguity, to welcome the challenge of the unknown and to experience the infinite nuances of human existence. Paradoxically, through the process of creating art, we often unhinge those rules, those theories that can be considered the foundations of our world. And this is how worlds are created that, in reality, could not exist, excerpts of the universe in which everything is possible and there is no limit to the irrationality of things. Humans Sato through his works literally catapults us into new worlds in which the spatial rules that characterize reality, are disintegrated. In their place, we find a multitude of representational planes that intersect, know each other and unite with one another. Although the artist uses photographs to shape his works, the concept and what results from his art turns out to be completely the opposite. In a photograph in fact, there is the more or less faithful reproduction of the real world. In a photograph, all the elements of the world are in place and the laws that govern our existences are there, tangible.

Humans Sato

What comes out of Humans Sato's art, however, is something different. There is no faithful reproduction of reality but a sum of representations that rather than going to witness something go to tell an event. In fact, there is a feeling that these works are a collection of memories, flashbacks of past moments. Our brains process what happens, and often, in our minds, events and things blend together, become confused and acquire subjectivity. In this sense, the artist's works seem to be reminiscent of the amalgamation of thoughts and memories that take place in our minds and the result is no longer a faithful reproduction of reality but a revisiting of the world, mixing landscapes, elements, objects and moments of life. What comes out is an art made of collage between various images that does not want to arouse objectivity but rather sensations and emotions that, that set of photographs merging in unison want to suggest. In "Kankakei Valley," a multitude of images peep out from the plane of representation. All around a photograph of an archipelago stand images of places, buildings, roads and vegetation. These merge with one another forming multiple planes of representation that find their identity only when added together. Humans Sato is capable of producing atmospheres, of creating places in which everything that place is condensed. He reveals its essence as well as its peculiar characteristics. The artist departs from the strict dictates of reality by telling us about the multiple characteristics of a world encapsulated in a single work of art.

Art Curator Lisa Galletti

Humans Sato

A Scene Around Mitake Valley

Humans Sato

Frog King

Humans Sato

Kankakei Valley

Humans Sato

Nakayama-Senmaida

Paddy Field

Humans Sato

People dream twice

Humans Sato

Showa Era Retrospective Museum

Julia Szeder

Julia Szeder (b. 1964, Budapest) lives and works in Budapest. In her everyday life she is a mother, grandmother and civil servant. Since 2021, however, following a painting course at the opening of a beach on Lake Balaton, a whole new world has opened up to her through painting. In her first encounter with acrylic paints and canvas, the colors, techniques and place came together in a magical way to create an unforgettable experience. After this revelation, he continued to paint as a hobby, participating in workshops, online courses and artist camps. Slowly but surely, she found my personal touch and developed her own individual style. She creates paintings mostly for friends and family. These artworks usually stem from a photo given to her by them that captures one of their personal memories or a place dear to them. She adds a touch of flavor to her perception of their story by inserting stamps into the landscape in the most unexpected and surprising places and ways. These stamps contribute to complete the story he would like to tell and that his clients wish to immortalize. He uses the knife-impasto technique, Mediterranean colors, and a keen sense of harmony and proportion to transform his clients' earthly experiences into something eternal. This is how the artworks 'impasto stamps' are born. The work Censored village features a typical postcard landscape, pink houses and pastel colors against a green background. Another typical postcard landscape is Censored windows. This time the color yellow prevails, shining in front of the blue sky with overhangs of orange, as if the moment depicted is that of sunset when the clouds turn yellow and orange. From the windows of the houses, however, what can be seen in a voyeuristic spirit are not just people, but internationally renowned works of art. The idea is to show art and wanting to hide it by simply closing the windows. Similarly, censored art is hidden from people's eyes. Finally, to be exhibited is the work Censored beach, a beach with purplish hues. Numerous stamps and artwork return to the cliff, beach and sea.

Art Curator Alessia Maniscalco

Julia Szeder

Censored village

Julia Szeder

Censored windows

Julia Szeder

Censored beach

Justin Chan

On the occasion of the new exhibition organized by M A D S Art Gallery, "CENSORED", Justin Chan exhibits six "taboo" arworks" according the concept: throughout history, there have been quite a few events for which an artwork has been judged immoral or over the top. In "JESUS CRIES", we see a representation of a God who looks like a Matryoshka in tears: fantastic narration of what is the reality and the course of the Earth, God is not happy with what is happening here and what we are doing. Maybe it’s better to act, to learn to modulate our behavior and to be better human beings, otherwise the punishment might come, again. In "D MONKEY KING", an eye fixes us intensely and stands: it is that of wellknow figure in the Chinese Mythology, who raised hell both in heaven and on Earth In "D UN-DEAD", an anguished and disturbing atmosphere is created: many arms stretch upwards, as if they wanted to prevail over each other and be noticed, with the hope of being part of those choices to be able to return to earth.

Justin Chan

The artist decides to stage another type of censorship, historical one can say: the one related to sex and genitals In "MORNING GLORY", we find in fact the representation, largely abstract, of the erect male penis: the title, as explained by the artist, actually has a double meaning, since it is linked to a green vegetable considered one of the healthiest ever and widely used in South East Asia. In "NO PAIN, NO GAIN", the protagonist is the vagina: the possible discomfort a female may experience in her initial virginal sexual encounter before the pleasurable feeling come. "WELCOME HOME" depicts the life is the only path to death with a three-dimensional skull with a very large glitch effect in the foreground that seems to want to put face to face with us. Justin Chan pushes his limits, taking those topics that, par excellence, represent taboos that we tend to avoid or talk about - such as sex, death, spirituality - and puts them on stage, forcing us to deal with it After all, art is also this: showing off something that everyone doesn’t want to see.

Art Curator Sara Grasso

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

(Justin Chan)

Justin Chan

JESUS CRIES

Justin Chan

D MONKEY KING

Justin Chan

Justin Chan

MORNING GLORY

Justin Chan

NO PAIN, NO GAIN

Justin Chan

Katarina Reiter

Katarina Reiter investigates the awareness of identity through art, it becomes like a philosophical mantra, a mechanism of identity construction which also leads to its deformation, but which almost always has the woman at its centre, whose awareness of the self is illustrated through the landscape of his body. Know yourself is the famous imperative of Socratic derivation, even if, as Plato testifies, Socrates read the sentence on the pediment of the Temple of Apollo at Delphi. From that moment he made it the key to his philosophical thought, inviting his followers to dig into their own interiority. An introspective investigation, therefore, aimed at facing one's desires and wills. But what is the goal? The achievement of a balance, essential to regulate one's life on a daily basis. And this is where art takes over with its clarifying function. An ordering mechanism of existential chaos that manages to show with images what appears so difficult in words. Suddenly the concepts of awareness, personal identity and psychological projection take on the symbolic features of a mirror, a deformed portrait, a mask and much more.

Katarina Reiter

It slowly builds its own emotional sphere, made up of all the emotions that belong to us. Just all. Even the ones you're afraid to express, the most shameful, weakening. However, personal identity cannot be stable. It changes in relation to personal growth and interaction with the system of relationships in which it fits. Like a connecting membrane, apparently fixed and crystalline, but actually fluid and viscous. It changes over time, with a gradual and constantly evolving growth, because it is bent on experimentation. It manifests itself in self-awareness, as the flow of experience that passes through the individual and deforms him internally. It's an interlocking mechanism, a domino effect game, which starts from selfknowledge. From that dogma chewed so many times as to become a mantra, yet fundamental in the definition of the individual and in his ability to relate to a world that wants to satisfy his needs. Know yourself. From there everything begins and there everything finds its definition.

Art Curator Erika Gravante

Katarina Reiter

IN THE AIR WHERE SHE PLAYS THROUGH FAMILIAR SENSATIONS

Katarina Reiter

THE ONE IN THE GARDEN

Katsuya Ishikawa

In the endless labyrinth of human minds, the thoughts of strangers dance like flames burning in the dark. Each of them is a secret universe, a boundless journey into the realm of being. But what happens in the depths of those inner worlds? What lurks behind the eyes of those who walk beside us? Perhaps stories of love and loss, of broken dreams and uncertain hopes take shape in their minds. Perhaps they struggle with doubts and fears, like rushing winds that shake the foundations of the soul. Or, they may resonate with melodies of joy and laughter that are lost in the air like soap bubbles. The thoughts of strangers are a magic carpet that plows through the ether, carrying with them the weight of innermost secrets and unanswered questions. They are like cracked mirrors, reflecting fragments of truth and uncertainty. In every glance, there lies an enigma to be deciphered, a mystery to be embraced. After all, it has happened to all of us, while standing in a car queue or sitting in the subway, to observe people wondering what they are thinking at that precise moment, what feelings they are experiencing, whether they conceal worries within them or whether their eyes shine with joy. When observing Katsuya Ishikawa's works, there is a feeling that all these mysteries, hidden in people's souls come to the surface. As if the artist were revealing to us the contents of the minds of the individuals who populate the world, these works are steeped in Katsuya's feelings perceived in a moment of everyday life.

Katsuya Ishikawa

"Sad looking girl after the rain" is a splendid work that makes us fully understand the artist's artistic process. A girl is staring at an uncertain spot in front of her. Her face is portrayed in profile, and her bob hair reveals a slender, delicate neck. The gaze is lost in the void, the eyelids are half-closed, and the irises are veiled in a dark shadow. Her lips are pursed and the weight of her body is shifted forward, as if there is an imaginary boulder on her shoulders, levering her posture. It is a rather common image. We will never know what that girl was thinking about, we can only imagine. Maybe she was worried about something, some impending deadline, love pains or something more important. We cannot know, and that is precisely why Katsuya's art comes to the rescue. The artist deconstructs the girl's memory by creating, from the ashes of memory, a new world and a new atmosphere. The girl is always sad, she always has that somber and lost look and yet, she is no longer on the subway or sitting on a chair in a café. All around her , fantastic and colorful elements unfold, investing her body, her clothes and her hair, incorporating her, slowly, into the chromatic whirlwind. Katsuya has constructed a new universe that finds its nature of being in that girl's gaze. The chromatic world was made especially for her, processing what the artist saw and imagined when she saw the latter's gaze.

Art Curator Lisa Galletti

Katsuya Ishikawa

Sad looking girl after the rain

Katsuya Ishikawa

Woman seeing off her child

KAWASAKI

In the whiteness of a blank canvas, the pictorial sign rises like a timeless harmony, a silent dance between the artist and the canvas. Like a thread of ink dancing on the surface, the sign arises from the fertile mind and materializes in strokes that speak without words. Painting, the universal language of the soul, expresses itself through sign, the vehicle of elusive emotions and unexpressed thoughts. Art in fact, transcending the word, allows the artist to narrate without boundaries, to paint with the soul and to communicate without conceptual limits. Each brushstroke is a breath, a gesture laden with meaning. The lines intertwine and separate like threads of a story that reveals itself little by little. The artist enters the labyrinth of imagination, trying to capture the imponderable, to translate the unspeakable into vibrant strokes of color. The pictorial sign is the embodiment of thought materializing on canvas. It is the expression of the artist's essence, the intimacy of the soul that becomes visible, palpable. Every curve, every nuance, every brush stroke tells of a unique intention, an inner universe that opens to the world. And like the echo of a whisper, the pictorial sign resonates with the viewer, arousing deep emotions and feelings Kawasaki's " 運 命 〜 Unmei," literally "Destiny," takes the definition of pictorial sign in stride, appropriates it and erects the latter as the alphabet for his art The color sign, in its purest and most instinctive expression is cast above the pictorial superce. The pictorial mark is dense, glossy, highly saturated with color and stands, with all its expressive power above a totally black backdrop illuminated by a beam of light in its center. The extremely simple features of this backdrop disproportionately increase the chromatic power of the color trace and, inevitably, one gets the impression that those rivulets of bluish, green, red, and yellow hollor are about to spill out of the work. The color, thrown onto the support as if dripping, transforms the two-dimensional plane into a three-dimensional space exclusively with its expressive power. What's more, the expressiveness is so high that it leaks out of the black and white backdrop to bathe the white edges of the composition. At this point in things, the color has spilled out of its seat, its expressive power too powerful to be contained. And here, to the rescue, comes a beam of bluish color. Its sinuous lines, with sharp and perfectly defined contours, intersect with the rivulets of color that stain the surface going to bring balance to the entire composition Kawasaki's art screams, it is an instinctive chant to the strength and power of pure color that unhinges the rules and material boundaries of pictorial composition

Art Curator Lisa Galletti

KAWASAKI

Kengo Hanano

Broken lines, sharp angles, asymmetrical shapes. Buildings that seem to have been disassembled and reassembled in an unconventional way creating a feeling of controlled and balanced chaos. Kengo Hanano through his works narrates worlds populated by buildings and structural elements that have within them elements typical of deconstructivist architecture. This type of architecture is a hymn to geometric anarchy and structural chaos that forces us to rethink space itself. It is as if his buildings have decided to rebel against the conventional laws of architecture, defying gravity and dancing beyond straight lines. It is a movement that invites us to abandon comfortable certainties and plunge into the abyss of uncertainty. Through its disjointed forms and shattered contours, deconstructivist architecture forces us to reconsider our perceptions of space. There is no longer a single privileged point of view, but a multiplicity of angles and perspectives that overlap and intertwine. It is an invitation to explore, to push beyond the boundaries of pre-packaged reality and embrace the inherent complexity of our world. Kengo Hanano, enrolled in the faculty of architecture, feeds and waters his works with deconstructivism by renewing the flourishing and noble relationship between architecture and figurative art. In a sense, looking at the artist's works, one has the distinct feeling of observing architectural boards prepared for a project.

Kengo Hanano

One can see elevations, sections of buildings, and even an aerial plan illustrating the site of interest for the construction of the building. Yet, these are not blank boards, extremely crisp and clear. In Kengo's works, shapes, dimensions, distances between various elements and architectural structures take the form of real art. And so it is that the aerial view of a portion of a city is transformed into a chromatic grid of complementary colors. Yellow streets join purple buildings and green areas characterized by sinuous lines. It is a city plan, but it is also a work of art. What the artist implements is a sublimation of the given and the real element and, using color and form, elevates the latter to an art form. What results is an eccentric, one-of-a-kind work, endowed with a soul otherwise not visible if it were white, gray and black, confined to its project sheet status. Kengo infuses his works with the love he has for architecture and vice versa, dousing the latter with color, with black, arcing clouds, with silhouettes of trains whizzing past the viewer. If deconstructivist architecture has the virtue of making us abandon prefixed formulas and the traditional element, Kengo's works are the direct consequence. A marriage of two arts, the figurative and the architectural, the latter is an art that has its own soul, built on the basis of the artist's studies and his excellent spatial and chromatic sensibility.

Art Curator Lisa Galletti

Kengo Hanano

Archi gram Sectional Perspective of The X

Kengo Hanano

The X East Elevation

Kengo Hanano

The X Site Plan

Kengo Hanano

Utopia×Dystopia in Future

Kerstin Kager

Kerstin Kager, a talented artist hailing from Graz, Austria, has captivated audiences with her remarkable artistic journey. Born in 1966, Kager's lifelong fascination with colors, shapes, and shadows has shaped her unique artistic expression. With a background in language teaching and art therapy, Kager brings a profound understanding of human emotions and experiences to her creations. In her artwork, Kager employs expressive colors in her paintings while also employing bold, powerful lines in black and white. Her distinctive style often encompasses landscapes, bodies of water, and figures in motion, capturing fleeting moments of everyday life. With her sketchbook always at hand, Kager spontaneously records scenes that leave a lasting impression during her travels around the world. In the exhibition "CENSORED," Kager presents two captivating pieces, namely "Dirndl mit Rosen" and "Dirndl mit Tascherl."

Kerstin Kager

These artworks depict women donning traditional attire reminiscent of bygone eras. In "Dirndl mit Rosen," a harmonious symphony of violet hues envelops the canvas as the woman gently holds a bouquet, perhaps of roses. Her serene expression and smile evoke a sense of tranquility. In "Dirndl mit Tascherl," the woman again wears traditional garments in shades of violet, but her pose exudes a dynamic energy, capturing a moment of movement frozen in time. Kerstin Kager's artistic prowess extends beyond the mere depiction of figures and colors. Through her meticulous brushwork and thoughtful composition, she bridges the gap between past and present, infusing her creations with nostalgia and captivating beauty. Her works invite viewers to reflect on the significance of cultural heritage and personal identity, instilling a profound appreciation for history and tradition. Kager's artistic journey is a testament to her ability to convey complex emotions and universal experiences through her visual language. By immersing oneself in her evocative works, one embarks on a contemplative exploration of the human condition and the enduring power of artistic expression.

Art Curator Martina Viesti

Kerstin Kager

Dirndl mit Rosen

Kerstin Kager

Dirndl mit Tascherl

klekkso

The surface of things gives enjoyment, their interiority gives life. (Piet Mondrian)

The evocative force of Featherlight lies in the dualism of opposites, with frenetic black brushstrokes that follow one another with a centripetal movement on a white background. The chromatic exuberance, a typical expression of klekkso's works, is reduced to its most essential form in order to focus attention on the trend of the lines, now clear and defined, now blurred and rarefied. The composition arouses an immediate sensation of incessant fluctuating, like a flock of birds whirling their wings, inflated by the wind. The gaze is directly projected into this whirlpool, and lets itself be carried away by the dark spirals, until it reaches the center of the work, also indicated visually by two points. These are the only bright blue color notes which, like the two foci of an ellipse, are the fulcrum of a motion of perturbing beauty. With Featherlight, the artist temporarily puts aside the meticulous pictorial motifs of which he is a master to explore a uchronic and metaphorical dimension. The artwork has the symbolic power of an introspective journey, which unfolds in the mind without rhetorical frills and which suggests a virtuous path of awareness. The spectator can only let himself be guided by the expert guidance of the artist, and be surprised by the suggestion of an authentic and pure message.

Reality is to be found in lightness and darkness. (Pablo Picasso)

Art Curator Chiara Rizzatti

klekkso

Featherlight

Koz

In the vast panorama of human perspectives, there are a variety of unique ways of perceiving the world around us. Among them, a different perception of the world around us can open doors to works that deviate from normality and offer a new understanding of existence. But most of all, an anatomically different view of reality prompts us to consider the very concept of identity and individuality. Breaking with conventional norms, what emerges is a challenge to the way we define ourselves and others. These works can push us to question the foundations of our identity and our perception of ourselves as human beings. Koz bases her art on her "different" view of the world. An anatomically distorted view that results in a narrower field of vision than a normal person. The artist has long wondered about her ability to perceive everyday stimuli differently, and after finding an answer to her diversity, she decided to make passionate and entirely experimental use of her particular vision. And that is how her works are born. Using paper, a pen with blue ink juxtaposed at times with pastels of different colors, the artist succeeds in an excellent way in giving us an example of her vision of reality by creating art characterized by a unique technique. In fact, the pen moves sinuously on the paper.

There are no sharp lines but a whole series of curves and undulating elements that go to make up the entire composition. Fish are her favorite theme and go perfectly with the undulating feeling that the pen stroke gives off. Blue fish with large dancing fins fit into the compositional space and become one with the backdrop. Sometimes characterized by undulating elements following one another, the backdrop accommodates the subjects and makes them part of it. Yet, there is something that supports all these soft elements. A line, also sinuous, often rises in front of the whole composition. It is thick and reminiscent of the strands of light present in our field of vision when we look directly at the sun or have a pressure drop.

They are arzygous strips of color, filaments and color nodes that branch throughout the composition acting as a true structural skeleton. Sometimes the line is alone, standing in all its shimmering chromatic beauty against the sea of blue ink. At other times, the tangle is so formless that it goes to form real knots, saturated with color and expressiveness. Koz transforms her personal and unique worldview into art that, needless to say, is unique in that it is the result of the artist's specific and particular vision. It is an inimitable art that inextricably connects with and enhances the artist's true essence, making us observers experience, if only for a few moments, her personal worldview.

Art Curator Lisa Galletti

Koz

Experiments at the river side II

Koz

My favorite colors

Koz Snowflakes

Koz

Strawberry Milk or Au Lait?

Leon Amemiya Ph.D.

In the vastness of the cosmos and in the depths of our souls lie secrets that have fascinated mankind for centuries Two of these mysteries are the Copernican heliocentric theory and the center as a soul. In the 16th century, the daring Polish astronomer Nicolaus Copernicus upset the established cosmic order by proposing a revolutionary vision: the Earth is not at the center of the universe, but revolves around the Sun. This theory, known as heliocentrism, offered a new perspective on the wonders of the cosmos and disrupted traditional beliefs. Copernicus taught us that the Earth is not the centerpiece of the universe, but a modest inhabitant of a vast, moving solar system. But what is deeper than the outer universe? It is the inner universe, our center as soul. In many spiritual and philosophical traditions, it is believed that within each of us there is a core of life energy, an inner light that guides us on the path of life This core as soul represents our most authentic essence, the place where our values, aspirations and connection to the world around us reside. Just as Copernicus showed us the importance of shifting our focus from the center of the Earth to the center of the Sun, we can apply the same principle to our human experience. By shifting the focus away from our individualistic egos and opening to the vast universe of emotions, relationships and compassion, we discover the power of the center as soul. Thus, Copernican heliocentric theory and the center as soul come together in a fascinating dance between the outside and the inside, between discovering the laws of the universe and exploring the depths of our being Leon Amemiya Ph D 's "Copernicus'heliocentric theory" invites us to reflect on this interconnected relationship between the cosmos and our soul, and she does so in images, superimposing the image of the heliocentric system with a swirling spiral, filled with colors, that is none other than our soul. Against a bluish backdrop, short, quick strokes of color peep out from the depths. They move in unison and all revolve around a fulcrum, around the center of the composition. Small, colorful swirling planets take the form of brief, fleeting emotions that populate every second of our existence. Color and form are, in this case, the artist's favorite tools for shaping such complex concepts that, for centuries, have inspired theories and philosophies about their nature and essence. The artist succeeds in uniting the vastness of the cosmos with the depths of our soul, literally making them one On the one hand the widest and most infinite exterior possible, on the other the deepest and darkest interiority These two concepts, although they may seem antithetical are all here in this work. Leon Amemiya, through art and her tools, has managed to make us understand the true nature of these elements, making the abstract tangible through color and form. For a moment, the vastness of the cosmos joins our soul. Or perhaps, we should remember that this has always been the case. What we see and what we are is composed of atoms from all parts of the universe, from the edge of space or perhaps from the explosion of a supernova. In this sense, "Copernicus'heliocentric theory" is literally the vision of the whole, of all matter that makes up the universe and our self.

Art Curator Lisa Galletti

Leon Amemiya Ph.D.

Copernicus'heliocentric theory

Lizaveta Chapaikina

Lizaveta Chapaikina (b. 1998, Minsk) lives and works in Valencia, a city to which she moved in 2021. She began studying academic drawing with a teacher at the Academy of Arts in 2017. She is inspired by her personal experiences, but also finds inspiration in all things around her: people, nature, movies, music. The work nothing is rich in detail and totally unconventional; it would take a long time to fully enjoy it and grasp all the details. What can be grasped at first glance is that there is no standard trend; the work can be viewed from any position. Hieroglyphics, cartoon characters, inscriptions, still life, and animals appear. A man is reading a book, probably The Little Prince - considering the depiction above the pages. The man is faceless, or rather, his face is replaced by that of another man on whose shoulder rests the paw of a black dog. This man's face is covered by a kind of red scar: a smiley made with red paint. The whole finds within the canvas its own balance in the chaos and nothing prevails over the rest in this free and creative flow. The second work exhibited by Lizaveta Chapaikina is the hole, a much simpler work than the previous one compositionally. The light blue color prevails, of which the exception is the brown hair of the main character and his red shorts. The gaze of the man, who is sitting on the ground and supporting himself on his outstretched arms, is lost in the void, pensive and melancholy. Finally, we can see she, the last work on display, with a horizontal progression and starring a figure of a naked woman. The woman is sitting on the ground, floor and background merging into one color: bright blue flecked with orange, green and other shades. The nape of the neck, without hair, rests on the wrist of the right arm, while the left arm is stretched out in front of the figure. The legs like the right arm are also bent and cover the woman's private parts, censoring her nudity.

Art Curator Alessia Maniscalco

Lizaveta Chapaikina

nothing

Lizaveta Chapaikina

the hole

Lizaveta Chapaikina

Luly Santos

Luly Santos, a contemporary Mexican artist, presents two artworks ("VIDA EN MOVIMIENTO”; "HEARTBEAT") deeply connected in terms of color on the occasion of the exhibition CENSORED at M.A.D.S. Art Gallery. Red, orange and violet expand in space in an abstract language that leads the observer to a profound reflection. The choice to narrate through the abstraction of the subject, so vibrant and expressive, helps the artist to connect with the viewer, with the intention of arousing new emotions. The color also seems to evoke feelings and memories related to different aspects of Mexican culture and landscapes. Red is in fact a powerful and energetic color, evoking strong emotions such as passion and love, and here it seems to represent the vibrant spirit of the Mexican people, their profound energy and the passion inherent in the culture itself, also recalling music and dance.

"Color is a power that directly influences the soul."

(Wassily Kandinsky)

Luly Santos

Orange is a warm and dynamic color that often indicates enthusiasm, creativity and optimism. In Mexico, it reflects the lively atmosphere of festivals such as Día de los Muertos, with its colorful decorations and joyful memories of loved ones. On the other hand, purple is a color often associated with mystery, spirituality and introspection. The juxtaposition of these colors evokes a sense of dynamism and complexity, which here intertwine to create new intense emotions. Waves ("VIDA EN MOVIMIENTO") and patches of color ("HEARTBEAT") spread across her canvases, giving rise to a new universe imbued with the beauty of brilliant sensations that, thanks to the silver and gold leaves, come to life before our eyes. Luly Santos takes us far away in space-time, to an iridescent place that leaves room only for the freedom of the spirit, so that it can appreciate the purity and richness of the artistic act in all its magnificence.

Art Curator Francesca Brunello

Luly Santos

HEARTBEAT

Luly Santos

VIDA EN MOVIMIENTO

Macabro Maestro

The three paintings presented at M.A.D.S. Art Gallery by the artist Macabro Maestro, perfectly represents the concept of the CENSORED exhibition. As the artist himself expresses and affirms, the most important meaning of making art, in particular his art, is to <<strike the viewer, focusing on how fascinating a gloomy image can be>>. Looking attentively at the three artworks, it is easy to see the message and the hidden meaning of the scenes represented. Into ‘ Acqua nella Laguna’ in a dark way, using the artificial intelligence, the artist has created an image that refigures real life and a real and sad event that occurs in Venice. In this case, the artist has interpreted the ‘water’ , one of the most important elements of and for our lives, as a negative form, giving to it a monstrous essence that creates a scaring atmosphere that also influences the viewer's impressions. The same aurea can be felt looking at ‘Il gondoliere di notte’, into which. The main character - that gives the title to the piece - is depicted almost confounding himself into the Venetian architectures. Similar to the monster that animate the first piece, the Gondoliere resemble ghosts that fluctuate into the Venetian canals looking for tourists to capture. Moving to another place, this time in Switzerland, the last painting shows a different landscape that focuses more on nature instead of the architecture and seems to be more ‘open’ to space. The fisherman, who seems to be the main character of the piece from the title, is almost invisible, but it is the artist's aim to stimulate the viewer's imagination. The three paintings are the artist's sign; his approach to Francisco Goya dark art to create works that speak mainly of tragedy, macabre and desolate places.

Art Curator Martina Stagi

Macabro Maestro

Orrore nella laguna

Macabro Maestro

Il gondoliere di notte

Macabro Maestro

Il pescatore di Gandria

Maria Pia Malerba

“It is Maya, the veil of deception, which blinds the eyes of mortals, and makes them behold a world of which they cannot say either that it is or that it is not: for it is like a dream.” (Arthur Schopenhauer)

The relationship between man, nature and art has always been a central theme in human history. From the earliest times, human beings have tried to represent nature through art. From prehistoric cave paintings to contemporary works of art, nature has been a source of inspiration for artists of all ages and cultures. The mystery of nature and its contemplation are also the main subject of the entire artistic production by MariaPia Malerba, an Italian-American contemporary artist. In her works, Nature takes on the most diverse forms, focusing in particular on flowers. In her most recent project "Veiled Blossoms", the artist focuses on the relationship between man and nature, unravelling a complex thought that also sees the concept of censorship emerge. In fact, the observer is placed in front of marvelous female bodies wrapped in long veils, which at times allow a glimpse of pale, noble and delicate skin. Enormous buds and petalrich flowers in pastel shades surround the subject, leaving us at the mercy of a rarefied atmosphere balanced between enchantment and enigma.

Maria Pia Malerba

Realized in mixed media, in an extremely sculptural hyperrealist language, these works speak to us of the profound and immortal bond between man and Nature. An intimate and powerful connection that is too often forgotten, leading to an inevitable withering away of life. The beauty and vulnerability of Nature are fundamental characteristics that intersect with each other and help define the balance and complexity of the ecosystem in which we live. Man's desire to hold power, to hide and control his surroundings at all costs, can only lead to rebellion and pain. MariaPia Malerba wants to lead us to reflect on how important it is to create our own critical thinking in this regard, as censorship can have negative consequences on our ability to appreciate and fully understand the mystery of nature. MariaPia Malerba's works of art are nothing but allegories, whose truth is hidden behind the veils that envelop the statuesque bodies of these young women, behind those huge blossoms and withered flowers. As Arthur Schopenhauer claimed, only once the Maya veil is torn, man will finally be able to see the world for what it is.

Art Curator Francesca Brunello

Maria Pia Malerba

Veiled Blossom Bia-s

Maria Pia Malerba

Veiled Blossom Hera-s

Maria Pia Malerba

Veiled Blossom Hestia-s

Maria Pia Malerba

Veiled Blossom Leida-s

Maria Pia Malerba

Veiled Blossom Thea-s

Maria Pia Malerba

Veiled Blossom Zelda-s

Marie Sisley Chancey

Art and beauty make us less alone. Behind the social mask that each of us wears every day, pain, regret and the fear of 'not being like the others' are hidden. Art helps us to understand how our moods are common to many other people in the world. Art restores - to use De Botton's words - the "normality of pain". And it does so by speaking to the heart and emotions of the spectator who observes it, without filters, without fear, art reminds us how pain is part of the human condition. Art fights the false optimism that is sold to us by the mass consumer society. Art teaches us every day what is important in life. Details around which to see the wonder of everyday life. The artist Marie Sisley seems to open up a space with her works, in which it is possible to present several absolutely autonomous themes at the same time. A pictorial polyphony. Works that contain their emotional and aesthetic meaning in the very strength of color. Painting taught her to observe what reality really shows. The eyes tell stories that live in inner solitude, a condition sometimes experienced as a condemnation, but which is also pure liberation, necessary to express who we are and our creative genius. Thus Marie has found a way to share her emotions and sensations through colour, a sort of intellectual and emotional gymnastics that dances on her canvases.

Art Curator Erika Gravante

Marie Sisley Chancey

L'univers en effet

Marie Sisley Chancey

Profondeur

Marie Sisley Chancey

Marta Iwanowska

Marta Iwanowska is a Polish artist based in Warsaw. She has been interested in art and painting since early childhood and has refined her technique through post-graduate studies in drawing and painting. Painting is a way for her to find herself again after a long period of depression. Her art shows the way to find oneself through the expression of longhidden emotions. Painting allows us to express, in an immediate, spontaneous and instinctive way, unknown things about ourselves that we cannot express in words. A form of emotional painting that encourages the expression of denied and repressed emotions, allowing us to listen to them rather than repress them. During the creative process, consciousness is suspended and our inwardness is directly accessed. Painting becomes an instrument of attention and listening, the artist becomes a conscious protagonist of his own gestures, choice of colours and materials, in order to express and transmit the feelings he feels at that moment, isolating himself from the rest of the world, focusing on the canvas, an instrument of emotional exploration. Each artist's work is born from personal experience. The creations that Marta Iwanowska presents in this exhibition contain dreamy tones that recall the nostalgia for the sea and the feeling of freedom that it gives us, with its boundless space in which to lose oneself in thoughts, gazing at the sky that disappears into the horizon. The artist succeeds in bringing these feelings to life through the skilful use of painting techniques. She prefers to use charcoal, pencil and oil paints, which give her works a light and dreamy effect. In this way, the artist succeeds in giving life to portraits immersed in their ecstatic atmosphere, representing their inner mental landscape as they process their personal history in order to find themselves.

Art Curator Lucrezia Perropane

Marta Iwanowska

Dreamer

Marta Iwanowska

I feel numb in this Kingdom

Marta Iwanowska

Once upon a dream

Masaki Hirokawa

Masaki Hirokawa is a distinguished Japanese graphic artist with a special focus on photo collage. At “Censored” exhibition, he presents three artworks. "Casual Sets" depicts three identical half-length women whose gaze is hidden by an elegant dark hat. Emerging is their mouths made up in red makeup, and the central woman holds a rose, the same rose she wears on her hat. As a symbol of sensuality and sophistication, they conceal, as with all Masaki's works, a deeper meaning: indeed, for this artwork, he was inspired by Eastern mysticism and causal set theory, which bridges the gap between quantum mechanics and the general theory of relativity. All events have causes and effects, and they occur simultaneously. Each being is a composition within a separate cell, and although we sometimes feel isolated, inevitably and without exception, bonds of destiny are formed and the connections we make with each other give life to our world. Therefore, God does not create anything without a purpose, so we must live appreciating every moment that arises and cherish every single bond of destiny that unites us.

"Faith," the second artwork in the exhibition, depicts a dark-skinned woman positioned against a background that is also dark, a juxtaposition that highlights the golden elements that encircle the figure: an oval frame behind her, a necklace, her mouth and the nails of two hands that cover her eyes, preventing her from seeing. Nevertheless, a great strength and energy shines through the work-probably due in part to the reference to the color gold, the quintessential symbol of sacredness. For the artist in fact, God is of great importance, and each of his works has a reference to Him. Love is energy and God pervades everywhere as physical existence. To live in this material world, we must keep the game in convenient reality, leaving the place of the soul as an unspoken arrangement. However, God is inherent in everyone, and there is no hierarchy or superiority among human beings; everyone is a unique and precious being. The third and final artwork exhibited, “Quiet", depicts a half-length woman whose painted fingers resemble those of a bird; part of her face is also painted dark, resembling a plumage. The artist therefore invites us to reflect that we are only shadows and the world we see may be without substance. Since this world is inherently empty, it is essential to live without resisting the passage of time. No one can see the future, and living without harboring anxiety in one's heart is challenging. However, the process of delighting in the unseen, never forgetting the dreams, fantasies and compassion within the illusion and living with passion is truly noble. Even though this world is chaotic and full of lies, one must accept everything as a fact and cultivate even the fear within us.

Art Curator Matilde Della Pina

Masaki Hirokawa

Casual Sets

Masaki Hirokawa

Masaki Hirokawa

In the world of painting, artists turn into true alchemists of the soul, capable of evoking atmospheres and memories of life with a single brushstroke Through their touch, works of art come alive with emotion and tell silent stories that awaken memories buried in the abyss of our memory A painter's brushstrokes melt onto the medium like fragments of a dream, weaving a web of colors and shapes that transports us to places forgotten or even never explored. Painting becomes a bridge between the past and the present, a window into our human experience, allowing us to relive precious sensations and moments. The moment our eyes rest on a work, our souls open to encounter time. Vibrant colors or muted hues awaken our dormant emotions, resonating deep chords within us. In an instant, we find ourselves transported to distant places or to our own memory, where joys and sadnesses, loves and sorrows are concealed; in a word, memories. Inaba May's works tell nostalgic stories, where memory is mixed with a dreamy atmosphere in which anything could happen They are evocative works, within which color and form merge with our feelings, catapulting us into that space of world that the artist has depicted The ability to create atmospheres and give them to the viewer, makes May's art instill within us memories but also false memories as the depicted is so vivid that it seems real. And that is how we are catapulted into a scene at night. "An alley of midnight Tokyo" takes us to one of those narrow streets that wind between buildings in the capital. It is late at night and the asphalt is wet. It has probably just rained, which gives the environment a certain freshness and shine. The cool night air tickles our nostrils and cools our shoulders, mitigating the feeling of heat on our legs from the fans All around is rather quiet and every element loses its daytime connotations and colorations to paint itself in the colors of night and neon lights The shadows are elegantly accentuated and the single-point perspective that characterizes the work allows it to emphasize the rather claustrophobic feeling that these small streets squeezed between tall buildings give off. As in a labyrinthine city, humans walk among these streets, reminiscent of ants in tunnels in an anthill. We are infinitely small compared to the vastness of the megalopolis and yet, in this moment-as we walk down a Tokyo street-we feel alone, finally alone. The millions of inhabitants are now asleep and shopkeepers are retiring their stands and signs. There is peace in this nameless street, one can be alone and meditate while listening to the quiet noises of a huge city about to go to sleep. May manages to instill calm, reflection and security by depicting a street full of air conditioners, signs, power lines and garbage bags It seems strange, it seems antithetical, and yet what emerges from this image is the cool night air and the relaxed breath of a city about to fall asleep after the frenzy of the day.

Art Curator Lisa Galletti

May

Afternoon dreaming

An alley of midnight Tokyo

May

An evening in the cafe

Miwha Ikushima

Art is often the meeting of many different worlds. The artist's life experiences are reflected in the works he creates. Every single work tells a facet of the artist, of his life, of what he feels and above all of what he wants to communicate to those who observe his works. In the creations of the Korean artist, who now lives in the United States, Miwha Ikushima, we can really read the stories she is telling us and the works displayed here for this exhibition are a splendid example of this. The artist loves to experiment with different materials, even unusual ones, and different textures, which give three-dimensionality and movement to the works, in a dialogue between different shapes, colors and textures. Every colour, every nuance, every chromatic combination, but also every material, with its texture, its materiality, its sensation to the touch, not to mention the shapes that color and material take, their curves, their angles, their fitting into each other or completing each other by being close: every single element present in Miwha Ikushima's works transmits a single sensation to us, which, uniting with all the others, gives life to an explosion of energy and emotions, to the narration of a unique story, sometimes simply whispered and sometimes shouted out loud. In Red Skin, the human figure is the undisputed protagonist: the clothes he wears, recreated with different materials, fill the space and give movement to the character; the somatic features, albeit hinted at, identify the person, his state of mind and the emotions he transmits through his gaze. In Afternoon running man, the protagonist is always a human figure, but in a completely different, more abstract style, in which the shapes created by the artist, their juxtaposition and overlapping, and the colors give life to the silhouette and the movement of the character and the lively landscape that surrounds him: in abstraction we are able to grasp and distinguish the various elements that make up the scene shown and told. In I live Florida, the landscape that was previously the background of the scene now becomes the protagonist in a blaze of colors and overwhelming vivacity. Here the artist offers us a splendid tribute to the land that he welcomed, where he is welcomed by the colors of nature, but also by fun, where energy and the will to live overwhelm the senses. In this work we see the frenzy, the joy and the bombardment of stimuli that only Florida can give.

Art Curator Silvia Grassi

Miwha Ikushima

Red skin

Miwha Ikushima

Afternoon running man

Miwha Ikushima

I live Florida

Miyuki Suto

Art is not just an external form of expression, but an intimate reflection of the artist's soul. Through creativity and technical mastery, the artist brings to life works that go beyond mere images or sounds. Every stroke, every note, every word exudes the essence of his inner self, a melody that is revealed only through art Art is an intimate dance with the unknown, an act of courage that requires opening oneself to mystery and exploring the depths of one's soul. In bold brushstrokes, in veiled pigments, the artist confronts his own fears, joys, hopes and wounds. Through art, the artist reconnects with his or her authentic being, breaking the barriers of selfcensorship and external judgment. Art becomes an escape from convention, a land of freedom in which the artist can explore and embrace every aspect of his or her being, without fear of being judged or measured.

Miyuki

Suto, paints her works by listening to herself and for herself as if the latter were the chromatic outcome of a cathartic act that takes place within her soul. The artist first examines and then reworks the feelings and events that lie in the deepest part of her interiority through a process that, through color and form, makes visible her mental processes and the rules of her feelings. It is a self-referential art that feeds on Miyuki herself. A continuous cycle of processing and creating something with the purpose of enhancing oneself. "Love Remembered - I remembered to love. And I began to allow myself to be loved" is perhaps the most striking example of this mental and artistic process. A dark pink backdrop invites us to observe what stands before our eyes.

Miyuki Suto

A formless mass of color peeps out of the representational plane to violently insert itself into our field of vision. The color stain is formless and occupies almost the entire space of the work. Its expressive force is concussive and disruptive. One gets the impression that all of a sudden, this chromatic cluster can explode and spill outside the canvas that houses the latter. Miyuki has remembered that she can love and, as a result, can once again allow herself to be loved. The color cluster is literally the force of love returning, the conclusion of a journey of awareness within herself that allowed her to return to feeling certain emotions and the color mass to expand throughout the representational space, a sign that, that love, had been dormant within her for too long. As well as this work, "Embodiment of Search in Uncertainty" is a symptom of an inner journey that the artist has experienced. Uncertainty is everywhere, outside and within us. Chance, the fortuitous element and the inherent insecurity in the future makes it normal to feel a sense of uncertainty. Yet, human beings are driven by ancestral forces in the search for stable elements. A search that often yields no results but which we, inevitably, continue to perpetuate. Clusters of pigment, with perfectly balanced hues, pile on top of each other producing saturated and dense areas of color that are juxtaposed with more feeble ones, characterized by an almost liquid pigment. The shapeless chromatic mass is itself uncertainty, splendid in its excited chaos and marvelous in its questioning of the future.

Art Curator Lisa Galletti

Miyuki Suto

Embodiment of Search in Uncertainty

Miyuki Suto

Interstellar space - A series of moments. The one and only

Miyuki Suto

Love Remembered - I remembered to love. And I began to allow myself to be loved

Miyuki Suto

Yuei - The world is multi-colored and mixed. Swimming in this world of shimmering colors

Mutsuki Youka

A chromatic curtain is silhouetted before our gaze

It is dense, saturated with color and covers anything that might be behind it The atmosphere is dense, almost heavy; the pigment clouds look like smoke and water vapor rising from the smokestacks of an industrial area. Yet there is beauty, there is the wonder of a perfectly balanced formal composition that is revealed to our eyes. Indeed, our gaze wanders from one cloud to another, searching for a focal point, an area to be deputed as the protagonist of the scene. There is not. Everything within "Luminous" has equal importance and everything is connected. The violet stain would not be so vivid if it were not juxtaposed with an ultramarine blue chromatic patch of blurred and uncertain boundaries. And again, the elements characterized by a guttural ochre color would not turn out so earthy and warm if they were not placed next to the lilac flecks that extinguish, for just a moment, their warmth, going to unify the whole. Mutsuki Youka's art is poetic in the deepest sense of the word. It is art that speaks of atmospheres, emotions and feelings using color and form as tools and metaphors that characterize its poetry. It is art that should be observed slowly, slowly and unhurriedly as if, each time we look at it, it reveals new elements and arguments to us. And that is indeed the case. On careful viewing, "Luminous" is not just chromatic clouds coming one on top of the other In fact, we find a principle of order in chaos, elements that fit into the compositional space giving the latter a new sense and a new reason for existence Small filaments, small light-colored lines weave a real texture throughout the space of the work. These elements, which at the beginning of the vision we would juxtapose with scratches, look rather like filaments, threads placed perpendicularly and on top of each other aimed at forming a lattice that takes on the appearance of a skeleton because of the chromatic composition. The cloud is opaque, it is dark and unrelenting, but these filaments somehow manage to emerge from the chromatic backdrop to reveal themselves to the viewer's attentive eye. Chaos has found a principle of order, and we ourselves are thunderstruck by the contrast between these sharp, dry, rapid lines with the clouds of chromatic smoke overlapping one another. There is order in chaos, or rather, we are faced with a calm chaos where order is revealed if and only if we look closely at the work. Mutsuki Youka creates an art of contrasts within which there are different elements that the viewer, after careful viewing, will have to unearth in order to find meaning in the sea of color that stands before his or her eyes.

Art Curator Lisa Galletti

Mutsuki Youka

Nancy Iannitelli

“The soul, fortunately, has an interpreter - often an unconscious but still a faithful interpreter - in the eye. ” (Charlotte Brontë)

The eyes have a long history of representation in art and have been the subject of great interest by artists from different eras and cultures. They are often considered as the mirror of the soul and their representation can convey emotions, express the personality of an individual or convey deeper symbolic meanings. Several artists have addressed the theme of the eyes in their work, trying to capture their beauty, expressiveness and evocative power. This is also where the artistic research by Nancy Iannitelli, a contemporary American artist, fits in. She sees the eye as the main tool for creating a connection with the observer. Her works, characterized by a language influenced above all by Cubist and Expressionist research, display a figurative approach, where the subject is barely recognizable, emerging from a myriad of dynamic brushstrokes and spatulae. The decision to use mostly dark and earthy tones leaves us suspended in the mystery of the search for meaning, which lies far beyond the surface. Each painting is characterized by an intriguing weave of colors and shades, which makes the vision dynamic and enveloping, shaping a magnificent interpretation of the complexity of the human soul in all its facets. Nancy Iannitelli entrusts herself to the creative act, leaving great freedom and space for her artistic intimacy. The faces imprinted in her paintings are actually the faces of all of us, in the beauty of our purest and most unpredictable emotions, without hiding anything. The artist here does not only portray herself, but her art wants to become a mirror for all of us, an opportunity to confront ourselves, without any judgement.

Art Curator Francesca Brunello

Nancy Iannitelli

Uncensored #1

Nancy Iannitelli

Uncensored #2

Nancy Iannitelli

Uncensored #3

Nicholas P. Kozis

Nicholas Kozis is an eclectic and visionary artist who has captured the attention of viewers with his innovative and thought-provoking work. His ability to fuse different art forms and concepts into unique works of art is surprising and fascinating. One of the distinctive features of Kozis' art is his multidisciplinary approach. He combines elements of painting, sculpture, photography and digital technology to create works that are both physical and virtual. This fusion of mediums and styles creates an immersive and provocative artistic experience for the viewer, who is transported into a world of imagination and reflection. Kozis' works are often characterised by a combination of natural and artificial elements, which challenge our perceptions of reality and technology. Through his art, Kozis invites us to reflect on our relationship with nature, technology and ourselves. His works challenge us to explore the boundaries between the real and the virtual, the organic and the artificial, opening up new perspectives and questions about our existence.

Nicholas P. Kozis

The use of colour and light in Kozis' works is exceptional. His compositions are often characterised by a vibrant colour palette that captures the attention and creates an evocative atmosphere. Light is skilfully used to accentuate shapes and textures, creating a sense of depth and dimension in the works. In addition to his artistic ability, the conceptual depth of Kozis' works should also be emphasised. Each piece is imbued with meaning and offers a space for the viewer's personal interpretation. Nicholas Kozis is an extraordinary artist who manages to capture the viewer's imagination through his combination of mediums, styles and concepts. His work is provocative, engaging and thought-provoking, inviting the viewer to explore new perspectives and reflect on our relationship with the world around us.

Art Curator Ilaria Falchetti

Nicholas P. Kozis

Portrait study

Nicholas P. Kozis

Old La Brea 2

Nicholas P. Kozis

Heritage Achilles 1

Nicholas P. Kozis

Nicholas P. Kozis

Nicholas P. Kozis

Pia Dressler-Theis

Pia Dressler-Theis captures a nuance of modern-day social censorship. Her keen intelligence and sensitivity allow her to bring an original vision to the theme CENSORED, the international art exhibition at the M.A.D.S. art gallery. A vision of censorship that is a denunciation of animal exploitation and the great silence behind this issue. Pia denounces, always using her delicate and poetic style, the ferocity of the food industry. Her works are an invitation to turn our attention to this issue. Pia is very close to animals, a large proportion of her portraits feature them as protagonists. In this case, maintaining her poetic communicative style, Pia's voice comes through loudly. Usually we are used to looking for in the looks of Pia's subjects, and in their micro-expressions, what they want to communicate to us; in this specific case our artist's language is very direct, emphasizing how urgent it is for her to communicate these messages and educate. Art has as its ultimate purpose not to delight (which it does anyway, being one of the most beautiful manifestations of man) but to educate, and Pia knows this very well. Produced to die is the strong title of the first of the three works; equally strong is the depiction, it strikes us in a direct way and leaves no room for misunderstanding, the cow depicted shows us all its despair in its scream. The same sadness is in the eyes of the pig in Eaten and Forgotten and the chimpanzee in Living in a cage. Strong concepts that draw us in through the beauty of Pia's polychrome art, the resoluteness of the inspiring concepts, and the expressive power of her highly communicative and empathetic style. Pia is absolutely unique in today's art scene.

Art Curator Mara Cipriano

“Art always comes from the soul, is a mirror of our life. one task of art is to make censorship visible”. Pia Dressler-Theis

Pia Dressler-Theis

Pia Dressler-Theis

Eaten and forgotten

Pia Dressler-Theis

Living in a cage

Ric Conn

Ric Conn, a New York-based artist with international acclaim, presents a thought-provoking collection that challenges societal norms and delves into profound themes. His body of work reflects a deep commitment to relevant social issues, particularly gender equality, women's empowerment, and psychological conditions. Through his expressive paintings, Conn seeks to raise awareness and foster understanding, primarily focusing on figurative depictions of the female experience and the realities women face in Western culture, celebrating their courage and beauty. In the exhibition, Conn presents three highly controversial artworks that invite contemplation and spark dialogue. "Censorship is Crushing Us" features a masked, partially nude woman seated on the back of a man. In one hand, she holds a scepter, while the other grasps a white whip. Her face is concealed behind a black mask, resembling a crown, while the man's face remains hidden. This composition highlights a profound denial of identity, accompanied by a somber color palette and an abstract, burgundy backdrop. In "Lovebirds," Conn depicts a passionate same-sex kiss. The colors in this piece are more subdued, yet the thick, textured application of paint adds intensity to the scene Here, the artist explores the nuances of love and challenges societal conventions surrounding relationships. The third artwork, "Nobody's Business but Her Own," showcases a woman portrayed in dark green, with a superimposed representation of a female reproductive organ in bold red. This piece confronts the societal tendency to scrutinize and control women's bodies, emphasizing the importance of autonomy and self-determination. Ric Conn's artworks prompt viewers to engage deeply with the subjects and themes he addresses. Through his masterful use of color, composition, and symbolism, he compels us to question established norms and confront the complexities of gender, identity, and societal expectations. Conn's thought-provoking art serves as a catalyst for discussions about power dynamics, individual agency, and the struggle for equality. By exploring the boundaries of social and cultural conventions, Ric Conn challenges us to examine our own biases and preconceptions. His provocative and evocative artwork encourages viewers to reflect on the interconnectedness of personal experience, societal structures, and the pursuit of a more inclusive world

Art Curator Martina Viesti

Ric Conn

Censorship is Crushing Us

Ric Conn

Lovebirds

Ric Conn

Nobody's Business but Her Own

Sandeep Soni

“When I paint, I am driven by a subconscious desire to live life in the purest form while sharing my feeling with others. This feeling drives me to add elements of stories, surrealism, fantasy, intellect, science, imagination, love, life, and many more into my art.” (Sandeep Soni)

Sandeep Soni's journey through the themes of M.A.D.S. international art gallery continues. This time he takes on the theme of censorship in art and freedom of expression and presents us with ten works on the subject. Since ancient times, the relationship between artistic creativity, freedom and censorship has always been a sensitive and controversial issue for both artists and those who have dictated rules and laws to limit such creation. Art is by definition the ultimate manifestation of human freedom and instinct. Instinct that is perfectly expressed by the works of Sandeep, who delves deeply and courageously into his soul, bringing to light inner, dreamlike, theatrical, figurative scenarios that reside in the unconscious and are realized through the combination of imagination and artistic talent In Censored international art exhibition we will encounter the darkest part of Sandeep's essence, her deepest thoughts. In Sandeep's artistic and contaminated universe we find works that wink at the figurative and another strand that is purely abstract. This is because Sandeep questions, researches, experiments and loves challenges. The work of art can move, arouse strong emotions and excite, but it also often manages to shock or arouse deep reflections that shake the heart and head. "In a world driven by fame, materialistic gains and pseudo satisfactions, people put on two masks every moment. The one portrayed outside is white one, claiming the authenticity of the character However, it’s the other face deep inside which drives the game It’s the Faux reality of gains which distinguishes between the faces The real face is shown only when the character is in self-criticizing mode in a rational thought process, where it asks itself about what was right or wrong morally and ethically. It’s the acceptance of genuine reality which can nullify the faux reality since one is accountable to itself only at the end of the day" This is the first theme addressed, the double face of reality and personalities; a theme as strong as the scream of Pull of Passion. "A human in the pull of passion, where its soul wants to expand and reach out to explore more but constrained by materialistic reality. A deep hunger drives the soul to reach all possible means to go to its passion, pulled by the powerful force. The pull is so strong that eventually the person finds itself near the passion in a different time frame. Whereas the line between desire, want and passion is blurred, the positive efforts driven by consistency, patience and faith make them all achievable It’s the pull of passion, which is at the driver’s seat, taking passenger to his desired journey"

Sandeep Soni

Sandeep's language is very powerful and embraces different pictorial styles such as metaphysics or surrealism as far as the first work described is concerned, later we notice his expressionist streak in the second work mentioned above. He shows us the extremely communicative eyes of a woman in Hypnotized "Eyes, the prime instrument of life to interact in conscious world appear intense than what they are, when put into the focus It turns into a pair of hypnotizing eyes, when looked straight into the view-er'smind " Sandeep leaves us with a veil of mystery with Mirror Of Blue Truth "Seven souls have been summoned and illuminated by the mirror of blue truth, which begins to reflect the blue within them. Is the illuminated blue true? Or is the white a lie? Is the freedom from the doors below true freedom or is it just a veil of white lies?" Vintage is a depiction of an old memory, buried in the subconscious, however protected. The yellow surroundings represent the vibrance of the subconscious, which carries infinite dimensions. One such dimension carries a Vintage memory protected in a glass bottle. What is inside the bottle is not seen from outside and even in the subconscious layers, since the subconscious acts only as a medium, and not as a controller when it comes to the deepest memories. It’s the time which controls the opening of this bottle. When time comes, the bottle will open, splashing the hidden memory, uncontrollable by the might subconscious The Waking Desert art piece is a "demonstration of an imagination where there exists a world in which the horizon is in front of the deserts The rising sun appears small in front of the giant deserts which dominate the terrain. The sun splatters its warm light all around, displaying golden sand behind and rich red plain in front. Here, deserts appear as non-real since they defy the science we know. However, can this be an illusion?

Imaginations and dreams are what make possibilities appear real, even if they might not be to us with open eyes. Could it be a mirage in the desert, where the sun is not real, but deserts are?" The Dark Fantasy is a commingling of various strong shades, giving an impression of some imagination unrestricted by reality and a fantasy world which you want to avoid but cannot, since it sparks your curiosity to explore what is there in the unknown blue and dark waters, amidst the strong dusky surrounding. Camouflage is about "some structures hidden in the stone, camouflaged by the surrounding and mislead by the peak of the hill

The sky adds to the camouflage by drawing attention to their own charm, in order to protect the structures" Let me live is "about a mother and a child separated from each other, each one with a desire, ‘Let us live’ The mother doesn’t want to get away from the unborn child. The child is not yet born and aware of the nature of dark forces. Its mother who is alone is fighting the dark forces, to protect the new life. For generations, life had been threatened by dark forces, only to realize that it’s in the nature of life to come back with more vigor and intensity. Many children and many mothers have stood steadfast to teach the dark forces again and again, that life cannot be stopped and it’s in best interest to let us live". Not Again is the "soul that travels through a endless tunnel and reaches to end, only to find that there was no end ever and it has to start the journey again"

Art Curator Mara Cipriano

Sandeep Soni

Faux Reality

Sandeep Soni

Pull of Passion

Sandeep Soni

Hypnotized

Sandeep Soni

Mirror Of Blue Truth

Sandeep Soni

Sandeep Soni

The Waking Desert

Sandeep Soni

The Dark Fantasy

Sandeep Soni

Camouflage

Sandeep Soni

Let me live

Sandeep Soni

Not Again

Shuichiro Kawasaki

In chemistry, the idea of transformation is intrinsically rooted. The elements themselves undergo a change of state, passing through metamorphoses that reveal their true nature. This changing dance of atoms and molecules, the dance of the elements, gives us a fascinating perspective on the nature of change and transformation. Consider a simple element, a pure substance that represents the fundamental essence of matter. The element, by its nature, is stable and distinctive. However, when it comes into relationship with other elements or undergoes chemical treatment, it can undergo a metamorphosis that transforms it into a new substance with unique properties This process of chemical transformation draws our attention to the philosophical concept of change Every element, as well as every individual and every aspect of our existence, is destined to evolve The constant flow of time and interactions gives rise to an eternal dance of transformation and change. There are times when, this concept of change and mutation of things, seems to have become fossilized. Change has occurred and the world has stopped in the next moment. Observing the works of Shuichiro Kawasaki, one has just this feeling. The chemical element, in this case water has stopped being liquid and turned sometimes into ice, sometimes into vapor. The state transition has taken place but the water molecule seems to have crystallized into its last form Through the technique of long exposure, the artist takes photographs of sheets of sea water and waves, sometimes docile, sometimes raging In doing so, he deconstructs the very nature of water as an element in its liquid state to transform it into something else. In "Dancing," a bluish wall looms before our eyes. The rhythm is concussive; it is as if the water molecules are trapped in a solid state. It is as if, in front of us, there is a curtain of ice. Blue ice, the kind that is present in glaciers, so compressed that there are no air bubbles inside it. Its color is nothing more than the result of a harmonic arising from the stretching of the oxygen-hydrogen (O-H) bond in water, which absorbs more light in the red part of the visible spectrum, resulting in a bluish resultant. If in "Dancing" water has become ice, in the remaining three works water becomes vapor. "Pastel Color" is reminiscent of cirrus expanding at high altitudes Their rosy color brings to mind the delicate, refined hues of a summer sunset These clouds stand up high in the sky, carried undisturbed by the winds of the troposphere Just below them, the storm In "Movement," the rhythm is passionate and ecstatic. The water takes the form of a large wave that immediately turns into steam. The atmosphere is dark, charged with tension, and these clouds are low, bringing rain. The feeling of looming is imminent.

Shuichiro Kawasaki's works allow the world of the real to forget, for a moment, its characteristics and ironclad rules to land in a world where things can transform at will and remain so for as long as one wishes.

Art Curator Lisa Galletti

Shuichiro Kawasaki

Shuichiro Kawasaki

Shuichiro Kawasaki

Pastel color

Shuichiro Kawasaki

Sun streaks

Shuichiro Kawasaki

Sophia Openshaw

“Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen. ” (Leonardo da Vinci)

Artist Sophia Openshaw's series of works is a combination of history, mythology, and current events that create an important historical dynamism. The figures, in terms of form, are reminiscent of mythology but bring us and project us into the present through the words of the newspaper clippings that dress the figures. Moreover, the desire to conceal the gaze and thus identity, hides mythology, hides a history, makes them not placeable in a precise space but in a dynamism of stories and narratives. Sophia's figures could be the protagonists of a series of mythological tales from the past to the present day. In this way, the figures transcend the story, they become the spokespersons of a tale that has no space or time but can be active coherent in every moment. The dynamism of the sign and the precise abstract geometry of the figures help to build the painting with a strong tension. This is realized through the interpenetration and juxtaposition of vertical and ovoid lines that suggest the face and physiognomy of the poet, the musician or the artist. It is precisely this emotional and intellectual tension that is the subject of Sophia Openshaw's abstraction, which seeks to restore the encounter and union that exists between the soul and body of her subjects. Emotional, intellectual and cultural tension, but also creative and interpretive freedom. And it is then that the concept of the sign as a necessary means of expression and unique in its totality comes to the rescue in order to fully understand Sophia Openshaw's art.

Art Curator Giulia Fontanesi

Sophia Openshaw

Censor-AntiTrans

Sophia Openshaw

Censor-Bangladesh

Sophia Openshaw

Censor-Uhygur

Sophia Openshaw

Untitled Artwork 2.

Sophia Openshaw

Untitled Artwork

Taisha Brehaut

Taisha was born in Australia to New Zealand parents and currently lives in Long Island, New York. Hers is an emblematic personal style, ranging from conceptual linear sculpture, both outdoor and indoor, to the dreamlike landscape occupied by a white flag, seemingly waving in the wind, for her “Landmarks” paintings. At “Censored" exhibition hosted by M.A.D.S. Art Gallery, Taisha presents two artworks. "Ideal Room" is a site-specific sculpture that consists of a large empty space used as a studio. The work, completed between 1998 and 1999, is visible through the entire studio space, from a window in the adjacent hallway, a knockeddown brick wall leading the eye to a newly constructed interior space with two open doors that, when the viewer looks through, leads the eye to the back wall of windows, on the street. The artist says that a visitor once told her: ”You have created

Taisha Brehaut

more space with this work." There are other underlying themes in this installation, which blends the utopian minimalist aesthetic of the empty interior space of the square gallery with the hard edge of the second floor, broken brick entrance. The work references those of Gordon Matta Clark and Sol Le Witt, for whom she worked. "Steel Strip," the second artwork exhibited, was Taisha's first solo exhibition in Auckland. This installation consisted of a large steel strip installed by hand by a craftsman, inside the gallery's wall-to-wall skirting board at the entrance. “Steel Strip” is a reflection on the intimidating White Cube, the gallery space; the white-painted strip was at shin height from the ground, so that when approaching the gallery, one had to stop and then step over the straight white line. She also repainted the otherwise empty gallery floor gray, for a bigger and stronger impact on the viewer.

Art Curator Matilde Della Pina

Taisha Brehaut

Ideal Room

Taisha Brehaut

Steel Strip

Theodora Stougiannos

Dreamlike, polychromatic and surreal scenarios are those presented at the CENSORED art exhibition hosted by M.A.D.S. international art gallery. Theodora's ideas are liquid and color plays a very important role in creating the atmosphere, delineating what is the artist's state of mind. The creatures of Stougiannou's imagination belong to a parallel universe that blends reality and fantasy exactly as in a dream. Flowing lines that reflect the liquidity and change of dreamlike reflections. Theodora able to work with a wide variety of materials, including watercolor, gouache, acrylics and oils, as well as ink. Years of expression through art have enabled her to learn new techniques and ways of working with colors; she draws inspiration from both science and mythology, and representations of the starry sky are a major feature of most of her works. The artist describes her works as follows: "My first piece, Elemental Symphony - Minuet, is part of a 3 set piece that tells a story of a storm beginning and ending; the ending, represented by the “Minuet”, is meant to portray a sense of calm after the storm, the renewed balance after the chaos The dragon in the picture is responsible for this chaos, which is however needed in this case; it is chaos that allows the scales to be tilted in the right direction after centuries of imbalance and injustice. The term Minuet, like the corresponding music type, is also meant to portray a sense of calm and peacefulness, just as the minuet represents a soft, and slow dance, a moderate tempo after the allegro of the storm. My other two pieces, Reflections under the Sun and Flying Vegetation, are more representative of the alterations that brought about my current art style, a mix of flowing lines and star-filled/ fantasy landscapes. Created almost spontaneously and meant to bring forth pieces of my subconscious processes, they loosely resemble creatures inspired by the natural environment, such as butterflies and fish. Creating those flowing lines that characterise these two pieces, and most of my current work, is almost soothing to me, which is why it’s a prominent feature of my art style, along with extravagant colour".

Art Curator Mara Cipriano

“Though landscapes may change, the sky will always be there to guide and inspire us.”

Theodora Stougiannos

Theodora Stougiannos

Elemental Symphony, Minuet – Resolution

Theodora Stougiannos

Ethereal Forms – Reflections under the Sun

Theodora Stougiannos

Ethereal Forms – Flying Vegetation

Tjeerd Doosje

Tjeerd Doosje is a self-taught Dutch photographer specializing in portraits and fashion photography. His works exhibit extraordinary mastery in the field of photography, earning him international recognition and awards. Tjeerd Doosje's pieces go beyond the surface and capture the essence of his subjects. Each photograph represents an intimate exploration of human identity and personality, highlighting the uniqueness of every individual. In "Anoek (0528)," the choice of vibrant colors and the urban setting suggest a vibrant youthfulness and bold personality. The direct gaze of the girl conveys a deep connection with the viewer, inviting us to explore her story and life experiences. The combination of colors and the setting creates a fascinating contrast, reflecting the complexity of life itself. "Antonia (0308-2)" seems to belong to a futuristic context. The girl is placed against a white background, with a mirrored mask covering most of her face. Even the dress she wears has a futuristic, almost science-fiction appearance. However, the colors remain soft and peaceful. Antonia's semi-open mouth appears to express anticipation or focused observation. "Catinca (0620)" presents a sweeter piece, with a young girl partially covering her face However, her proud and determined gaze reveals a strong personality that emerges despite the veil of secrecy. The use of light and shadow emphasizes the nuances of her complexion and adds depth to her expression. In "Merlin (1807-2)," the artist plays with natural elements such as the color green and a white lily flower to create an atmosphere of serenity and a connection with nature. The hat partially covering Merlin's face adds a touch of mystery and visual intrigue, while the neutral background highlights the beauty of the girl. "Resa (0402)" shows us beauty in darkness, with a blue hat that conveys a sense of intimacy and protection The dark background creates a feeling of depth and mystery, leaving room for the viewer's imagination to complete the picture. Through these works, Tjeerd Doosje captures the essence and personality of his subjects, playing with light, colors, and compositions. Each photograph has its own uniqueness and offers a distinctive perspective on human beauty and individuality.

Art Curator Martina Viesti

Tjeerd Doosje

Tjeerd Doosje

Antonia (0308-2)

Tjeerd Doosje

Tjeerd Doosje

Merlin (1807-2)

Tjeerd Doosje

Vaida Kacergiene

Vaida Kacergiene is an artist who has the ability to evoke deep emotions through her works. Her art is characterised by an aesthetic sensitivity and conceptual depth that make it fascinating and engaging. One of the distinguishing features of Kacergiene's art is the skilful use of colour and texture. Her artworks are often dominated by a vibrant, eye-catching colour palette that immediately captures the viewer's attention. His strokes are fluid and shapes blend harmoniously, creating a sense of movement and vitality. Moreover, her ability to create suggestive textures adds a tactile and sensory dimension to her works, increasing the visual and tactile interest of the viewer. The themes addressed by Kacergiene in her works are often profound and universal. Her paintings are a form of visual storytelling, with each element representing a piece of the puzzle that makes up the overall meaning. This allows the viewer to immerse themselves in the work and connect emotionally with it, as they can find reflections of their own experiences and feelings. In addition to conceptual depth, Kacergiene's art also demonstrates impeccable technique.

Vaida Kacergiene

Her skill in the use of light and shadow lends depth and three-dimensionality to her works, creating a feeling of realism and depth. Vaida Kacergiene's works are an invitation to introspection and contemplation. Through her art, the artist invites us to explore the complexities of the human condition and to reflect on the meaning of our existence. Her sensitivity and artistic talent manage to create an emotional bond with the viewer, making us feel involved and stimulated. Vaida Kacergiene is a talented and profound artist whose work evokes intense emotions and invites reflection. Her ability to create visually appealing and conceptually profound works makes her a relevant figure in the contemporary art scene. Her works are an invitation to explore the human soul and to search for deeper meanings in our existence.

Art Curator Ilaria Falchetti

Vaida Kacergiene

Vaida Kacergiene

DIVIDED

Yahiro Taketori

The lines of color that dance across the work are a reflection of the vitality that permeates the universe. They are threads of vibrant energy that intertwine and tune into a symphony of forms and hues Through them, the artist succeeds in bringing reality itself to life, capturing the essence of existence and offering it to us as a gift In the contours and color forms, the complexity of reality is hidden. They are traces that wind between imagination and concreteness, between the visible and the invisible. They represent a meeting point between matter and spirit, between what is tangible and what is beyond the boundaries of human perception. Lines of color reveal to us that reality is never static, but in constant motion. They vibrate, pulsating with a life of their own, expressing the dynamism of the universe. They reveal that everything is in a ceaseless flow, in a perpetual becoming. Through his expressive devices, the artist investigates the mystery of existence, seeks to understand its depth and harmony He unveils the invisible web that holds everything together, revealing the intrinsic connection between every element in the universe Like a door to the essence of things, the chromatic imprint is a true invitation to look beyond the surface. The latter speaks to us of a subtle and immaterial reality, of a truth that transcends appearances and manifests itself in shapes and colors. Yahiro Taketori with "Vertigo and Confusion" shows us her artistic intentions and the close relationship between the representational plane and the plane of reality. These two elements, although distinct, are closely connected and live on insights that enrich one and the other in an endless and indefinite process of mutual exchange. A large white backdrop is marred by the presence of bluish, yellowish and brownish halos The whole is rather uncertain, labile and indefinite In the center of the depiction is an extremely soft and inviting shape It almost looks like a flower with round petals Looking closely, one gets the impression that its bluish contours were etched into the whitish background when the color was still fresh. The interpenetration between the foreground element and the representational plane produces an interesting, highly expressive color and formal interplay that is counterbalanced by the presence of powerful fuchsia color patches falling from the top of the representation. The patches fall downward, irreparably staining the whitish backdrop and the sinuous form in the foreground. They are confusing, looking almost like scratches on the surface, and their expressive power is extremely high The saturated color induces one to reformulate the expressiveness of the soft underlying form Compared with the fuchsia spots, the latter is endowed with light and candid purity that contrasts effectively with the crimson drips. Truth and objective view of reality does not exist. Every form, every color lives and exudes sensations based on what is around it. It happens in the world of pictorial representation as well as in the world of reality. Everything is interconnected and everything is liable to different interpretations changing its status quo irrevocably.

Art Curator Lisa Galletti

Yahiro Taketori

Yongsoo Kim

Serendipity, a word derived from a Persian fairy tale, indicates the good fortune of making unexpected and happy discoveries by chance, such as suddenly finding an object that arouses curiosity, or coming across a casual link between two elements that have gone unnoticed. Our culture lives in the anguish of seeing things disappear, from the most intimate affections to everything else. After all, it is the classic myth of Cronus who devours his children: Time destroys everything and leaves only increasingly faded memories. But for other civilizations, and especially for the peoples of the East, eternity is the only real world, and it is for it that one operates during life. Life runs fast and we with it. Yongsoo Kim is constantly looking for the perfect moment which leads him to be an attentive but never indiscreet observer because, in the natural flow of events, he experiences the true essence of an emotion. He prefers images that have an open ending, those that leave room for the interpretation of the viewer, and also ironic or dramatic photographs, which capture the thinnest line of the unsaid, within the existential figure of the human being. The photos on display visually tell the beauty and charm of sudden moments, describing the wonder and ideas that arise from a simple change of perspective. The discovery of things that have always been there, in front of us, without our awareness, comes at unexpected moments, so the everyday, the smallest world, appears through his photographs for what it is without becoming closed. Photography also reveals other unforeseen shows, looking out the window, captures the unexpected, makes us perceive the beauty and uniqueness given by the meaning assumed for those who shoot. It is precisely the photographer who assumes the role of creator, of direct observer of serendipity, when he discovers hidden relationships and connections, when he looks back and recombines meanings, juxtaposing them as never before according to surprisingly different perspectives. Photography becomes the technological equivalent of the literary "stop for a moment, you are so beautiful" in Goethe's Faust.

Art Curator Erika Gravante

Yongsoo Kim

Explorer

Yongsoo Kim

Yongsoo Kim

Into the darkness