CATALOGUE "I" The world revolves around ME

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CATALOGUE


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

Alessia Domenichini Alessia Perone Alessia Procopio Angela Papa Camilla Gilardi Carola Antonioli Chiara Isella Chiara Lezzi Chiara Rizzatti Elisabetta Eliotropio Erika Gravante Federica Acciarino Federica D’Avanzo Federica Schneck Francesca Brunello Francesca Catarinicchia Giorgia Massari Giulia Fontanesi Ilaria Falchetti

Karla Peralta Málaga Letizia Perrieri Lisa Galletti Lucrezia Perropane Manuela Fratar Mara Cipriano Maria Teresa Cafarelli Marina Maggiore Matilde Della Pina Marta Graziano Martina Bassi Martina Lattuca Martina Stagi Martina Viesti Sara Giannini Sara Grasso Silvia Grassi Vanessa Vit


"I prefer to paint the eyes of men than cathedrals, because in the eyes of men there is something that is not in cathedrals, however majestic and imposing they are." (Vincent Van Gogh) The psychology of art, from its beginnings, has investigated the correlation between identity and art. In order to carry out a satisfactory analysis, it is appropriate to consider what the birth of individuality actually is. Some historians have noted how the formation of the modern world accompanied the affirmation of individualism. The crisis of the Middle Ages and the formation of new social classes leads to the possibility of a detachment of people from conformity, and the tangible proof of this detachment is represented by the self- portrait. Initially, the artists inserted their own figure among the crowds of people who painted, then, little by little, we arrived at the first self-portrait, dating back to that of the painter Jean Fouquet (Tours, 1420-1471 / 81?). Thus begins a slow but unstoppable process of the formation of modernity, in which the collective consciousness begins to fragment, divide, and decompose; and from this moment the artist's individuality and the awareness he has of himself begins to emerge. According to Stefano Ferrari, professor of psychology of art at the University of Bologna, the real problem lies in the fact that our identity often does not coincide with our image, but it is necessary that this identity be represented and presented to the world through the image. Art itself is individuality and self-affirmation, although it is born within styles and currents, the artistic act is individual in itself, it is a question of self-realization. There were two artists who marked the history of the twentieth century, on the one hand the surrealist Salvador Dalì and on the other the emblem of PopArt Andy Warhol, the first immediately sensed the great potential and the enormous importance that they were beginning to have the mass media and that to achieve success it was essential to use and exploit them.


With Dalì the representation of the artist as a star was born, his dandy attitude and his eccentric behavior began to attract extreme attention. With Dalì, therefore, there is a union between artist and public figure, the birth of the artistic icon, an idol and, therefore, a high level of attention is paid to one's appearance and representation towards the outside. Warhol, on the other hand, was an individual constantly tormented and dissatisfied with his appearance, he perceived a constant sense of inadequacy and yearned for social acceptance. With the spread of the mass media, so the boundary between artist and individual is blurred, the two figures merge and the artist's own personality becomes a reason for admiration and idealization. Self-portrait, self-representation, the perception of oneself and one's identity are absolutely topical and pre-eminent themes in the society of the 21st century, Social Media and the daily stage have allowed a widening of the boundaries between private life and life publishes, between the background and the stage, to return to Erving Goffman's sociological theory. The roles of individuals merge, just like Dali and Warhol, one is no longer one thing or the other, depending on the circumstances, but one is everything, one is the essence of oneself and one wants to demonstrate it in any way and through any tool. In this new world, dominated by communications, a sense of pride relative to what one is is born, there are no longer hiding places or places in which to hide one's identity and one's essence, but on the contrary, real individual revolutions are triggered in which you become aware of your existence and celebrate it, returning to be at the center and protagonists of your life.


The collective consciousness and its identity are completely overshadowed, and with it the social characteristics that have, up to that moment, defined the roles of individuals. This new reality brings with it a sense of individual freedom, in which people are fully aware of who they are and their potential, it is the individual who reigns supreme. Sociologists speak of Second Modernity, a reality in which the transformations begun in the first modernity are brought to completion: a modernity in which the liberating thrust was held back by the presence of other entities, such as social class, family of origin, work . It is in the second modernity that this liberating drive finds its maximum expression, there is an intensification of the individualization process. In fact, the first modernity had subjected them to the limits imposed by tradition and society, the second modernity freed them from all the institutionalized models that shaped their existence. This new modernity carries with it the principle that people should make themselves the center of their projects and build themselves as their own masterpiece. On this concept, that of Self-culture, a new cultural sensitivity, characterized by the important value attributed to the autonomy and self-management of every lifestyle, M.A.D.S. Art Gallery, wants to invite artists to express their essence, unhinged from what the market wants and requires, from what the generalized artistic taste craves. M.A.D.S. Art Gallery therefore asks artists to express their sense of self, to self-determine themselves as creators, rising above all boundaries, be it stylistic or technical, following a single word "dare". Curated by Martina Viesti


Adina Ding "Painting is silent poetry, poetry is painting that speaks." (Simonides, Greek poet, 556-468 BC.)

Since ancient times, painting has been used by Humans to try to represent the emotions and situations around them, just as poetry becomes a means by which people try to express themselves through an acute and complete language in order to best express their emotions. In both art forms, artists seek a means to express their inner images thanks the use of colors or rhyming verses. This has not changed in the history of humanity and today the artist is precisely the one who tries to represent the world as he sees it through the art form most suited to him. Contemporary artist Adina Ding manages to converge two important art forms to complete her inner and outer world.


Adina Ding

Her dual ability as a painter and poet is very similar to that of the ancient Greeks, among the most famous we know Theocritus who wrote his poems in the third century BC. giving them a concrete visual form and the words were accompanied by an image to reach the understanding of more people. Adina Ding uses abstract art and contemporary poetry, but the ultimate goal is the same. Through the use of her words, the artist opens her soul to her spectators and completes it by painting its forms. Giving total trust to the viewer, the artist Adina shows her precious abilities to be able to make the most intimate of her travels, discovering her nature and hidden abilities.

Art Curator Letizia Perrieri


Adina Ding

A Misty Field


Adina Ding

A Misty Field


Adriano Cadau

Adriano Cadau is an artist with a strong imagination and creativity, through continuous experimentation and a self-taught study on the subject, he has managed to find the perfect way to express himself, he creates alternative scenarios, shaped in abstract compositions, where reality is completed by elements of science fiction taste. This characteristic can be observed in the three works exhibited in "I - The world revolves around ME" at M.A.D.S. Art Gallery, where the thoughts and reflections of the artist emerge. In “Abstract Dancing” a graceful ballerina occupies the center of the composition, she’s dancing in an unknown world, where her energy is transformed and is blended with the background, flames comes out following her movements. She’s the personification of the artist’s imagination and force of his creation. With “Dispersion"—second piece of Wander collection—the artist reflects on the precariousness of life, opens a window inside the time stream made of gears that flow continuously without stopping, where people take the form of anonymous mannequins, busy living on the run, who don’t realize what’s around them, when it happens, it’s too late. “Platform 2B_TA #4” it’s the last piece of the Platform 2B collection, this creation reflect on another important question of our life, which for all is destined to end, every moment is always closer to the final, the artist himself tells us what is represented in this work «[…]this is a symbolical representation of struggle in life. The name Platform has been chosen mentioning the artificiality of life, as it was packaged like a box for us.» This precariousness was imagined by the artist as a giant creature is threatening a city and different aircrafts are readied to defend the territory.

Art Curator Alessia Procopio


Adriano Cadau

Abstract Dancing


Adriano Cadau

Dispersion


Adriano Cadau

Platform 2B_TA #4


Aina A centripetal motion forces us to advance towards the center of the representative space. There is no escape, every resistance is vain in front of this intolerable force. Space changes, time is altered. The physical laws to which we are accustomed no longer have any value; the rules that dominate every event in our world are now a distant and faint memory. Our body is forcibly pushed towards the center, our mind is at the mercy of the gravitational motions that shape our thoughts. Time is no longer time, space is no longer space, everything has changed and responds to unknown laws. The immense force continues to push us towards the center. What will this journey hold for us? What lies beyond the event horizon? Luminous photons flood our vision: scattered throughout the representation they illuminate the vision throwing light into the deep universe. Spots of violet color overlap with greenish elements and reddish particles. Everything is indefinite, everything is in continuous transformation. The chromatic patches are sharp, sometimes smoky and with blurred contours. They, like us, move at the speed of light towards that precise point in space that is about to encompass everything. We are in the middle of our journey, our destination is still far away. Let us let ourselves be carried away by this flow of particles, by this formless magma of elements that overlap one another and know each other. The feeling of coldness given by the open space is gone: at that speed our senses stop perceiving the external data, stop measuring every change that happens in the space around us. The changes are sudden, so fast and simultaneous that we have no choice but to surrender to the flow. But where are we headed? What is the destination of our journey? Aina with "New Gate" transports us directly to the edge of the event horizon, to the limit of our human understanding. The work is a photograph of the instant before the crossing of a certain threshold. What is there after that portal? What is there after that black hole? We are not allowed to know. A new reality, a new portion of the universe could show itself to our eyes. "New Gate" is an invitation to cross the threshold, a prayer to welcome sensations and emotions never felt until now, a warning to always look for the wonder of the new and unusual.

Art Curator Lisa Galletti


Aina

New Gate


Alexander Buss Our seeing is a local and/or emotional search for the possibility to orient ourselves and a longing to find our way. (Alexander Buss) Alexander Buss at the international exhibition "I" the world revolves around me, hosted by the international art gallery M.A.D.S. shows three pieces of his wonderful collection of digital photo compositions. For this first time for him at M.A.D.S. we have the opportunity to enjoy the beauty of Faceless, Mannequin sisters and Mask. The three works are located between a metaphysical current and surrealism. Faceless immediately refers to the painting of De Chirico, for the facelessness of the subject. The latter, in the foreground, is immersed in a dark and indefinite context that recalls a dreamlike or theatrical scenario. The absence in the presence, the character portrayed is predominant within the work but is completely alienated, absent. This kind of reading is helped by the choice of colors. The triptych of selected works focuses precisely on the play of faces. The second masterpiece also plays on the presence and absence of characters. What seems to be the reflection of a woman in the mirror comes to life in the image and thanks to the title given by the artist. Also this time the two faces are not defined, they are those of mannequins. Specifically, the eyes are the great absent within the work: Modigliani did not paint the eyes of women because he believed that it was necessary to know the soul of the subject, even in this case the soul of the subject, his spirit does not leak out, becomes, in fact, a mannequin. The human face also disappears behind a mask. Also in this case the context is between the theatrical, the oneiric and the metaphysical. As Alexander says: "My pictures are often not just what I saw through the camera. They are the result of currently perceived, condensed in the processing, with seen and experienced at earlier times. Something we do every day in our head. What we see is classified by us again and again, interpreted and compared with our experiences and "knowledge". The brain makes its own pictures from the abundance of information. Our seeing is a local and/or emotional search for the possibility to orient ourselves and a longing to find our way."

Art Curator Mara Cipriano


Alexander Buss

Faceless


Alexander Buss

Mannequin sisters


Alexander Buss

Mask


Aliia Sakisheva "Art is not a mirror to reflect the world on, but a hammer to sculpt it with." (Vladimir Vladimirovič Mayakovsky)

In the first thirty years of the twentieth century artistic movements developed in Russia that, between avant-garde and popular tradition, saw art as a reflection of the historical background and the artwork as a communicative tool. In response to the revolution of October 1917, in an atmosphere of profound social and artistic change, the Russian Futurist movement developed: Constructivism. In the wake of Suprematism, geometric forms and the idea of art open to all were taken up by Constructivism in art forms such as advertising, architecture and industrial production. The main purpose of these artistic movements was to shape the social and aesthetic consciousness of the revolutionary people. Therefore, along with monumental sculpture, the posters received a greater development, being considered as the most mobile and effective art form. In that new society the equality of all citizens was proclaimed and it became essential to change the role that for centuries had been attributed to the female figure. Paired with her male counterpart, women were increasingly featured in the propaganda media throughout the 1920s. The Self-portrait of the artist Aliia Sakisheva seems to represent one of those Soviet artistic era posters in which the woman is represented with a confident and determined face (it could be compared, for example, with Adolf Strakhov's manifesto "Emancipated woman: build the socialism!"of 1926). The dark hair blown by the wind recalls the direction of the gray smoke that comes out of the chimneys characterized by a vigorous red color. The black outlines allow the entire representation to stand out from the amber background. The realistic face contrasts with the fragmentation of the figure’s bust and the spatial distribution of the background. The intense gaze and the half-open lips give the figure a strong and restless expression at the same time.

"The Soviet era, on the one hand, is already a thing of the past, but on the other, it still remains in living memory and touches our emotions with a force that sometimes overrides a rational attitude". (Aliia Sakisheva)

Art Curator Marina Maggiore


Aliia Sakisheva

Self-portrait


AMADORA

The young English painter AMADORA presents two artworks. The former is a mixed media on box canvas titled 'FOREVER I’. Her art is focused on showing colours and texture, so in this artwork we see a strong contrast of colours with rapid brushstrokes. With this vibrant painting, the artist shows us her world made of joy and passion which should characterize all our lives. The word "FOREVER '' on the top of the painting indicates that all of this is aimed at eternity, at everyday life. The young artist shows the ability of her technique and the familiarity in the use of colours, her strength shines through her work to get straight to the viewer who is dazzled by so much explosion of pure joy. The artist herself, through the energy of the colours gives us the right key to her personal pictorial universe, gifted to our eyes. Her work has two styles: the freedom of the abstract pieces against the detail and narrative nature of realism.


AMADORA

In her second artwork, in fact, AMADORA chose a marvellous city view. “A Typical Night on ‘The Beach'’' represents a winter evening on Sheffield’s Ecclesall Road, where the artist lives. This time, she decided to show us her talent with a realistic street scene. She manages to create a very detailed work: we can see the refinement of the details of the trees on the left or the posters in perspective. But, most of all, it’s amazing to admire the peculiarity of all the little lights on the street or the details of the store’s showcase. The painting gives a sense of familiarity, but with a nostalgic feel, reinforced by the rain and the colours of the lights. There is a contrast of strong colours, the yellow and the red of the lights against the dark night. We are catapulted into the everyday life of the artist who decides to share a detail of her day with us as spectators and to take us into her world. Red, blue, pink, orange and white. Everything starts from the colour, which becomes the real protagonist of these paintings made by free and independent brushstrokes.

"There is no must in art because art is free" (Wassilly Kandisky)

Art Curator Federica Acciarino


AMADORA

FOREVER I


AMADORA

A Typical Night on ‘The Beach'


Angela Miranda Penedo “A arte baseia-se na vida, porém não como matéria mas como forma. Sendo a arte um produto directo do pensamento, é do pensamento que se serve como matéria; a forma vai buscá-la à vida. A obra de arte é um pensamento tornado vida: um desejo realizado de simesmo". (Fernando Pessoa) Puzzle, a patience game that consists in recomposing in mosaic the fragments of various shapes into which an image has been divided. Portuguese artist Angela Miranda Penedo creates her personal puzzle for us. But it is more than a simple set of pieces, it is a set of pieces of history, life and stories, united by a single abstract line. Angela spread out her life: through her painting, animated by her travels dedicated to social assistance emerge, she tells us about children, young people and adults in conditions of poverty, she tells us about situations of risk and precariousness, she tells us about a different life. In her great work we imagine her humanitarian travels between Peru, Brazil, Nepal, Greece and Portugal and from the canvas we perceive what she experienced firsthand. She expresses her great desire to travel and discover the world, from the Peruvian orphanages where he volunteered with young people and adolescents in the field of theater and psychology, to Brazil, in an institute on top of a mountain surrounded by a jungle, to Nepal where he rebuilt a village destroyed by the earthquake with other Portuguese volunteers, finally to Greece to save refugees from the sea. She paints what she has experienced and seen, she transports her emotions on the canvas to convey emotions, strong emotions. Pieces of puzzles, pieces of life and stories lived and told to us. The great Imaginarium's puzzle is full of colors, emotions, strength and positivity, it is a transposition of emotions on the canvas. In Angela's abstract expressionism we have many influences in which it is possible to find shapes and designs, we have an absolute originality that comes from the artist's personal creation of colors. Colors are created and mixed by her to obtain vibrant effects of light, combinations and contrasts. We can immerse ourselves in the great work and feel part of a silent and ecstatic universe, we identify ourselves in a puzzle piece, feeling part of something greater that surrounds us, we feel united by the pieces close to us.

Art Curator Giulia Fontanesi


Angela Miranda Penedo

Imaginarium's puzzle


Anita Hashemi Moghaddam

On the occasion of the first International Art Exhibition of 2022 entitled "I" The world revolves around ME, the M.A.D.S. project born in Milan but digitally (and today also virtually -Metaverse-) extended to all over the world, presents Anita Hashemi Moghaddam. She is a young artist born and raised in Iran, with a solid education in the visual world of graphic design. Anita has completed various jobs and assignments within this artistic field and this important skill allows her today to design and create works of incredible aesthetic impact. It is not only the emotionality and the sense of belonging to certain sensations, but despite the dark tones and the deep themes analysed in them, the balance between the forms and the aesthetic satisfaction are protagonists. In particular, the video-work that she is presenting at our exhibition is titled "Neutral Audience" and analyses the point of view of a person who is watching and interpreting something in a different way than the original intention. Anita studied video art and installation to express her attitude towards personal experiences. We can say that, however intimate these events may be, they have a sort of social aspect, which induces the public to communicate and empathize with them. This video seems to be representative of her concept: that "all the situations I have lived have an “external side” familiar to the public, despite the differences, and this is the point of connection between me and the observer." The Caravaggesque lighting of the work emphasizes the importance of the light-shadow contrast, which do not come into dissonance with each other, but complement each other, enhancing each other.

Art Curator Carola Antonioli


Anita Hashemi Moghaddam

Neutral audience


Anna Redkina “Quit your serious roles and allow yourself to accept your part that owns pink glasses.” (Anna Redkina)

Anna Redkina is a Russian artist who knows how to let herself shine through her paintings. She was studying the history of art and visual communications in Czech Republic when she discovered her passion for art. The artist describes art as her “escape pod”, a place in which she can best express herself and dive in her innermost thoughts, while discovering new places. For the exhibition "I-The world revolves around me" at M.A.D.S. Art Gallery, Anna decides to exhibit her artwork entitled "Mysleformy (accepting)”. As the title of the work suggests, the invitation is to accept oneself the way we are and to dream more, by trying to escape to the everyday frame, made up of patterns, limits and prejudices. The painting is happy, charming and dreamy. The joyfulness conveyed is revealed in the colors of the acrylics she used. The main image in the center is placed in its whole density on a pink background, suggesting an agglomeration of thoughts and feelings. Among the mixture of matching colors in the central part, the gold color predominates, balancing the harmony of the work. The beaten lines underline a hushed and distant world that transmits calm and curiosity to the observer. Furthermore, in the upper part of the artwork there are flowing and continuous vermilion strokes that reveal the fluid movement of the artist's hand during the execution of the work. The white color casually dappled on the sides of the central agglomeration that almost seems to represent suspended clouds, as if to underline the dreamy world that the artist wants to convey.

Art Curator Angela Papa


Anna Redkina

Mysleformy (accepting)


Annabelle Rudin “The only journey is the one within.” (Rainer Maria Rilke)

The matryoshka doll is the world's best-known symbol of Russian folk art. Its origins lie at the end of the 19th century, when Savva Mamontov, founder of the Abramcevo art circle, probably influenced by the tradition of Chinese boxes, created the first exemplar. Matrioska is a Russian term used as a nickname for matrena (from the Latin mater, "mother"), or "matron", as the head of a family in a matriarchal society. This object is an obvious reference to motherhood and generative fertility, as well as symbolizing the female strength. Annabelle Rudin, a young contemporary Russian artist, roots her research in the past, using the power of this symbol to tell her vision of the world. Her work entitled "(Гост) n Hope" is intended as an emblem of a past that merges with a modern, freer present. Very attached to her grandmother's stories, the young artist talks about the difficulties her country had to go through, forced into the grip of dictatorship. Heir to important testimonies, she decides to give them a new form, merging what has been with what she herself is now experiencing. Her matryoshka thus becomes a container for a new, entirely contemporary vision, in which the role of women takes on an even more profound significance. In this work we recognize the knowledge of experience which, from generation to generation, has given rise to new values. Annabelle Rudin savors the pleasure of freedom every day, imbuing her art with it, in order to involve the observer in this intense space-time journey.

Art Curator Francesca Brunello


Annabelle Rudin

(Гост) n Hope


Anne Lhuillier

<<My individual revolution and become aware of [my] existence and celebrate it>>. To introduce the painting titled Emergence by the artist Anne Lhuiller presented at the international art exhibition could be interesting starting from this her consideration. This expression in fact remind the idea of self-affirmation. In fact it could be interesting to underline the idea of individual revolution. How to make it? This is a common question in the bad situation of life but also in that moment in which you feel imprisoned and you think that your life doesn’t change. With this composition the artist Anne Lhuiller tries to answer this question. What emerges from the watching painting? At the center of the composition, we can see a figure that seems to be in a trance state, his eyes are closed, the head is turned upwards and his expression seems to reveal the mind that is in another place. At the same time, this character wants to affirm his image in front of the viewer not in a violent way but in his silence. All around him the colors go toward homogeneity, and on the border of the painting we can see some lines created lines created by raised and stretched threads on the canvas. These lines communicate the idea of a prison that wants to bridle the protagonist of the painting. At the same time his revolutionary behavior could be seen from his expression and the way he seems to be in another place just with his mind. Maybe this is the advice beyond the construction of the painting that the artist wants to send us. To feel free also when in life something seems to want to imprison us, it’s enough to use the mind and study in another place, to create another world around us.

Art Elisabetta Eliotropio


Anne Lhuillier

Emergence


Arvin K Davis Jr "They thought I was a surrealist, but I wasn't. I've never painted dreams. I painted my reality." (Frida Kahlo)

Fantastic, almost surreal representations and vibrant colors are what the artist Arvin K Davis Jr uses to concretize his being on the canvas, enticing the observer to embark on a journey to discover the symbolisms of his art. Suffering from post-traumatic stress disorder, art allows him to process the emotions, traumas and self-created pressures, thus becoming a real therapeutic path aimed at understanding himself and his feelings. The figures that populate his work therefore become spokespersons for profound reflections on themes about anxiety, depression and social injustices, creating an almost fairytale dimension in stark contrast to the artist's interiority. What the observer finds before his eyes is a work with a strong compositional and chromatic rigor, which, however, hides the hidden truths of the artist's experience.

Art Curator Federica Schneck


Arvin K Davis Jr

Birdbrains


Arwan Beetooh

Rising sea levels witness how “Time passes. Listen. Time passes. Come closer now. Only you can hear the houses sleeping in the streets in the slow deep salt and silent black, bandaged night.” Dylan Thomas was aware of perseverance in people no matter how time passed. Arwan Beetooh presents “Sinking Cities” for the “I, The world revolves around ME” Art exhibition at M.A.D.S. Art gallery. A video discloses a path of many landscapes being witnessed by a concerned observer, whose awareness is going with a continuous pace. Time is running out, the moon is falling and rising at the same time, it is inevitable. The blues, purples and reds in the sky carry the responsibility to sense the evolving nature surrounded by the fury of concrete palaces. Listen, time passes, listen, just listen. Myfanwy Ashmore a Canadian artist presented on 2006 her “Mario Trilogy” where the artist hacks the “Super Mario’s” game code. She removes enemies, prizes and obstacles, where eventually Mario will run out of time and die. “Mario trilogy’s” inevitable ending is remembered in Arwan’s work. Gamification is sometimes required to encourage participation at a deeper and unconscious level, where we perceive a virtual reality presented by simple choices. Games people play will eventually be over. “Sinking Cities” is a video with a final choice. It is up to the beholder whether is understood or not.

Art Curator Karla Peralta Málaga


Arwan Beetooh

Sinking Cities


Aspa Svolou

Aspa Svolou is an artist originally from Crete, her beloved land and cradle of her creativity. It is evident her urge to communicate experiences and feelings. What emerges from Aspa's artistic path is the genuine spontaneity of transmitting what she feels with dynamism and vitality, constant elements of her paintings. The preferred method used in her artworks is the dripping technique, usually obtained with the use of the screwdriver, acrylics or home paints. Aspa's work is pure expression: the absence of figures underlines her favorite style. For the first exhibition of 2022 of the M.A.D.S. Art Gallery, the artist decided to show one of her masterpieces: “Thundera of Change”. Taken as a whole, the artist describes her work as a representation of the change and redefinition of human existence, of its transformation from youthful dreams into the concreteness of the rational thought of adulthood. "Thundera of Change” is not made up of figures or strokes, but of sketches and drops of color that give dynamism and immediacy to the work. Also in this case, the artist's urgency of expression transpires. On a white background there are three active colors, bold in their intentions: yellow, red and black. Red is expressed in its intense vitality, as well as black suggests its frankness. Yellow probably goes to recall those that are still the nostalgic notes of the youthful age. Here the shape breaks its contours and results in an explosion of colors that capture the eye of the observer, by recalling the Pollock style in the instantaneity of the painter's hand and in what it produces: light and harmony.

Art Curator Angela Papa


Aspa Svolou

Thundera of Change


Bex Wilkinson

Bex Wilkinson is an American artist with a very broad artistic experience, her works of art recall that artistic current recognized as postmodernism. Bex Wilkinson is again a guest at an exhibition organized by M.A.D.S. Art Gallery and on the occasion of “I-THE WORLD REVOLVES AROUND ME” she exhibits three works that are rich from a symbolic point of view and powerful from a communicative point of view. “Ode to Maryan and his Lover” is a real tribute to the artist Pincus Bernstein who survived the Holocaust and arrived in Chicago after studying at the Musee De Beau Arts in Paris. Work born as a diptych becomes single when the artist realizes the profound correlation between the two pieces, on the one hand the Ode to Maryan, on the other a self-portrait in Trangender USA.


Bex Wilkinson

The representation of Maryan's love for work and the artist's worldview relative to the modern world, create a perfect combination, accompanied by a great contrast created by the two side-by-side canvases, one black and one white. On the one hand, the black canvas in which the subject remains represented by eliminating the superstructures, the details are concentrated in the center of the work, on the other hand the canvas is full of colors, brushstrokes and different details such as the American flag at the top left. "Pandemic Self Portrait" is a powerful and emblematic work, a representation of a real intimate emotion that recalls the melancholy, a sense of detachment that many have felt in the last two years due to the Pandemic. The self-portrait is "blurred" on the left side, as if confused, the artist decided to express his mood using dark colors, evoking these feelings by eliminating the background and piercing the viewer with this melancholy feeling.

Art Curator Martina Viesti


Bex Wilkinson

Ode to Maryan and his Lover


Bex Wilkinson

Pandemic Self Portrait


Birgitta Lundqvist Through my art I want to inspire you and your fantasy. Most of my paintings can be turned in different directions and give other options to the fantasy. I Just let the brush take me forward in the process and the flow takes place in me. (Birgitta Lundqvist)

Birgitta Lundqvist exposes her own fears, hopes and sensibility through her art. At the international exhibition "I" the world revolves around me, hosted by the international art gallery M.A.D.S. she shows her Fire, Higher, Observing. Exactly like her soul, her art is represented by a delicate palette. Materiality takes on the same importance as design. The instinct and the flow of the pictorial action also play their role in the artist's works. The result is a perfect balance between an abstract art but that refers to reality and the desire to leave room for the imagination of the observer. In Fire, Birgitta expresses through the choice of colors, his vision of conflicts and world problems. The apocalyptic scenario in the mind of the artist is represented as a destructive fire. The color takes shape on the canvas, so the pictorial matter is equally important in the representation. The explosion of colors is the representation, in the artist's imagination, of the events of catastrophic origin that afflict the planet. Higher represents hope for the future, “I will seek for a good life, I will never give up”. In line with her worldview, the artist, therefore, decides to preserve herself in the best way she can. The second work therefore shows a kind of representation of man's survival instinct. In a world torn by conflict, man seeks to elevate himself through the care of his spirit, his inner self. Observing shows the fears of Birgitta about pandemic. This painting in calm colors is painted during the lockdown. Showing isolation, loneliness, all kinds of feelings of how it would affect the artist’s life from now on. Studies show that the last two years lived, at the height of the pandemic, have compromised the psychological health of humanity. The artist succeeds in fully representing, through these three works, the psychological state of the collective. The fear of the outside world and the effort of man to seek within himself the well-being.

Art Curator Mara Cipriano


Birgitta Lundqvist

Fire


Birgitta Lundqvist

Higher


Birgitta Lundqvist

Observing


Bisa Bennett Bisa Bennett is a Toronto-based artist and multimedia designer. She received her formal training in Toronto in both traditional Fine Arts and Multimedia Design. Over her long career as a painter, her work has been exhibited in Europe and North America in the major art galleries of New York, Toronto, Florence, Milan, Rome, Berlin, Barcelona, Paris. Her name has been mentioned in many art magazines, likewise her work has been enhanced in numerous solo exhibits. ARTisSpectrume Magazine New York Press release: “With sensitive, powerful brushstrokes and textured surfaces Bisa Bennett creates wonderfully evocative works centered on the female form. Employing a minimal palette, the colors she uses are significant – the whites are not brilliant whites but the complex gray and cream shades of plastered walls, the blues deep azure smudges that pop from the canvas and her reds, the color of desire, of love and of passion, are deep almost to the rich brown of dried blood.” In the artwork "Vulnerable" a female subject leans on the wall on the right side of the canvas. She suggests a feeling of surrender and vulnerability. The figure let’s herself go to a natural pose highlighted by a play of lights and shadows, made by the poor palette used by the artist. Although the main colors are white, beige and black, we can see touches of deep blue and vermilion color on the left side of the canvas. The surface of the work is rough, evoking a sense of decadence that balances with the feelings of the piece of art. The brushstrokes are sensitive and almost caress the figure that is lost in the light, highlighting the charged shadows. These lasts bring out the outline of the subject portrayed as if it seems almost detached from the canvas. Bisa Bennett not only represents figures, but she evokes sensations that are transmitted to the observer through a unique technique where in some part of the canvas the representation belongs to its two-dimensional reality, while some strokes and shadows elsewhere on the canvas highlights the three-dimensionality, by giving a feeling of impermanence of the subject, thus placed in a dimension of absence and presence.

Art Curator Angela Papa


Bisa Bennett

Vulnerable


Carina Montemurro On the occasion of the first International Art Exhibition of 2022 entitled "I" The world revolves around ME, the M.A.D.S. project born in Milan but digitally (and today also virtually -Metaverse-) extended to all over the world, presents Carina Montemurro. We are talking about an artist from Buenos Aires, Argentina where she spends most of her life. Her vocation has always been that of teaching and her approach to art dates to her early years as a teacher. She tried to transmit and share her passion of hers in the plastic proposals that she presented to her pupils, nurturing, and concretizing more and more this artistic orientation, right from the start and precise and defined. She then decided to train in the art world, starting to study and put into practice the various artistic and conceptual discoveries. Still in constant training, she tries to progressively improve her techniques. She currently paints in oils and creates analogue collages, acquiring a specific and defined taste and an artistic professionalism. Although collage originated in China, it is in the early 20th century that it becomes a relevant artistic practice. This, in different parts of the world after the intervention of the cubists Braque, Gris and Picasso. However, with the arrival of digital collage it might seem that scissors and glue have been relegated to the background, but in the future, there are many artists who choose this aesthetic and communicative method for their art. Among the most famous analogue collage artists, Joe Webb and Lynn Skordal are the two closest to the style of our dear Argentine artist. Just like Carina, they create images in which original scenes converge in surrealist spaces. New ideas about the world we live in, with an accentuated ironic sense. They make collages with a traditional process: scissors, glue, and a lot of imagination, which as in an act of magic, take on a meaning despite the apparent lack of relationship between them. It is in this way that Carina Montemurro manages to reunite the everyday with her feelings and memories, these being the sources of her inspiration.

Art Curator Carola Antonioli


Carina Montemurro

Nueva mente


Carter Tam “Through ritualistically making, we are made aware of what the existential subconscious has on its mind.” (Carter Tam) Carter Tam is a Canadian artist characterized by the urge to give voice to his opinions and impressions on everything that makes up our everyday reality. The artist manages to get in touch with the public assertively and his works reflect thoughtful themes from those relating to identity, sex, love, technology and advertising. The canvas becomes the mirror of the thoughts and refuge of the artist, who tells us of a reality distorted and changed, also due to the recent Covid-19 pandemic that we are living in. In this context, actions and relationships are depicted in their current changes, such as increasing loneliness in the world and relationships that have become mostly digital. In the artwork “Existential Nanalan” social reality is filtered in a paradisiac world in a satire key, whose characters of everyday life are puppets of a Canadian television program called Nanalan. The world is apparently idyllic, but it is enough to focus on individual characters and events to see the ironic aspect of everyday life. If we analyze the representation, we notice a wide range of events: a child who stays day and night in his virtual world, violence and kills, sex and childbirths, the representation of death, loneliness, and a little man up on the left who, catching the attention, escapes from this fake and built world to reach "the great unknown". Overall, the picture shows very bright colors, with no blank spaces, and a predominance of green and blue colors. The choice of these two chromatic shades emphasizes and conveys a feeling of apparent calm of a pleasant landscape. Approaching us, however, we realize a more brutal and truthful reality, in complete contrast with the colors chosen. This decision once again marks the humorous and unveiled thought that the artist has in describing everyday life. Nevertheless, in his artwork “Kronos” it emerges a violent need to represent his conception of time, and what it transmits to him. Indeed, the title refers precisely to the personification of Time, as one of the Greek titans. In this way this concept is related to negative meaning, linked to the precariousness and transience of life. The titan, or time itself, is depicted as a vortex that sucks everything up with its great teeth dripping with blood. Nothing else is seen of the titan, only his insatiable mouth. Here we find warmer and darker stroke tones than in other paintings made by the artist. These are mixed together, creating various gradations in a circle that emphasize the fast and turbulent movement of the speed with which Time devours. Moreover, in the paintings “What Would You Do For Love”, Carter Tam's energetic and lively trait is also evident. Once again, the author of these works has the urge to convey his vision of the world without filters, in a humorous key. Among the predominant colors we find chromatic shades ranging from yellow, to green, to vermilion, accentuating the dynamism of the picture. The iconography as a whole emphasizes the meaning of the title in an irreverent tone. We can see several subjects lying naked, others dismembered, remarking in an extreme way how love can reduce a person and how much one sacrifices for it, piece by piece, devoured by passion.

Art Curator Angela Papa


Carter Tam

Existential Nanalan


Carter Tam

Kronos


Carter Tam

What Would You Do For Love


Catarina Diaz

Catarina Diaz is an artist who expresses her creativity to the maximum through the creation of collages that blend together aesthetics, technique and surrealistic vision. A very interesting element of Catarina's works is the ability to combine surrealism and reality, in fact the women represented by the artist are always very concrete and real, full of their essence and free from any obligation or prejudice; the ways in which the artist creates these works represents, instead, the surrealistic element of her artistic production. Catarina Diaz is a permanent artist at M.A.D.S. Art Gallery and on the occasion of “I - The World Revolves Around Me" she exhibits "Cosmic" and "Placidity" two works in which the subject is placed at the center and is framed, celebrated by the rest of the elements inserted.


Catarina Diaz

Experimentation is one of the main characteristics of Catarina's illustrations, a pop surrealism in which elegance accompanies the criticism of the female condition and the celebration of women itself joins the taste for aesthetics and communication through shapes and color . From this point of view, Catarina Diaz's world view is very reminiscent of Hannah Höch, a collage artist who created her most important works of art during the German government of Weimar. Alpha and Omega of the communicative desire is the intention to eliminate sexist codes, to bring the woman back to the maximum point of her essence, to question the same standards of beauty present in the society in which we live in order to represent a strong and independent woman ready to be treated equally.

Art Curator Martina Viesti


Catarina Diaz

Cosmic


Catarina Diaz

Placidity


Cecilie Gry Knuth-Winterfeldt On the occasion of the first International Art Exhibition of 2022 entitled "I" The world revolves around ME, the M.A.D.S. project born in Milan but digitally (and today also virtually -Metaverse-) extended to all over the world, presents Cecilie Gry Knuth- Winterfeldt. She was a professional theatre dancer and for this reason masks and movements are often found in her works. As we can verify in "Punch needle", the work that the artist has selected for our exhibition, Cecilie finds inspiration in the most disparate colours, patterns, and textures, emphasizing one of the 5 senses that is very often forgotten or at least left in the background. Indeed, the tactile element of her works is fundamental, and that is what makes them so characteristic. Recycling and the environment are also very important to her and therefore around 95 percent of her materials are recycled or made from materials that other people have thrown away. This applies not only to the thread, but also from the punching on old tablecloths, to the wood, of which the frames for her work are made. The work and the technique that she creates are so special that she doesn't have a real name. She could be recognized under the category of "tapestries", albeit improperly. These products date back to the most remote times: the most ancient tapestries that have come to us date back to ancient Egypt and late Hellenic Greece, but they were widespread all over the world, from Japan to pre-Columbian America. The original iconography was mainly sacred or pleasantly naturalistic if intended for public and private buildings. Tapestry is a form of textile art that is halfway between craftsmanship and artistic representation. Technically it is a dominant weft fabric made by hand on a loom. Cecilie's technical ability is of incredible significance. On the surface of the work, the silhouette of a person with anonymous shapes is highlighted. The overlapping of rhombuses and colours outline the whole, making us immediately perceive the hidden subject.

Art Curator Carola Antonioli


Cecilie Gry Knuth-Winterfeldt

Punch needle


Charlotte Kerswill “Everyone is a moon, and has a dark side which he never shows to anybody.” (Mark Twain)

The female figure is predominant in the artistic research by Charlotte Kerswill, a contemporary English artist. Sensual glances, perturbing poses and full lips, are constant elements that contribute to portraying women in all their seductive power. Often these portraits carry with them a deeper meaning, as in the case of the artwork entitled "Human", presented at M.A.D.S. Art Gallery on the occasion of the exhibition "I" The world revolves around ME. In front of us, a bust of a woman whose face is half obscured by the skeleton of an animal, shows itself in all its beauty and power. Wrapped in intense black and white, this image does not hesitate to communicate a visual antithesis. An underlying duplicity accompanies the entire work in a continuous clash between light and shadow, pain and joy, fear and wonder. A beautiful woman shrouded in darkness looks at us through her uncovered eye, illuminated by a dim light. With this painting, Charlotte Kerswill makes an interesting psychological analysis of the human being and selfawareness. Each of us has a light and a dark side, a visible and a hidden side. Pirandello's concept of the mask is interesting in this respect. The skull, which represents the dark side, is hidden by the beauty of this female face. So perfect and sensual, it also has a secret, unconscious, irrational, animal side that we can never know. The artist wants the viewer to reflect on this contrast inherent in each of us. A polarity in search of a constant balance.

Art Curator Francesca Brunello


Charlotte Kerswill

Human


Chaya Mallavaram

The Indian artist Chaya Mallavaram, based in Boston, participates for the first time in an exhibition organized by M.A.D.S. Art Gallery, on the occasion of "I - The world revolves around ME". For Chaya, if one thing is certain, it is that the world revolves around art and that "happy place" - calm and magical - that manages to carve out when she paints and in which we undoubtedly catapult in front of her works. Claude Monet and Vincent van Gogh are the painters who most inspire her in the creation of her abstract and impressionist paintings, which feature bright colors that return very often in her artworks. The painting on display, "New Beginnings", is iridescent and poetic: the delicate and lived brushstrokes color the canvas as if they told a story made of childhood, travels to exotic places and eyes that opened wide in front of her mother who adorned herself with colorful and bright sarees. Blue, golden, antique pink and red: these shades, capable of creating an enchanted and familiar atmosphere, animate the painting and enrich it with a deep and authentic meaning that, although it cannot be obvious as it is an abstract work, comes loud and clear in the soul of us spectators, that we find ourselves contemplating this canvas with understanding wonder. These brushstrokes, alternated even with thinner and more defined scribbles - as we can see in the left part of the painting - are not only visually extraordinary, but they create something intimate and personal, igniting in us hidden emotions that now we can no longer hide. Maybe these are the new beginnings.

"It’s exciting to explore new ways to paint. Art is a journey for me and I can’t wait to see where it takes me!" (Chaya Mallavaram)

Art Curator Sara Grasso


Chaya Mallavaram

New Beginnings


Christina Walsh American artist Christina Walsh, presents at M.A.D.S. Art Gallery three works that represent in full her style and her art. The artist defines herself as an abstract artist, in that she performs an abstraction of reality, carrying on canvas something real but modified and filtered by her interpretation. Cubist influence has always been evident in her works as well as the decorative influence that part of her aesthetics. Recently the artist begins to experience street art, in fact she collaborates with other artists in the realization of two public art murals. One of her latest works on urban fabric takes up details of the work that she presents at M.A.D.S. and entitled "1000 eyes of the peacock". The work, made of acrylic on wood panel, realistically represents a peacock, emphasizing its wonderful feathers and those that look like eyes. Blue and orange are the dominant colors. They can only remember the palette of the famous cubist work "Les Demoiselles d’Avignon” by Pablo Picasso, recalling once again her artistic influences. They are evident in the work entitled "American Anthem revisited (It’s up to you)".This cubist piece incorporates the many faces of America and American life where equity and equality continue to be out of reach, and includes poetic lyrics throughout the piece from music inspiring the painting.The last work examined is "Liberty Beautiful" - a work of Christina already known as "Liberté of Justice" that the artist revisits and modifies digitally, thus showing her evolution. The larger modification applies it to the right section of the Statue of Liberty’s face, covering it with wings and an eye representing the elements and colors of the American flag. It also places a sort of third eye in the center of the forehead. Christina Walsh once again sends a political message through her works, stating: “America wants to be beautiful and strong, but continues to suffer from self delusion through a general lack of agency imposed on her people.”

Art Curator Giorgia Massari


Christina Walsh

1000 eyes of the peacock


Christina Walsh

American Anthem revisited (It’s up to you)


Christina Walsh

Liberty Beautiful


Christine Bent "Ever since there have been men, man has given himself over to too little joy. That alone, my brothers, is our original sin. I should believe only in a God who understood how to dance". (Henri Matisse) Christine Bent moves from transposition of data and mapping to pure abstract and instinctual composition with grace and awareness. Her paintings are a carnival of dancing colors and shapes, brilliant backgrounds where full and catalyzing shades of color drops fall. Tears of joy, splashes of water on a sunny day, traces leftover from a playful afternoon. The author with her instinctive gesture that is so far from her mathematical training, paints the highest serotonin peak of those who enter into dialogue with the picture. Images that seem to stop and photograph an absolute moment of intense emotion. Bent's color is like a savannah jungle that embraces the elements of the earth and unites them, giving shape to brand new and well known lives. In some of her paintings we can recognize human figures, perhaps random, perhaps purposely built. Garden on the sea, in example, reveals with her pinks, the image of a newborn held by her mother, perhaps fed at the breast. This scene that is perceived by the abstract composition can be completely distant from the reality of the gesture and the artist's intentions but clearly communicates the prevailing feeling. It is with black that Bent puts the accent and determines the focus of the painting, small and precise drops of the darkest of colors to give direction to the viewer. It is in this way that those who make art make themselves recognizable as masters, through the fine use of their language, with clarity of purpose and final thought, the painting is not interpreted by the public but it is guided to the only possible thought.

Art Curator Erika Gravante


Christine Bent

Yellow Dragon


Christine Bent

Lotus Flower


Christine Bent

Cherry Blossoms


Christine Bent

Rainbow Mountains


Christine Bent

Garden on the sea


Christoph Swietlik "Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.”(Antoine de Saint-Exupéry)

Christoph Swietlik is an emerging artist living in Germany. The love for painting is but one of the many talents of the artist, whose artistic skills also focus on the art of directing. Christoph's versatility allows him to give voice to two different vocations, but of substantial importance: if on the one hand the activity of director allows you to tell stories "external" to himself, and therefore to open the mind to otherness, painting represents an introspective and intimate process, aimed at reflecting on individuality. Old Journey - the work presented on the occasion of the exhibition "I The world revoles around ME" - is a perfect example of the intent underlying the art of Christoph Swietlik and fully represents his philosophy, which is also expressed from the technical and stylistic point of view. In fact, the work is configured as the result of an operation in progress, which does not arise from an already defined project, but from a vague idea that hovers in the artist's mind. The creative flow, therefore, translates into a continuous change of shapes and colors: the acrylics and the structure paste blend in a layering of dense and full-bodied material, untied from the constraints of a draft and expressing the intuitive nature of the inspiration of the artist. The free and inspired execution is in direct connection with the profound meaning that moves Christoph's expressive intent. In the center of the painting - on a background of soft tones - a thick vertical line stands out, which branches out horizontally along the composition with a dynamic trend. It implies the ability to surprise first of all the painter himself, who uses the universality of art to narrate his own inner journey, in constant and unpredictable change.

Art Curator Chiara Rizzatti


Christoph Swietlik

Old Journey


Christopher Scott Brown Art itself is individuality and self-affirmation, the artistic act is individual, is self-realization. Christopher Scott Brown, American artist, expresses himself with artworks full of life, movement, and colours. He represents a subject that seems fire in different styles, in different types of movement. "Fluorescent Smoke Dance" seduces the eye of the viewer, it enchants it with the hypnotic dance of its coloured smokes. If you look at it carefully you can feel warmed, as if you are in front of the fire in a fireplace. You can lose yourself among these flames, among your thoughts. Among these colours, silhouettes of bodies seem to take the shape, magic spirits that guide us in a journey into ourselves. "Ricochet" evokes different and strong sensations, and it represents fast and dynamic movements. The artistic technique is more impulsive than the previous one, the background is characterized by different tones of red, and the white, yellow, and bright red paint sketches seem like sparks that are jumping from an ardent brand. This time the artist focuses on a different movement that gives the title to the artwork: the jump, the ricochet. Christopher's third work is "Stare Into The Sun" and here the fire is represented in its divine shape: the sun. This sun shines in the blue sky but its rays don't seem warm like the fire of the previous artworks. Indeed, here the sun is represented with yellow rays that confuse themselves with the blue background and form a white and green shade.

"I love art because it is infinite. There is always something new to be created. It is quite an addictive feeling to finish an artwork. I just want to keep making more." (Christopher Scott Brown)

Art Curator Sara Giannini


Christopher Scott Brown

Fluorescent Smoke Dance


Christopher Scott Brown

Ricochet


Christopher Scott Brown

Stare Into The Sun


Cigdem Onat "All you have to do is be able to feel." (Art Blakey)

Her works are placed beyond any time and space dimensions where rules do not apply and logic seems to have lost its properties. Her colours and brushstrokes are vivid, energetic and irregular like the Jazz music she listens to when she paints. Like Jazz, her art is improvised and polyrhythmic, imbued by swing rhythm and freedom of expression. This is Cigdem Onat, Istanbul artist who is now based in NYC and works as artist and entrepreneur. Her abstract paintings are powerfully expressive and colourful, born from a ‘stream of consciousness’ that allows Cigdem to freely represent her thoughts, feelings and emotions as they appear in her mind and as she feels them in her body before being rearranged into logical sentences or familiar shapes. As the artist says, this painting technique allows her to “connect with her inner world without thinking what to paint on canvas”. Together with movies and her own personal life, jazz is her source of inspiration to create works whose features expand in an unpredictable way on the edge of unrecognisable shapes. Her art has been called ‘an organised chaos’, a chaos where contrasting colours take over everything and make the works “edgy and funky”. White is the background of “Untitled or Are You Real”, a painting of acrylic and ink on canvas where thick and thinner lines of blues, greens and pinks overlap to each other in a vertical and horizontal rhythmic dance, with a splash of violet here and there on the canvas. “It is a dedication to one of my favourite jazz musicians Art Blakey”, Cigdem explains, “I was listening to a song by him called ‘Are You Real’ as I was painting this”. In this painting, it is like we can see Cigdem’s free body movements while she listens to Art Blakey’s song, where the beautiful crescendo of rhythm and tones materialises in colours on canvas. Our eyes dance in front of Cigdem’s paintings, always in the search of new colours to see and new rhythms to follow.

Art Curator Martina Lattuca


Cigdem Onat

Untitled or Are You Real


Cindy Vendola Amaru “Art enables us to find ourselves and lose ourselves at the same time”. (Thomas Merton)

Cindy Vendola Amaru is a self-taught mixed-media contemporary artist, she uses oils and acrylics to create contemporary drawn images on canvas that she digitally modifies to create her unique pieces. Her pieces therefore have this common root; being created from acrylic paintings and then subsequently modified with digital tools. And it is precisely from the process of transformation from physical works of art on canvas to digital work that Cindy's creativity is nourished and sweeps across a parallel universe. She creates new, abstract but real characters and themes by the color she invents and by the associations of thoughts and shapes. Her pieces are inspired by topics dear to her, such as love, peace, gratitude and happiness that take shape in her works in the form of vibrant colors capable to excite the viewer. From her art we perceive a serene positivity, in a broad sense of joy and happiness, we see the mystery created by the unique elements she uses and we find ourselves in the self-portraits hidden inside. We therefore discover faces created by combinations of colors, abstract forms that expand on the canvas giving shape to looks, faces and people. Looking at her paintings we lay bare in front of reality, we perceive this incessant struggle between positivity and negativity but digging into it we realize that there is always a lesson to learn, someone to help. Through the bright colors full of life, we perceive an atmosphere of well-being, a deep light that invests us and gives us a new charge of energy, a happier space in which to live. A whirlwind of color, emotions, positivity and full of energy.

Art Curator Giulia Fontanesi


Cindy Vendola Amaru

A GRATEFUL HEART


Cindy Vendola Amaru

Strong Girl Psychedelic


Cindy Vendola Amaru

LOVE


Claudia Ossenkop "Colour in a painting is like the enthusiasm in life" (Vincent Van Gogh)

The work of the young artist Claudia Ossenkop is the highest representation of freedom, that is, the freedom to express oneself and one's emotions. The artist's painting is clearly abstract, there is no drawing that outlines real forms, but at the same time it is true, pasty and tangible. Colours, layer upon layer, material that overlaps creating intense works of art. Like any story that has a past, a present and a future, so Claudia's artistic work tells a path, a path characterized by reflections, thoughts and experiences to treasure, secure foundations for a future and awareness of the present. The work "Crazy jungle" is changeable and in continuous movement, in an alternation of bright colors and others with darker tones, the observer is transported into a whirlwind of sensations, now balanced and calm, now impetuous and energetic. In the works "Foresta" and "Lavender ice cream" the colours appear static and pasty, the brushstrokes are dense, the colours come together, at times they mix and at other times they overlap, in a continuous alternation of lights and shadows. The artist creates works that have a great aesthetic value and that arouse strong emotions, the observer is captured by the colours and brushstrokes. Claudia has the great ability to evoke sensations and to bring out feelings, she takes the viewer by the hand and leads him to the discovery of an unknown or perhaps just forgotten world. Claudia's entire artistic work is characterized by freedom of expression, where feelings and sensations prevail over logic, where life experiences become an inspiring element, through the journey that the artist makes us take, every sensation finds a place and a right sense.

Art Curator Vanessa Viti


Claudia Ossenkop

Crazy jungle


Claudia Ossenkop

Foresta


Claudia Ossenkop

Lavender ice cream


Claudio Cavalli

Claudio Cavalli has recently discovered the fascination of the camera and the passion for photography. Coming from a musical background, he graduated in drums and music theory, which continue to be persistent elements in his works. As you can see in the photograph “Color of passion” exhibited in "I The world revolves around ME" at M.A.D.S. Art Gallery. Through the use of the lightpainting technique the artist tries to imagine and represent the world that surrounds him. In the composition we see a violinist sitting in the middle, while she is playing her instrument, we can almost imagine a powerful strong melody that emanates from the touch of the bow on the strings. The sound waves are so powerful that they take shape and release in pure energy, that they envelop the performer so much as to make her disappear in her musical universe. If you continue to observe the image you are almost transported to an alternative reality where the viewer is watching a concert and the more you look at the work the more you almost have the illusion that it moves, thanks to the notes released by the violin and the light that is created by the music.

Art Curator Alessia Procopio


Claudio Cavalli

Color of Passion


Cora Smith

Cora Smith is a 21 year old, Latina artist located deep in the heart of Texas, USA. She describes her style of art as “Abstract Realism”, and her art motto is “You are Powerful. You are Worthy. You are Priceless”. She aims to uplift her audience with her work, and help remind people that, no matter how negative life can be. There is always love, there is always light, positivity, and beauty within this world. Cora Smith presents four works at M.A.D.S. Art Gallery of Milan and Fuerteventura on the occasion of the exhibition entitled "I - the world revolves around me". All four works - entitled "Fearless Beauty", "Majestic Spirit", "Out of time" and "Unbound" - have as their main subject the female figure in which is evident a strong self-esteem and desire for rebirth. These four works transmit a great spiritual strength, they induce the spectators to believe in themselves and to seek their own inner strength. Observing them is immediately evident in the coherence of style and colors. The palette used in these works is mostly blue, white, orange and yellow. The cold colors and the warm colors par excellence meet and blend perfectly with each other, creating a dualism and a contrast of energies. The style instead combines figurative elements, such as the bodies of women, executed in a realistic way, with abstract elements, such as the discharges of energy that the artist paints around the subjects. Analyzing the first work, "Fearless Beauty" is evident as the artist points attention on the uncovered bust of a woman, surrounded by those that look like angel wings. Her self-confidence and self-esteem emerge.


Cora Smith

The same feeling is present in "Majestic Spirit" even if here the woman remembers the figure of Venus, in particular the Venus of Milo: she comes out from the waters and is covered with a delicate white cloth. Sensuality and purity are evident. In the work "Out of time" these delicate sensations are replaced by stronger and "rebellious" ones. The artist declares to be inspired by the figure of the White Rabbit of Alice in Wonderland, which represents the passage of time and our relationship with it. It is in fact represented by a huge clock that is contrasted with the figure of a woman who personifies the rabbit. Finally, the last work represents the guild of this little journey through the works of Cora Smith. "Unbound" has predominantly warm colors, a swirl of flames enveloping a woman who rises upwards. The phoenix rising from its ashes. The strength of the woman is celebrated. The four works thus represent the various facets of the woman: strength, sensuality, self-esteem and even the most rebellious and mysterious side. Cora Smith knows how to enthuse her viewers and involve them, making them bond and attached to her characters.

Art Curator Giorgia Massari


Cora Smith

Fearless beauty


Cora Smith

Majestic spirit


Cora Smith

Out of time


Cora Smith

Unbound


creagiovane Art is about accepting myself and freeing my inner child (creagiovane)

Creagiovane at the international exhibition "I" the world revolves around me, hosted by the international art gallery M.A.D.S. brings with him all its extreme sensitivity. His life and his artistic path are the deepest representation of art that is not simply creative expression but a tool to build oneself, think and face the difficulties of life. Raffaele Giovane aka creagiovane, was born in 1984, he's son of Italian emigrants, he is an architect, blogger and artist living in Zurich, Switzerland. He visited the artistic highschool Liceo Artistico Freudenberg and studied architecture at the Swiss Federal Institute of Technology. Some years ago, during a problematic period of his life, being sick of getting up each morning with a bad mood, he started spontaneously to draw, just for the sake of drawing and focus on something creative in the first minutes of the day instead of pondering about life challenges. But the 5-minute drawings became 15-minute photographed and posted drawings, then 1-2 hours recorded drawings. Some drawings became proposals for mural art projects, prints on canvas, designs for products. His art is an interaction between himself as an adult pondering about heavy issues like social inequalities, environment, mental health, and his inner child who wants to create playful and colorful patterns and doodles and to connect with other inner children. It’s a healthy way to cope with difficult topics without drowning in negativity. His vision is to inspire others to free their inner child and follow their passions through a lifelong creative process. His hope for society is that people become more tolerant, first for themselves, then for others. Art will play a big part in this transition. Silhouettes on highlights represents the encounter between the artist and his inner child. The artist, in his pictorial gesture, instinctive but calculated, precise but childlike, shows that he has met the child within himself and that he has welcomed and valued it, since it is a source of salvation for his soul.

Art Curator Mara Cipriano


creagiovane

Silhouettes on highlights


Cristina Nasti

Cristina Nasti, a young artist always searching for herself and for what she feels, presents at M.A.D.S. Art Gallery’s exhibition: ‘I the world revolves around me’, three paintings that, in their titles, comprehend what she wants to transmit. <<She believes that the same subject can be interpreted with different languages and forms because it is seen with different eyes and each time it can give a new and unique emotion to the viewer>>. All the canvas has the same subject, an abstract subject representing maybe the sky in its different hues or, the universe, as it can be interpreted in ‘EXPLORING’. The sensitivity with which the artist uses the brushstrokes can be easily noticed looking carefully at the paintings where beauty appears in all its artistic forms. Dynamicity, this is another characteristic of these artworks, a sensation of movement of a sensual movement coming from these natural elements composing the scene. ‘SAFETY’; ‘AWARENESS’ and ‘EXPLORING’ are similar but different between them and this represents one of the objectives of Cristina’s artistic work that she likes to define: the magic of art. She likes to experiment with new techniques and colours so that she can give birth to different canvas and scenes with the same main character. The artist seems to be so close to the concept of the exhibition that focuses its attention on the self-esteem without submitting the society and its rules. The three acrylic paintings are the reflection of Cristina ideals and her desire to develop them.

Art Curator Martina Stagi


Cristina Nasti

SAFETY


Cristina Nasti

AWARENESS


Cristina Nasti

EXPLORING


Crna Nina N.S.

“It’s never about memories or what makes me or others happy, it’s just pure and raw energy translated to canvas.” says the Croatian artist Crna Nina N.S., explaining in this way the fulcrum of her works. Although her job is directed towards another sector, she continues to return to painting to which she has been approached since childhood. Her art is not clear and transparent, within everyone’s reach, as it might appear at first, but it always hides something deeper inside. She explores her human experience in its entirety so that her landscapes are not at all simple landscapes, but explore the most striking regions of human consciousness. The choice of colors used by the Croatian artist, also contributes to convey this feeling of depth and mystery. In the lower and upper part of the work we can observe a very cold blue that emanates feelings of spirituality and evokes the idea of infinity, while the mountains are represented with triangular shapes and iron colors. These geometric forms contain in them greater tension and dynamism, according to "The spiritual in art" by Vassilij Kandinskij, and the union with these shades gives life to a strong expressiveness. Crna Nina N.S. therefore demonstrates to know how to use colors and shapes wisely, but above all she shows to be able to interact and arouse interest in the viewers. The artist then asks us to carefully observe the work "Power Of The Mountain" and ask ourselves if we are sure that the mountains are four. What if instead the mountain was really only one? What if it is what at first seems to be the sky? Aware of the ability of art to be variously interpreted before different eyes, Crna Nina N.S. shows the world all her skills.

Art Curator Francesca Catarinicchia


Crna Nina N.S.

Power Of The Mountain


Cuffian “Art is something that makes you breathe with a different kind of happiness.” (Anni Albers)

It is this different kind of happiness that British artist Cuffian breaths every time he creates art. After discovering “the magic of art” during Covid lockdowns, he paints every day “and each time is like a voyage into the unknown”, Cuffian explains. Nothing is already established in his works as everything comes from Cuffian’s heart during the spur of the moment by approaching “each canvas like a beautiful puzzle that needs to be solved and balanced”. His works are imaginary, abstract and almost surreal landscapes inspired by nature, music and his walks on the beach, influenced by feelings of joy, freedom, love and lightheartedness that Cuffian breathed at the raves and festivals he grew up with in the north of England. The paintings “Golden Moments”, “Sending Love” and “Street Scene” are all connected by Cuffian’s extraordinary use of energetic, complementary and contrasting colours. Nature is at its best in “Golden Moments”, representing a natural landscape with imaginary plants and with the light of a beautiful summer sunset. “I may be stuck in a cold and damp apartment, but my thoughts are free to live in a better place. We warm ourselves in these golden moments”, Cuffian says. The same sandy light becomes a dry terrain in “Sending Love”, which contrasts with a late afternoon blue sky. In the foreground, a basket out of which beautiful rainbow colours erupt takes the scene, creating an imaginary rainbow arch whose end is behind a low rocky wall placed at the background of the painting. Here, colours arousing from nowhere become the symbol of sending love and positivity that can travel across limits and boundaries. If in “Sending Love” we can see a harmonious combination of colours, the painting “Street Scene” presents, on the other hand, an energetic red that immediately strikes your eyes. It is in this way that Cuffian interprets streetlights, Christmas decorations and a beautiful setting sun that gives “a magical quality to the evening light”. Here, abstract streets, houses, trees and light poles become thick, vertical black lines that strongly contrast with the red background. With his paintings, therefore, Cuffian invites the viewers to enter his personal imaginary worlds through which they can discover theirs. His thoughts represented on canvas allow us to travel across time and space with no boundaries and constraints, to search for our freedom, joy and positive thinking.

Art Curator Martina Lattuca


Cuffian

Golden Moments


Cuffian

Sending Love


Cuffian

Street Scene


Daniel Filipovic The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces. (Jackson Pollock) Imagine having a crayon in your hand, or a pencil, a brush and gouache or a spray can, and having the possibility to express any kind of emotion or idea on a surface of your choice. Nothing must necessarily have a logical succession, a meaning, a precise context to be understood. It is like an interminable and intricate stream of consciousness that ultimately makes sense based on what we ourselves are willing to believe. Daniel Filipovic is a young artist, December 1997, currently living in Vienna, Austria. The echo of the art of Basquiat and Pollock is very intense in the works of this talented creative. We are faced with the creation of three works that express conflict, rebellion, turmoil, perhaps torment: the complex representation of a restless soul, crying out for the right to be contemplated and understood. In Matador and Preservation & Destruction the viewer's eye is attracted by the presence in the background (sometimes even as an integral part) of isolated writings, without a correlation between them, also an element of a very strong reference to the now defunct Basquiat, whose footsteps this young artist seems to be able to follow very well. In Untitled (2021) what is undoubtedly arousing a deep interest, are the figures, drawn in a simple, minimal, almost primitive style, which (because of their important stylistic difference) are very contrasting with each other: it is as if Frankenstein and a rag puppet should be part of the same story, share the same stage, tell their own experiences in turn, without ever overpowering one another. Pollock's gaudy and chaotic aesthetic present in the works exhibited by Filipovic for this event, undoubtedly refers to an almost explosive expression of the unconscious, but also to the desire to create a sort of universal language that can be understood by anyone who tries to decrypt it. A language without rules, without time, united by the same means of understanding it: the inner self. Daniel Filipovic is an artist with an excellent artistic inclination, with whom it is almost impossible not to empathize

Art Curator Chiara Isella


Daniel Filipovic

Untitled (2021)


Daniel Filipovic

Matador


Daniel Filipovic

Preservation & Destruction


Daphne Stamouli Simoncioni "Excuse my absolute freedom. I refuse to make a distinction between any of the moments of myself". (Antonin Artaud)

Painter of great talent and multifaceted expressiveness, Daphne Stamouli Simoncioni works with color shaped in her own image and likeness. Subjects ranging from the human figure to pure abstractionism, all techniques have value if bent to the artist's need. Identity as an incessant research of the human soul. The author seems to question herself on the stability of her own person, an eye, her own, which scrutinizes the inside. From this we deduce textures of overlapping colors that are never confused, precise contours and boundaries between the inner and the outer world, a unique and whole composition. Identity is a contemporary issue and an historical one faced by almost every known artist. Who am I, therefore, who we are. It’s a question that brings all of us together in the end of the day. Identity as an Aristotelian concept of being A and absolutely not being able to be non-A. But can you recognize your own personal A, is the start push. Through her work, the artist searches for and therefore reveals clues related to the moment, to the unbreakable armor of her personal here and now. In the artist's works of art we appreciate a multiplicity of signs that make up images apparently distant from each other but equally true. These imaginaries present a sincere introspection which, as in the liveliest of minds, mixes the elements to give birth to new and new reflections. For John Locke, identity is a certain organization of matter, which survives the exchange of particles, which associate and move away from our body. The author demonstrates this thesis through her work.

Art Curator Erika Gravante


Daphne Stamouli Simoncioni

Dangerous Woman (1)


Daphne Stamouli Simoncioni

I am Who I Don't Pretend To Be


Daphne Stamouli Simoncioni

Smelling Colour


Daria Milovanova “My art as a whole is a traveler's reflections in his universe, a reflection of the joy of life and the value of every day, in search of new ways and discoveries” (Daria Milovanova)

Daria Milovanova is a third-generation Russian artist who mainly creates oil and acrylic paintings. At the exhibition "I: The World revolves around me" hosted by M.A.D.S. Art Gallery, Daria presents one of her oil paintings entitled "Cloud Valley". The painting depicts a mountain landscape with soft and delicate shades that bring back the fresh and lively air of the mountains. Thanks to the Impressionist style and alla prima technique, which provide a naturalistic and antiacademic view of what is in front of us, she renounces any non-acquired acquisition of the object to rely on the immediate impression of truth, returning the image of the landscape with short and decisive strokes depicting colored clouds in a clear and clear sky. In an effort to capture the effects of light, such as the most direct impression of vision, according to the technical impression, Daria denies the artificial lighting of the studio, striving to paint outdoors, abandoning artificial chiaroscuro in favor of colored shadows and using a quick and easy way that gives an idea of movement. The result is a complete fusion of object and space, understood as a chromatic phenomenon, and therefore there is an interest in the current reality, a search for complete freedom, in the subject and in expression, in the rejection of any ideologically canonical process of representation.

Art Curator Matilde Della Pina


Daria Milovanova

Cloud Valley


Date Kodjo AMOUZOU

“Between poetry and painting, I exist”. This is Date Kodjo AMOUZOU 's personal description, in his own words. A statement that opens a precious door to enter his immersive work. The artist's practice focuses on the communicative power of the artwork that is triggering the engine of human emotion. Letting himself be influenced by abstract expressionism and european tachisme. AMOUZOU creates mixed media paintings that dig into the emotional issues that bring men together. He is above all a dreamer, an Afro-optimist who has in his intent and in his story, an idea of life together, of collectivity that potentially aims to be self-sustaining. The painting of this artist has a precise and interesting composition. The geometric aspect has a strong impact on the total image, the subdivision in more or less regular squares, brings back to an idea of sequentiality and order. The feeling is that being in front of a scheme where everything within can happen and ice allowed. A mapping of feelings, a cleverly constructed patchwork whose parts seem to be selected with the care of lucky chance, of destiny according to which everything is arranged and bent to its will. Here the colors come together, shapes and signs harmonize for a life together. Space seems to be a crucial issue in Date's pictorial works, an almost mosaic division, which immediately recall one of the greatest thinkers of the last century, Lucio Fontana, who, starting with the mosaic ceramic works and arriving at the very famous cuts, elaborates his well known spatial concept that invites to build and never destroy.

Art Curator Federica D'Avanzo


Date Kodjo AMOUZOU

L'idéal


Date Kodjo AMOUZOU

Untitled


Date Kodjo AMOUZOU

Vortex


Desislava Zacharieva

On the occasion of the international art exhibition “I” the world around me, the artist Desislava Zachariva presents the artwork titled Radiance. The composition of the painting turns around the image of a female figure put on the center in profile position. The face is represented in a very realistic way. Not only in the description of the physiognomy but also in the expression of the figure. In fact the the gaze is turned upwards, as if he were listening or waiting for something coming from outside the drawing. We understand this also with the light that illuminates her face. As if the artist wants to describe with these elements about something that is happening outside the composition. All around the face we can see circles created by fine lines and flowers that seem to create a frame of the figure. At the same time what is important to consider about this work is that the artist Desislava Zachariva is able with few elements to tell us about not just the world inside the painting but also the world around it just with the use of the liht.

Art Elisabetta Eliotropio


Desislava Zacharieva

Radiance


Diana Morlock

<<And then here we are again in the sphere of the celestial, but it is not the usual hendiadys of sky and sea? So stay with me, you like it here, and listen to me, as you know.>> This verse of a great contemporary Italian poet Vittorio Sereni, can be useful and really interesting to introduce the work made by the artist Diana Morlock. The figure most important in this special verse is the hendiadys. In fact the meaning of this figure of speech is the expression of a single idea by two words connected with ‘and’. This kind of formal choice is used to give a link between two concepts to create an union. If we consider the painting presented on the occasion of the international art exhibition by the artist Diana Morlock it’s easy to understand that the intention of the artist is to represent with the abstract language the hendiadys used by the poet Vittorio Sereni. In the painting titled ‘Heaven and earth’ we can see the uses of two colors that remind us of these two instances. The way they are put together seems to refer to the idea of ​a circular movement intended to blend the two colors. The intention communicated by the artist is to create a place in which there’s no differences between these two primordial instances, maybe to feel free from every limit and borders and in this way learn to listen to each other just as the poet said in his poem.

Art Elisabetta Eliotropio


Diana Morlock

Heaven and earth


Didi Dobbs "It is a joy without why to discover a pure soul. They are souls that resemble the first children's books: they contain few words and are full of colors" (Christian Bobin)

Almost surreal, dreamlike, colorful images come from the purity and sensitivity of the artist Didi. Feelings and imagination are the characteristics that make the human being special. In Didi's works we witness the perfect combination of these elements, the great sensitivity of the artist transpires from them. The undisputed protagonist of all Didi's artistic work is colour, the observer finds himself in front of real color palettes, where the various colours are placed side by side, giving life to fluid and dynamic figures, which move within the work. A whirlwind of colours, distributed in an intense way, become part of the figures themselves, sometimes giving them a certain corporeality and materiality. Real or imaginary figures come to life within Didi's works, they are there to remind us of the importance of observing, of moving and understanding each other. In fact, the figures that Didi represents are overflowing with vitality and emotions, each of them in some way seems to be shouting at life and wanting to live it fully. The great ability that the artist possesses to use colors and to draw freely without any constraints, the gift that Didi has to follow instinct and feelings make her entire artistic work imbued with emotion. The observer is totally pervaded by the emotions that come out of the works, the figures that the artist portrays seem to want to come out of the works, they want to touch us and tell us something, they have a certain thickness, they have a soul. Encountering Didi's works means meeting the artist's sensitivity, she gives us the opportunity to see through her eyes and to experience unique emotions. Through Didi's work dormant memories and forgotten feelings peek out, the observer is able to enjoy moments of pure harmony, vitality and joy.

Art Curator Vanessa Viti


Didi Dobbs

Damage


Didi Dobbs

My better half


Didi Dobbs

On any given day


Didi Dobbs

People who need people


Didi Dobbs

Self unseen


Dobri Gjurkov

For the international exhibition “I - The world revolves around me” at the M.A.D.S. Art Gallery, Dobri Gjurkov exposes three works (“Blue Velvet Quartett”, “Mona Lisa with Birds”, “Not a Magritte”) in which he best emphasizes his artistic practice and style. By using pen and ink, the artist manages to give his works an unprecedented directness and precision. It is exactly this clarity and fineness of his lines that attract the viewer's attention. Another common thread is the strong link to Leonardo da Vinci's drawings. As in “Blue Velvet Quartett”: the title is a reference to the film of the same name directed by David Lynch, but this is not the sole source of inspiration. In fact, there is a connection with the portrait of Beatrice d'Este: therefore, even in Dobri's work, there is a tribute to feminine beauty, to youthfulness and harmonious facial features as well. Moreover, another peculiarity lies in the fact that the artist has included mechanical elements in its artworks: the head and the other parts of the body in each portrait are related by metal hooks and tubes. There is a very profound symbolism on it: it recalls the so-called “technical reproducibility”, namely the technical change in producing, reproducing and disseminating artworks, a change that began with the industrial revolution and continued into the 20th century. These are probably the reasons that led Dobri to make a link between the representation of women and the transformation of human beings into mechanical objects of mass society. Whereas, in “Mona Lisa with Birds”, the artist depicts the famous Mona Lisa in an ironic way, with her ears like a cat and her body divided into a grid of a cage: in fact, the drawing of the woman is superimposed with that of the trapped birds (perhaps parrots). With this artwork, Dobri wants the viewer to identify with the thoughts of the Mona Lisa: the theme of beauty is probably seen as a cage, while the fear of prejudice from other people is still very strong in our contemporary society. Finally, in “Not a Magritte” the artist refers to the famous Lady with an Ermine, with the addition of four hands holding threads along the mouth of the girl and the one of the animal. Another symbolic value is brought into play: woman, always in search of beauty, becomes an object of manipulation and instrumentalization in today's society. The artwork’s title is a clear reference to the style and works of René Magritte, where the surrealist and oneiric theme is extremely vivid. As the French artist did, Dobri Gjurkov wishes to leave ample space for the viewer's interpretation, which becomes crucial for the understanding of each of his artworks.

Art Curator Alessia Perone


Dobri Gjurkov

Blue Velvet Quartett


Dobri Gjurkov

Mona Lisa with Birds


Dobri Gjurkov

Not a Magritte


Dominyka Lomsargyte “I don’t say everything, but I paint everything.” (Pablo Picasso) Is what we see with our eyes all there is? Traveling with the imagination is the key to broadening our vision of the world, to reach places that otherwise we would never have been able to explore, to return as light and unaware as children. Through art, contemporary Lithuanian artist Dominyka Lomsargyte tells the story of her life, her emotions, and her experiences: her works are the mirror of her magical inner world. In “A dash of Pink 2.0” (2021) from a black background the pink shines in all its strength in different shades: light pink, fuchsia and purple intertwine with orange brush strokes. No subject, but simply a color becomes the absolute protagonist of this work: pink, the color symbol of youth and innocence. "Catching Sunsets 102" (2021) is the poetic title that Dominyka has chosen for one of her works created with the technique of acrylic on canvas - like the other three analysed. The colors of the sun - yellow, orange, and red - mix to create a strong and pleasant chromatic contrast. The sunsets: each different from that of the previous day and from those to come; each with its own nuances; each one who talks about the day just passed, summing up before the arrival of night. "Dreamers" (2022) is one of the latest works created by the artist. Who among us does not have dreams that he protects with care and that make us fly above the clouds? The painting wants to be a tribute to all the dreamers who have never stopped believing in what they want, to those who, despite the difficulties, continue their way overcoming the obstacles they encounter. The strength of Dominyka's works is undoubtedly the color which, through expertly studied combinations, manages to release great energy, and arouse unique emotions. Dominyka through her art tells stories that surprise the viewers, leaving indelible memories imprinted on them.

Art Curator Camilla Gilardi


Dominyka Lomsargyte

A dash of Pink 2.0


Dominyka Lomsargyte

Catching Sunsets 102


Dominyka Lomsargyte

Dreamers


Dorothea Van De Winkel “I have learned that each and every piece of cloth embodies the spirit, skill, and personal history of an individual weaver. . . . It ties together with an endless thread the emotional life of my people.” (Nilda Callanaupa Alvarez)

Dorothea van De Winkel is an artist who works with woven tapestries. Her fabric pieces activate the magic of the swarm of energy and heat. The hand-woven textile just for being itself absorbs the lymph of the many people who it comes in contact with, thus creating a visual expression of community experience and identity, a powerful hug that allows looking safely for the so wanted personal one. The work starts from her own pencil sketch, whose traces remain giving a familiar sense to the work, as if we were facing or walking on a carpet of known emotions that we built together with the artist. Whoever is in contact with these works of art, enters into communication with the history of the men and women who have been here, their commonalities and frictions, their small worlds and so enters into communication with their own through the senses.


Dorothea Van De Winkel

The interesting dualism of these images can be found in the sensation of tearing, therefore of subtraction of the material. The majestically intertwined strips of fabric bring back to a scratch dimension that has little to do with the true nature of this technique which instead works by addition. Yet it is so, emotionally we feel touched by these images, scratched indeed by a house animal that we used to pet. The strong sensation of home is what arrives later thanks to these threedimensional images, the warmth and humanity of the fabric brings back a childlike feeling of embrace, of voluntary helplessness between the smells and the sensations of a known and loved place.

Art Curator Erika Gravante


Dorothea Van De Winkel

1 Imagery 1-4


Dorothea Van De Winkel

1 Imagery 2-4


Ela Bochenek

Ela Bochenek is a creative soul. She was born in Poland and currently resides in Scarborough (UK). Years ago, in Poland, her main passion was linocut and pen and ink drawings. Ela Bochenek has participated in several exhibitions and conducts workshops on creativity and communication. When she moved to England in 2010, her creativity came and went, and she was slowly becoming a hobby she almost never had time for. A few years ago she started creating again. First simple pen and ink drawings, then watercolors and now she is falling in love with abstract form and acrylic painting. She is obsessed with circular shapes and constructions. Her work is "All that is". The circle is a powerful symbol of infinite strength. Gold is the color of wealth and success. The most ancient and divine symbols such as circles and spirals encompass and contain such powerful and extraordinary energy. They represent unity, spirituality and eternity. They remind us of the tortuous journey we must take inward if we are to truly know, love, and heal ourselves. Through many layers of paint, modeling paste and gel, Ela Bochenek creates a unique and bold texture that draws you in and is particularly eye-catching when seen in person. Each painting absorbs and contains energy that must be released. She feels the need to continue creating until this process is complete. She draws inspiration from nature and its emotions. As she follows her intuition about her, she surrenders, she lets go and trusts completely, and simply allows the magic to happen.

Art Curator Martina Bassi


Ela Bochenek

All that is


Elena Plekhova “Art should be something that liberates your soul, provokes the imagination and encourages people to go further.” (Keith Haring) Colours and lines become representations of cities, landscapes and female bodies in Elena Plekhova’s works. Born in Russia and living in Germany since 2019, Elena devotes her life only to art, combining her knowledge in architecture “with a love of art and also passing it on as an art teacher”. After suffering from a serious disease, “life changed its colours”, Elena says, and it is colours that are the main tool through which the artist expresses herself, her thoughts, her cities and everything that surrounds her. Elena’s use of colour is very analytical: each shade, each tone, each colour combination has a precise meaning and becomes the artist’s words on canvas; and while she paints cities in rainbow tones, her inner world and zest of life “are painted in the pictures of a female body”. Therefore, whereas blues, whites and pinks are used to depict rainy cities, sunny beaches and flowers, the representation of women becomes the symbol of strength and life; and the painting “Life” is precisely this. “Life” is a half body portrait of a beautiful woman suspended in any time and space dimensions, where colours are altered as if reality melts with imagination. The background is totally white, while green, light blue, red and orange tones alternate in the woman’s face and long hair upon which small, yellow flowers rest. Her hair fluctuates in the air as if it is moved by a sweet wind; her eyes are closed and a small sprout is on her hand. Here, the painting’s iconography and earthly colours recall the personification of life into mother earth, from which every sprout arises, regenerates and is born anew. With this painting, Elena invites the viewer to reflect on life, to start anew and to never give up with the hope to open a love-space towards life and the beginning of life. Willing to live, the beauty and love of life and nature, of everything that lives, changes and rewakes is what Elena communicates with “Life”.

Art Curator Martina Lattuca


Elena Plekhova

Life


Elizabeth Bonenfant "You cannot eternally paint women who sew and men who read; I want to represent beings who breathe, feel, love and suffer." (Edward Munch)

The visual language of the artist Elizabeth Bonenfant embraces a creativity, an artistic gesture linked to the elaboration and analysis of particular emotions that the language itself would not be able to fully capture. Art therefore becomes the ultimate means for a reflection on self-realization through a study on the process of transformation through cycles of growth and decay. The influence of expressionism is considerable, and is found above all in the use of a chromatic palette with vibrant colors and in strong contrast to each other, which however do not break up the precise symmetry and balance of the entire artistic composition. The feeling that the whole artistic composition is inserted within an almost surreal context and surrounded by an almost psychedelic atmosphere only amplifies the emotionality and individuality that the artist seeks in his works, a growth process that he comes to embrace not only his personal experience but also that of all of us.

Art Curator Federica Schneck


Elizabeth Bonenfant

Heartfelt


Emelly Velasco

Emelly Velasco is an artist who through her works is able to awaken the hidden truths in every human being, because observing her works awakens in us hidden energies and emotions, which perhaps not even we ourselves thought we had inside. This is because Emelly I let her heart open completely, that both life and creative energy flow into her works. Emelly thus expresses her deepest pure and true essence, molds it, transforms it into shapes and colors. Emelly is always ready to discover new sides of herself and transmit them to us through her works and, why not, the discovery of new artistic techniques that can express them. In this exhibition we can in fact admire works in which digital, new technologies, blend in harmony with the technique, colors and emotion that characterize Emelly's works. In the work "Alma Tibia", Emelly is able to give a visual representation of that part that most remains hidden within us, the soul. I really see in this work the soul of Emelly: the femininity that always permeates her works, the union of different perhaps, different shades of color, therefore different aspects of her being, but always in dialogue and harmony between they. In the work "Matter Kunz", on the other hand, I see that dialogue between male and female that is a red thread that unites her artistic poetics. Two sides that coexist in every human being, intersect, sometimes tangle, to form our being. In Emelly's works they express themselves, observe each other, speak to each other and express their deepest being. In this work we see them touching each other until they overlap and become one, each keeping their own nuances. Finally, in the work entitled "Mater Klint" we really see the perfect union of all those aspects - just to name a few - that characterize and make Emelly's art unique: the vivid and bright colors with their shades, the materiality of the painting, gold with its unique preciousness, now combined with digital art, thus giving life to works that explode with energy and vital force.

Art Curator Silvia Grassi


Emelly Velasco

Alma tibia


Emelly Velasco

Mater Klint


Emelly Velasco

Matter kunz


Emma Carey Baxendale “Painting is self-discovery. Every good artist paints what he is”. (Jackson Pollock)

Irish artist Emma Carey Baxendale, now based between Manchester and Malaga, immerses us in her universe of colors and emotions, captures us in a distant and ecstatic world to narrate about her art. Her works reflect the emotions of a life's journey, feelings, experiences, celebrations, everyday’s ups and downs. We are faced with great works that we can admire and into which we can immerse ourselves. These works are in fact the culmination of a lifelong dream, Emma's dream of becoming a full-fledged artist. After years dedicated to teaching, the artist decided to leave his academic career to pursue the dream of painting. After a few journeys she is enlightened by the idea of creating art in the most varied forms; Fine art, Graphics, Photography, Textiles, Ceramics and mixed media. Finally, to get total attention to the world of painting and the creation of real art collections. The works reveal a careful study of emotions, a transposition into the canvas of personal and strong feelings that arrive directly at the observer's eyes and touch him deeply. “Life journey” was in fact created at the end of a journey, an emotional journey where emerging warmth and hope are represented by an energetic sign and a flow of positive energies. These strong signs, combined with equally significant colors, remind us that there is always hope and life will bring us all on a truly unique journey. “Happiness”, a name, a feeling, positivity; the painting reflects happiness and transmits it out of the canvas. Thanks to the movement of the colors created, from the textures and applications, Emma has been able to create a dynamic emotion that transmits euphoric feelings to us. “New Start", after being inspired by the expressions of light and color around her, the artist managed to give shape and color to the work, creating a dance of colors and shapes that juggle, chasing each other, on the surface of the painting.

Art Curator Giulia Fontanesi


Emma Carey Baxendale

New Start


Emma Carey Baxendale

Happiness


Emma Carey Baxendale

Life Journey’s


Emma Moulton “Her art is inspired by concept of creating space for the emotional, philosophical, and cerebral within a world of noise and chaos” (Emma Moulton)

For the exhibition "I - The world revolves around me", organized by M.A.D.S. Art Gallery, the Los Angeles-based and self-trained artist, Emma Moulton, decides to exhibit three artworks that fully represent her style. The paintings mainly consist of broken and detailed monochromatic strokes. In “Hummingbird” everything is balanced by the combination of two colors, dark red and golden ochre. The tones in the background overlap creating various shades of red that are almost reminiscent of a fire. The hummingbird's feathers are highly detailed, contrasting with the lack of detailed strokes in the rest of the canvas. The line on the left can represent both a branch and a crack. Its presence on the left side balances the painting that would otherwise have the left side completely empty. The strokes of the vermilion background almost seem to have been created with a delicate hand, as if almost caressing the canvas, in contrast with the incisive strokes of the hummingbird and the branch, maybe by recalling the concept of her artwork “Kintsugi No.3”. Here, the representation is faithful to the two-tone use of her style. The strokes are significant, placed on a uniform background, made by softer brushstrokes. The work is composed of two circular supports, recalling both the meaning of the Japanese art of repairing things with gold by giving them a life richer in meaning. The concept of healing is a constant in Emma Moulton's poetics. In "Complex No. 2", in fact, on a dark background, created by performing soft spiral strokes, there is a human profile on the right side of the canvas. The latter seems dreamy, probably in a meditative state, at the exact moment of exhalation. The represented particles emitted by the subject's mouth and the curvature of his neck underline the moment evoked making the picture ethereal, almost as if the figure is in another dimension. Overall, the artworks reflect the artist's poetics, that is to find a balance in artistic representation through an innate therapeutic capacity.

Art Curator Angela Papa


Emma Moulton

Hummingbird


Emma Moulton

Kintsugi No. 3


Emma Moulton

Complex No. 2


Emmanuelle Serriere "I create spaces of perception to make impudence germinate: the imaginary and the emotional. Bold circulates. The emotion of the gesture of my hand is the continuity of my inner life. Here lies the meaning of my drawings." (Emmanuelle Serriere)

On the occasion of the first International Art Exhibition of 2022 entitled "I" The world revolves around ME, the M.A.D.S. project born in Milan but digitally (and today also virtually -Metaverse-) extended to all over the world, presents Emmanuelle Serriere. She is a professional stylist, and over the years she has developed an approach to drawing that is coloured and enriched by a more sensitive, precise and at the same time elusive gaze. As she herself affirms, "I invoke a form of pictorial ethics with the awareness of the innate forms that will emerge. The object is transformed into a subject. Shapes and colours appear and organize themselves: obstinate, they provoke an energy, a starting point which offers an unusual intrigue." The assembled pieces, while figurative, tend to be evocative rather than descriptive. The challenge, therefore, is to draw the gaze from the concrete to the intangible. Trying to connect the single garment to something that goes beyond, an object presents in our memory drawer, and consequently a memory that is autonomously dusted off. It is precisely for this reason that it is not a draft of a project, aimed solely at itself, but it is a real allusive and suggestive work of art. The selection of the three sketches entitled "Amour", "Lola" and "Mère et fille" are representative of all this. In particular, "Amour" takes everything to the extreme with a softness and an accentuated movement of the shapes, combined with strong and contrasting colours. Bodies are no longer bodies, but curves and figures reminiscent of something else. Everyone is free to read and interpret what he sees, while Emmanuelle just gives us the idea, the "go". I-Pad as a support, drawings printed on various types of paper and variable formats: the absence of rigidity and fixed methodology make the whole process consistent. All the materials that could support the subject are used to exploit its unique qualities and help free interpretation, the journey into imagination and memory.

Art Curator Carola Antonioli


Emmanuelle Serriere

Amour


Emmanuelle Serriere

Lola


Emmanuelle Serriere

Mère et fille


Erick Mota “The object of art is not to reproduce reality, but to create a reality of the same intensity.” (Alberto Giacometti) Everything around us reminds what was before us and everything that brought us here where we are: we can find our roots in the past. Erick Mota finds himself in the personalities of the artists who set the pace of a piece of art history of the 19th Century. In this regard the artist serves as a middleman between the human society and the Art world. And what makes a man an artist? What characterises his soul and spirit? And what or who has inspired his Art? The painter Erick Mota claims that an artist – before becoming that – must be considered as a human being. All the life situations and daily events that animates the life of the artist create his artistic background and a wealth of knowledge and experience. The result of the artistic research of Erick Mota - to the end of that process – is a mirror of the mind of the painter and mostly of the essence of the society, exploring the human world. This investigation abandons the real and known world to border on an inner an inhibited atmosphere. To achieve this aim, the artist Erick Mota feels free to generate an own representative way to give his personal view of what he lives on his skin - giving to the audience an universal message – by turning to oil and paper, simple colours and powerful combination of elements.

Art Curator Manuela Fratar


Erick Mota

Adrift


Erik Mofjell I see my artworks as stories, stories about time and humans and how they interact (Erik Mofjell) "A building with a dilapidated facade acts as a metaphor for a human. You see the facade but you don’t know what’s inside, what’s behind the facade. You have to go inside, in fact you want to go inside", this is Erik Mofjell at the international exhibition "I" the world revolves around me, hosted by the international art gallery M.A.D.S. Erik Mofjell is a self-taught artist from Sweden who creates his pictures with digital methods to create sceneries which only can be find in the world of imagination. By putting many digital photographic pieces together and then edit beyond recognition a transformation takes place, from real reality into imaginary reality. A Romantic streak can be glimpsed in the artist's works. He, in fact, places at the center of his reflection the struggle between man and time, then in a broader vision analyzes the deepest feelings, the unconscious, the dark side of men in constant struggle with themselves and with nature and fate. This generates scenarios between the oneiric and the theatrical, which show, with extreme sensitivity the truth of man. The paradox occurs when the artist manages to represent, through scenarios far from reality, belonging to a universe that is completely imaginary, the absolute truths of the human soul. Truth and symbolism mix and give life to Abandoned, Audience and The ladder. The first piece shows man in a wheelchair stuck in a desolate landscape. How did he get there? He holds a something in his hands which looks like a cudgel. Did he need to defend himself? From what? Isolation and fear are described in this work, the inner feelings of the protagonist are reflected by the scenario behind him. Audience shows a theater animated by spectators watching a play. Some are horrified, some are enjoying themselves. the viewer wonders what show is represented and wonders why peaple are reacting that way. FInally, The ladder, reminds us about Shakespearean theathre, where does the ladder lead, and what will you find down there? The whole scenery with the dilapidated facade seems like a picture within the picture, held up by a man without eyes.

Art Curator Mara Cipriano


Erik Mofjell

Abandoned


Erik Mofjell

Audience


Erik Mofjell

The ladder


Erika Asphodel Di Paolo

Norse mythology, magic, music, and beauty are Erika Di Paolo, in art Asphodel, main sources of artistic inspiration. The artist who joins M.A.D.S. Art gallery during the current exhibition ‘I the world revolves around me’ exhibits three paintings so close to her unconscious images that, according to the theme, are related to the show of her real and pure essence. The three illustrations, show three different figures in three different circumstances and atmospheres, but with one thing in common: the fact to were born from the artist’s fantasy. ‘Lucid Dreams’ well defined in its details and with a particular attention on the woman’s sad expression, is full of symbolic elements that call to mind magic and its spells. Close to the sky and its elements such as the moon; the stars and the sun, is the subject that however is adorned with alive and death animals too that emphasize the main character’s essence and her power, related to life. The colours used, are of a vivid intensity and permit to well recognize each object that fill up the scene. A great understanding can born between the woman, resembling a witch, and the viewers, thanks to the piece’s return. Similar in its artistic technique and in its symbolic meaning is “Snake_Pit” in which a red hair lady seems to be drawn and represented while wizarding. Her white and gaping eyes transmit a sensation of fear that calls the attention of the viewers to them almost as if the artist herself would like to have them looking at her dreams and so, her unconscious. In this illustration too, the details composing the single elements are so careful that we can distinguish each trait composing it. On the contrary, focusing the attention on the divine, we can talk about ‘Arcturus’ as if it represents a sort of ‘monstruous’ God governing his hot and undefined world. The background in which the main character is depicted, is not so clear as the one of the previous artworks but it seems as if the watercolours have fluctuated into the paper just as the subject is into it. In this case too, ‘Arctaurus’ represents an important figure, taking the sun into his body as a sort of protector of this element. With her creations, Erika aka Asphodel experiments and brings some of her dreams on paper, without thinking about imposed rules.

Art Curator Martina Stagi


Erika Asphodel Di Paolo

Lucid Dreams


Erika Asphodel Di Paolo

Snake_Pit


Erika Asphodel Di Paolo

Arctaurus


Eun Jeoung Lee “The echo and vibration of space between all beings. It could be a song. It can be a poem or a dance. I resonate in various echoes. I draw while dancing in the vibration of music. Depending on the charm of the moment, I use colors, brushes, and knives without feeling repulsion. Until the resonance stops... I heal wounds at the level of collective unconsciousness, expand the horizon of consciousness toward 'great freedom', and share healing experiences with various friends. These experiences are reflected in my work. “Dancing drawing”: this is the freest expression and healing of 'I'.” (Eun Jeoung) Eun Jeoung Lee is a Korean artist who defines herself as a "healer". The name with which the artist signs herself is precisely Hill, outlining, with a play of words, the goal she has set herself not only as a painter but as a reference point for the public. In fact, through her works she not only aims to represent a thought but also to convey to the observer what she feels on a sensitive level, by trying to evoke the same emotion in the audience. Her works are intense, not only for what they express but from the very moment of their creation. The techniques and tools used vary from media such as oil pastels, acrylics, watercolors, knives, by emphasizing the dynamism and power of her work. The three paintings that Eun Jeoung Lee shares at the exhibition "I - The world revolves around me", held by M.A.D.S. Art Gallery, underline her poetics and execution. The strokes and chromatic tones of the artworks are energetic and decisive, underlining the strong expressiveness and the visual impact they generate in the observer. Each painting is followed by a poem that gives the work and the observer an artistic experience on several levels. The strokes are never broken, but rather continuous as if during the execution the artist had never lifted her wrist from the canvas, this is because they were performed by the artist in a moment of stasis, through the vibrations of the music. The artist's energy is evident not only from the vivacity of the colors but also from the use of decisive tools, such as the knife that traces the movement of the strokes, emphasizing the active force of the artwork.

Art Curator Angela Papa


Eun Jeoung Lee

Hill1 From forever, for moment


Eun Jeoung Lee

Hill2 Dark blue night, it's time to embrace the sunset


Eun Jeoung Lee

Hill3 The dance, a color world that never ends


Evgenia Rieger The mastery of light characterizes Evgenia Rieger's photographic style. The same goes for her photographic language, a bright, colorful and 'therapeutic' language of broken bodies and mysterious identities. There is no doubt that her photographs are used to "show" the dress or a particular make-up, but it is also true that in front of a good fashion image we get in touch with something else, something more suggestive . In front of Evgenia's photographs we experience a possibility of behavior, or at least we imagine it, we desire it, because the image offers us a sort of prototype of life, an experience of styles and ways of being. The artistic aspect needs to show itself and these photographs perform this task perfectly we witness the transformation of the model into an image, in artwork, because fashion and beauty photography is not only made by clothes or make-up, but by how they are worn, how a dress highlights or hides the shapes of the wearer, how a make-up enhances the details of the face, how a dress emphasizes certain movements and prevents others. "Marie I" is a very close-up where the make-up certainly plays a very important role. Red petals are strewn over the girl's face and surround her almond-shaped eyes.


Evgenia Rieger On her forehead we find what look like drops of dew that wet the eyebrows a little. The fleshy rosy lips recall the color of the petals. The neutral expression of the model acquires an extraordinary lightness and elegance, it becomes sublime, absolute, it gives a sense of transcendence which, with no exageration, springs from the absolute perfection achieved by the artist in this shot. Instead in "Marie II", the young model is portrayed frontally in a particular position, not natural, but it is precisely this way of posing that captures the attention. The center of the image, both geometric and emotional, however, is constituded by make-up, a certainly unusual make up, but which makes the photo unique. Marie is represented with a perfect red circle on her face, a circle that at first sight resembles the flag of Japan. The model has an almost angry expression, accentuated by the grandeur of her pose. Even the outfit has contrasts that make everything more captivating, in fact the fishnet stockings and the black shiny shoes are combined with a red dress with colored stripes and a hem on the bottom that recalls traditional Peruvian clothes. Thus the outfit becomes a perfect mix between modern and traditional that is extraordinarily current and engaging.

Art Curator Chiara Lezzi


Evgenia Rieger

Marie I


Evgenia Rieger

Marie II


Fabio Capitanio Today we live in complex and in some ways very difficult times. Contemporary society is increasingly dominated by wild communication and massification, and a worrying cultural disinformation From this premise, Cromomorphism is born (Fabio Capitanio) Fabio Capitanio introduces the poetry of Chromomorphism through three of his works at the international exhibition "I" the world revolves around me, hosted by the international art gallery M.A.D.S. La chimica delle aurore, Mondi imperfetti, Ski fall are the three masterpieces of the artist. An explosion of free and silky colors that create an additional dimension to the one present in our reality. Fabio introduces us to the universe of the freedom of matter and creative action. A safe space in which values, ideals, freedom, instinct, but above all diversity are preserved. The artist gives a whole new emotion to the observer that is possible to give only if you preserve the beauty of emotions and let yourself be carried away by their flow. The artist's reflection on his art can be summed up in the words of the Chromomorphism manifesto. The artist starts from the awareness of the shortcomings of our society: the wild communication, the massification, the rampant consumerism, the easy careerism, the cultural misinformation that lead to mass mediocrity. Chromomorphism, on the other hand, is proposed as a "peaceful and thoughtful reaction to the cultural content proposed by contemporary society and has as its main purpose and objective the rebirth of a new man, culturally and intellectually updated, free in choices and beliefs". The works are the result of a spiritual, as well as cultural, journey of the artist, a inner renewal. The very word Chromomorphism indicates the change of color, it is "color in the making". "Just as life flows, changes and modifies itself according to age and experience, so too color, in its free and spontaneous flow, is subject to mysterious and unpredictable modifications and metamorphoses until it reaches its final goal, which is the work of art entirely defined and concluded". For this reason, the artist lets the color flow freely, without imposing his will. The artist lets himself be completely transported by the experience that color produces within him.

Art Curator Mara Cipriano


Fabio Capitanio

La chimica delle aurore


Fabio Capitanio

Mondi imperfetti


Fabio Capitanio

Ski fall


Felipe Wiedman “My art is symmetrical, it is pure vibration. My art is me playing this game called life” (Felipe Wiedman) Felipe Wiedman is a Chilean artist with a degree in Architecture, from which he partly derived his strong passion for colors, shapes and textures and the way they can mix together: with them, he creates a visual poetry, deep paintings in which you can find new images inside of their boundaries. Felipe born as an artist at the age of 23 after a ceremony of Ayahuasca in Chile, the country that he lives in, which experience made him reconnected with his essence and his true self, pushing him to renounce to everything and follow his passion, that of Art, the only medium that made him feel free, realized and in balance. At "I: The world revolves around me" exhibition hosted by M.A.D.S. Art Gallery, Felipe presents one of his colorful and deep creations called “VIRUS”. The artwork is an explosion of colors and shapes that intertwine with each other in a symmetrical and specular way, creating complex plots and stories that seem to want to tell us many things. The development of these works involves a long process: first, the artist paints in a piece of paper, then he takes a photo of it and work and intervene on it with design programs on the computer. Like a book on a starry sky, Felipe's works can be defined as "portals" that can guide the viewer to find his true self. He in fact wants us to stop in front of his paintings and not to look, but to see in the depth of them: what we will see will be totally different from what everybody else will do, because what we see in his paintings is no more than the reflection of ourselves, because we are mirrors and everything that happens in our life is just the result of what we have inside. Felipe's works are therefore the opportunity to take a journey into oneself and find our deepest soul.

Art Curator Matilde Della Pina


Felipe Wiedman

VIRUS


François Bernstein "From fiction I created truth and from truth I created fiction." (François Bernstein)

For artists, everything around them is for them a stimulus and a source of inspiration for their works. They capture every single moment, situation, face, stimulus, shape it and transform it to create a completely new world. This is precisely what the artist François Bernstein achieves who, drawing inspiration from real and everyday images and situations, manages to recreate in his works a new universe which, as he himself affirms and as is evident at a first fleeting glance, is linked to the world of dreams, the mind or even science fiction. An example of all the works presented here is the work entitled "Le pass", because François was able to take an everyday situation for everyone and recreate it, recontextualizing it, in an almost science-fiction world, in which, however, that sense of anguish is maintained and sadness that afflicts all of us in those moments. A distinctive and recurring feature in the artist's works are the signs, figures and geometric features. The geometric shapes, their possibility of being precise, repeated, schematized, but also their possibility of being irregular, intertwined, can represent the life of man and the many facets of him.


François Bernstein

François believes that the form always induces a substance and therefore a very precise thought, each form has its own meaning. For example, in the artist's works, as we also see in the works presented here, the figure of the square is very present. This is because, according to François, the square represents man and his imperfection, as opposed to the circle, which represents the Earth, its cyclical nature. Our reality, our daily life is pervaded by symbols and rules that we follow without ever asking ourselves too many questions. In François's works, for example, is often present p, because it is a mathematical constant that is constantly present in nature and in everything that man does and studies, we could therefore say that it symbolically represents humanity. A humanity that according to François is however trapped in the mathematical laws of the universe. In his actions as an individual, such as in "Résistant", or inserted in the community, as in "Sans Issue", man is always the undisputed protagonist of the artist's works. With his representations and reinterpretations of reality, the artist questions them, but he also questions man himself, his assiduous search for truth, often hiding behind a veil of fiction.

Art Curator Silvia Grassi


François Bernstein

Le Pass


François Bernstein

PI


François Bernstein

Prisonnier Volontaire


François Bernstein

Résistant


François Bernstein

Ruissellement


François Bernstein

Sans Issue


Fullmoon.in_leo The Latin expression vanitas vanitatum, "vanity of vanities", derives from vanus, literally "empty", "transient" and, in painting, is used in the sense of still life characterized by the presence of objects or symbolic indicators that allude to the precariousness of existence, the inexorability of the passage of time, the ephemeral nature of earthly goods. The iconography of vanitas vanitatum is then materialized on a pictorial surface through the use of brush and color. A reminder of the inexorable decadence to which each of us is subject, nature - whether in the form of a skull or a flower with a broken stem - reminds us of the tragic and unthinkable truth, our destiny. And this is how the apple in Caravaggio's The Basket of Fruit is rotten: it is nature portrayed in its imperfect form, in its rawest and most realistic sense. The antithesis to Vanitas is therefore the image of an evergreen nature, caught in the most luxuriant and flourishing moment of its existence. The works of Fullmoon.in_leo, in this sense, overturn the stylistic and representative methodologies of the iconology of Vanitas to embrace a vision in which nature is the epithet of vigor, vital energy and lifeblood. And so it is that, instead of pigment, the artist uses elements of the real world. Indian lime leaves and large lotus leaves are the undisputed protagonists of these works. A clearly vertical composition stands out before our eyes. One in a row, lotus leaves follow the other. Large, lush and full of vitality, these plant elements occupy all the space of the composition. Their fibers are painted in colors reminiscent of the aurora, the sunrise on a cold winter morning. Blue, yellow, greenish and pink pigment fade into each other knowing each other. It's a game of shades and overlapping that of "Deity". The verticality refers to something religious, the mental image is that of a large stained glass window set in a cathedral. There is something mysterious in these works, perhaps it is the concept of rebirth, of new life infused in these leaves through the power of color and creative expression. What in fact has ceased to live, in Fullmoon.in_leo's works regains its vital spark and shines on the support, illuminating our eyes. Luminous is in fact the composition of "Magical forest no.11". A large lotus leaf stands out in the center of the composition, occupying almost completely the white space of the representation. Like rays, like beams of light, the colors follow one another, originating from a common point at the center of the leaf. The chromatic irradiation is so accentuated as to be almost iridescent. Intense blue gives way to vivid green and then fades into barely noticeable white and so on, the color is layered side by side until it floods the entire leaf with pigment. New life has been instilled into what was previously a decayed leaf. The wonder of life force shines back into the lotus leaf, giving it a second existence.

Art Curator Lisa Galletti


Fullmoon.in_leo

Deity


Fullmoon.in_leo

Magical forest no.11


Fullmoon.in_leo

Seed - Pisces new moon -


Gabor Kovacs “Painting is an action of self-discovery. Every good artist paints what he is." (Jackson Pollock)

For Gabor Kovacs, a Hungarian artist, the encounter with painting was love at first sight. Although music has played an important role in the artist's life, it is the physicality of painting, which is found in the colors themselves and especially in the gestures linked to creation, that convinces him of the extraordinary potential that a canvas and a brush can reserve. A canvas that becomes a window on the artist's interiority, which comes out and manifests itself through the use of colors that best express the different facets of his soul. The physical involvement of the artist, linked to the practice of action painting, amplifies the visceral bond that is established between the artist and the creative process, at the end of which the work reveals itself to the viewer in all its integrity and depth.

Art Curator Federica Schneck


Gabor Kovacs

Dancing to the sound of my demons falling down!!!


Gabriella Graf

Gabriella Graf is a particular artist that uses a lot of technique and medium to compose her painting. This kind of formal choice reflects her need to create a lot of connection with other artistic languages, like the theater and the dance. If we consider the painting presented on the occasion of the international art exhibition “I” the world revolved around me, titled “Solitaire” Landsberg #8, we can discover these kinds of connections with the other arts. The technique used in this occasion is the abstract. The shapes are not defined, at the same time the two put on the foreground of the composition can remind the idea of a stylized body moving. The movement of these shapes remind the idea of the dance as if the intent of the artist is not to represent something but just to communicate the action of the figures. That’s why the borders of the elements are wobbly and not defined. This means that the artist is capable with the abstract to suggest the viewer, her intention doesn’t want to tend to the representation of the things but just to communicate with a line or a particular shape. It’s easy in front of this kind of composition to feel impressed and maybe to listen to the sound that moved the figures and now seems to want to move also us, from the other side of the canvas.

Art Elisabetta Eliotropio


Gabriella Graf

“Solitaire” Landsberg #8


Garance Studio French artist Fabien Fourtier, aka Garance Studio, exhibits at M.A.D.S. Art Gallery three works on the occasion of the exhibition entitled "I - the world revolves around me". The artist is already familiar at the multimedia screens of the art gallery and already known for his dedication to the female figure and his exaltation of sensuality. The works proposed on this occasion are entitled "Her", "Love" and "Odd look" and are created digitally, combining photography with its graphic techniques. The color palette is similar in all three, the “garance”- the red color that distinguishes his art - is accompanied by turquoise. They have a vertical composition and in a certain sense can be understood as a triptych. The work "Her" is the only one that presents both colors, set in contrast to each other on a white background. The woman, protagonist of the work, is modified to almost be unrecognizable. Here as in the work "Love" is used the glitch effect in different sizes, in this way they appear as subjected to interferences that conceptually refer to the interferences that life offers us. Love, represented by Garance Studio with a woman’s face with covered eyes. Love is blind. Love knows no fear. Love is constantly subjected to challenges, interference in fact. Here, the choice of turquoise color, a cold color, allows you to glimpse the challenges and creates a sort of drama. The last work on display, "Odd look", is the most sensual. It investigates the physical side of love. It emphasizes the beauty of the woman’s body, making her like a statue, a Venus. The play of light and shadow lets glimpse some details, while others are in the shade, to discover. The delicacy of Garance Studio and his sensitivity, make him "the artist of women" and is clearly perceptible respect and admiration that he has for them. In a modern, contemporary, dynamic and new way, the artist exalts all these aspects.

Art Curator Giorgia Massari


Garance Studio

Her


Garance Studio

Love


Garance Studio

Odd look


Gayathri Kailash

With her mixed media work, the young artist Gayathri Kailash joins the exhibition for her very first time participation at M.A.D.S. Art Gallery. “The Galaxy I see” is a complex and intense artwork both in meaning and technique. The galaxy of the title is already shown by the variety of materials used: acrylic paints, gold leaf, pebbles, fabric, artificial feathers, mini canvases, crushed paper and hot pressed sheets. All these were perfectly used to create a world that the artist shows us. But the meaning of this artwork is even deeper: it represents the complexity of a confused mind that wants to be part of a group. This work speaks to us about the different emotions that this condition arouses and how we change ourselves to be part of something that is not ours. Gayathri decides to show her sensitivity through a lively dance of colours where the emotionality of this young artist pours out on the canvas. The brushstroke is energetic and expresses the feels and the emotions of this universe created on canvas. She uses different hues where the hot ones prevail, giving a big force to the composition. Her work is clearly influenced by expressionists for the reality shown. Kandisky said: “The artist must train not only his eye, but also his soul, so that he can weigh the colours in his own scale and thus become a determining factor in artistic creation”. And it’s the soul of the artist that we see in this big, coloured galaxy gifted to us and that we are privileged to admire.

Art Curator Federica Acciarino


Gayathri Kailash

The Galaxy I see


Gbemi Smart “In the social jungle of human existence, there is no feeling of being alive without a sense of identity”. (Erik Erikson)

Gbemi Smart is a self taught Nigerian artist. She paints her personal background, her origins and therefore part of her identity, an aesthetically complex journey whose arrival does not want to be pleasant at all costs, but the real and honest truth of her own. Her work is an ode to those who, before her, walked the same paths, touched the earth and breathed the same air. Brushstrokes pulled to the limit and stretched, mixed and overlapped in an apparently casual encounter of colors and shapes. The movement of this painting has a constant trend, like an unstoppable but slow vortex of water, windmill of a stream, that spiral image that forms while the loving mother mixes the dough. Three figures appear in these waters, at first glance they look like a woman, a man and a child carried on the woman's back. The faces of the two adult figures are unrecognizable and almost disfigured by this blue that attacks and hides the part that is considered most impactful for the identity. Only the image of the child has an aspect that we could say is faithful to the known, a serene expression, he is sleeping next to his mother. He is carried on the strong back of a grown person, protected by ancient consciousness, free to learn to walk through the feeling of walking his mother is handing down to him. The meticulousness of the realization of the child's face makes it a very strong point of attraction, the gaze rests on the child and rests with him. The child as a survivor of time, the only one present in contemporary history narrated by the author with this work of art in oil and acrylic.

Art Curator Erika Gravante


Gbemi Smart

Identity


Gema Hamartia

Gema Hamartia is a Spanish artist who lives in Antequera (Malaga), graduated in Fine Arts and later in Illustration, Comics and Audiovisual Creation, her artistic production is dynamic and experimental. For the first time she is a guest at an exhibition organized by the M.A.D.S Art Gallery and on the occasion of "I-THE WORLD REVOLVES AROUND ME" she exhibits "WAR LULLABY" an extremely critical work of great communicative and emotional impact. "WAR LULLABY" tells a cross-section of the world we live in, a real awareness, as the artist herself explains "the painting criticizes the hypocrisy expressed by the media during the terrorist attacks in Europe in 2017 by pro-Daesh groups . This situation was indeed catastrophic for Europe, but at that time it seemed like the media had suddenly forgotten about the huge amount of people in Syria and other countries that were living this kind of terrorism on a daily basis and were trying to escape desperately". "WAR LULLABY" brings to mind those artistic currents of the 1900s starting from Picasso's Surrealism, in which it is possible to find the same contradiction, the beauty of art and the cruelty, in this case, of terrorist acts that spare no one: Europe (represented thanks to the stylized flag with blue and the stars that frame the mother in the center) and on the other the Syrian people, the daily prey of war and its atrocities. The drama culminates in the tear-torn face of the woman, with her eyes turned to the sky and her face torn by suffering. The empathic capacity of Hamartia combines suffering and compassion in itself, she represents the loss of a child by a mother like Michelangelo does with La Pietà, involving the viewer to the point of stimulating tears. A controversial work of art full of pathos, "WAR LULLABY" is the emblem of the artistic vision of a generation that cannot remain impassive in the face of injustices, a generation for which there are no parties, neither winners nor losers, in which we are all losers if we remain detached from the pain of other human beings.

Our lives begin to end the day we become silent about things that matter. (Martin Luther King)

Art Curator Martina Viesti


Gema Hamartia

WAR LULLABY


Gesere "The most seductive thing about art is the personality of the artist himself." (Paul Cézanne)

Where does the strength come from to face the surrounding world? In an external environment, in which every form of sociality is ostracized, how can art come to our aid? These are the questions that seem to hover in the most hidden layer of Gesere's canvas. In occasion of the event "I - The world revolves around ME", Spiritual Chant asserts itself as the logical consequence of a narration that began with Do not Breathe, a work presented in the "Hysterica" exhibition, and is configured as the active and courageous response to the totalizing fixity of limitations and restrictions that took your breath away. In fact, the work shows the artist's personal solution to a common problem, through an abstract scenario reminiscent of a marine view. In the lower part of the painting, one seems to see the swirling waves of a restless sea, the foam breaking on the water. They are nothing but a "mirror" of the undulatory trend of the cerulean firmament, streaked with sumptuous golden veins. Gesere faces the dawn of the new year with a renewed desire to regain possession of that normality and tranquility that still seems distant. And here art offers the opportunity to face the difficult situation with an invitation to observe within oneself, to avoid the clamor of the outside world in order to find one's own harmony. The artist takes refuge in a solitary introspection which nevertheless rises to a paradigm of research and hope in the moment in which it is shared with the viewer. The focus on individuality allows Gesere to face openly the harshness of the present, finding in herself unexpected resources to react and fight, and turn to the future with a warm optimism. Self-confidence, perhaps hidden for too long by today's leaden circumstances, seems to re-emerge in its golden splendor and reaffirm its energy even on the nebulous uncertainty that surrounds the outside world.

Art Curator Chiara Rizzatti


Gesere

Spiritual Chant


Hacer Ercan

The bound between artist and person is thin, the two parts merge themselves; one is the essence of oneself and one wants to prove it driven by pride, by an individual revolution in which we become aware of our life. Hacer Ercan, Turkish artist, is the extraordinary author of works that tells the love that she feels for her country. She expresses her identity recounting events that upset her and make her tremble with pain like in "Orphans Iftar". The work depicts the explosion of a bomb, a destructive and terrible event which, during every Ramadan kills people. The artist lets imagine the number of dead and wounded people and she doesn't represent those who lose life and serenity. With this scene the artist creates tension and she invites the viewer to think. "Tufan'' is the representation of an impetuos storm that drowns a Mosque. This time Hacer Ercan uses a different technique: the mosque is depicted thoroughly but the colour applied to draw the water is distinct. The waves are represented by strong colours: blue, green and white. Among these colors the artist also uses the colour yellow: this symbolizes the earth that water is sweeping away. In this case Hacer Ercan portrays another powerful and destructive image, but she doesn't always represent catastrophic events.

Art Curator Sara Giannini


Hacer Ercan

Indeed, in "Frigya-Ayazini" she draws a landscape of a unique beauty, a particular place where the modern buildings and ancient palaces are blended, telling different stories. Through the technique of the oil on canvas the artist represents each detail in a romantic and passionate way, letting the details reveal how fascinating this place is. She embellishes the picture with a ray of sunlight entering through the window of the central ruin. She invites the spectator to watch everything without neglecting anything. In the fourth artwork "Frigya-Döğer" an equally spectacular landscape is depicted, although different from the previous one. This time the artist amazes the viewer by depicting beautiful hot air balloons suspended on the water. The sunset makes the colours of these bright and vivid and fills the eye of the viewer with wonder. Those who watch this work get lost in the many details of the natural landscape and ancient ruins and imagine that they are in that magical place full of colours and history.

Art Curator Sara Giannini


Hacer Ercan

Orphans Iftar


Hacer Ercan

Tufan


Hacer Ercan

Frigya-Ayazini


Hacer Ercan

Frigya-Döğer


Hagll

An intoxicating passion for noise. Hagll presents “Inspired by the sun” for the “I, The world revolves around ME” Art exhibition at M.A.D.S. Art gallery. Breathing light energy is surrounded by the contrast between the colors presented in the artwork. We witness an explosion of deep tones surrounding the light in the center, while thin cuts represent silent rhythms across the painting. The corners of the artwork carry the responsibility to frame warm light tones trying to set free the silences surrounding a very deep noise that is screaming to be free. It is a landscape of an eventful day, where something is about to happen. It is coming across those silent rhythms, those silent cuts across the artwork, waiting for a presence to reveal itself after the turmoil. If we witness an explosion we can most certainly listen it. “The art of noises” (1913) by Luigi Russolo, a futurist manifesto where the artist explores the evolution of man made sounds. One of the conclusions refers to ancient times where silence prevailed, therefore in recent times spectators have to develop a passion to perceive noises. In order to do so, a new composition must be born. A "multiplied sensibility, has been conquered by futurist eyes, will finally have some futurist ears, and . . . every workshop will become an intoxicating orchestra of noise.” You must listen carefully to witness the future energy emerging from the silent rhythms. Hagll presents an intoxicating finish of energy and poise.

Art Curator Karla Peralta Málaga


Hagll

Inspired by the sun


Haïfa Ghoul

Haïfa Ghoul was born in Beirut, Lebanon, during the height of the civil war. Having immigrated to the U.S. and built a successful career in the corporate world, she realized that a dormant creative energy wanted to flow through her. Painting became an outlet for her deepest emotions and provided a blissful source for tremendous joy through uninhibited expression; becoming a channel for her to experience elements of childhood playfulness and abandon that the war she was born into had robbed her of. At “I: The world revolves around me” exhibition hosted by M.A.D.S. Art Gallery, Haïfa presents three artworks that express her complex emotional alchemy and transcendent dreams. "A Dream within a Dream - Development" is an explosion of colors giving life to shapes and textures that intertwine and communicate, revealing images and fragments of the human experience, the energy of unity consciousness, and the mystical through playful color representations. This piece is part of a series called “A Dream Within a Dream”, a 10-piece series depicting humanity’s spiritual journey, beginning with detached materialism (represented by warm tones) transitioning to a transcendent unity consciousness (represented by cool tones). The use of heavy paint textures and weaving of colors speak to the complexity of this journey and its non-linearity; lessons perceived through difficulties are the stepping stones for an elevated perspective. “A Dream Within a Dream - Development” is one where the transition from heavier to more elevated mental states begins to take shape; glimmers of light are finally being perceived. It is the point where the emotional weight gets heaviest and slowly begins to make way for the emergence of insight on the road to inner peace. "Amorphous Morpheus" is also an explosion of color and textures in shades of green; the result of many small details that communicate with each other; traces of dreams that, as the artist says, "become like memories of distant realities. "Chakra Six - Vision" is instead an acrylic on paper that represents a black hole on a starry sky in lilac and purple tones. Through the black hole, Haïfa looks to represent the majesty of the human spirit, the deepest part of each of us, whose awareness is the only way to truly know ourselves and the reality that surrounds us.

Art Curator Matilde Della Pina


Haïfa Ghoul

A Dream within a Dream - Development


Haïfa Ghoul

Amorphous Morpheus


Haïfa Ghoul

Chakra six - Vision


Hannah A painting that smells of expressive freedom. An art that infuses energy at first glance. Chromatic spots hover from the paper background to wrap our eyes intoxicating them with a lively presence. The artistic expression is that human activity able to express and at the same time stimulate sensations and perceptions without using bodily stimuli. A work of art is neither hot nor cold, moreover, its scent is negligible. A work of art is still, motionless and impassive. It certainly does not capture our gaze because of its mutability over time. No less so is the fact that a work of art does not speak our language, no words or phrases come out of it that help our understanding. And yet, art is the most ancient form of expression ever created by man and man is the only animal to make art a means of communication. But how does something that is inanimate par excellence to be the bearer of so much expressiveness and meaning? We do not know, but we are aware that these two elements are the ultimate goal of art. Art bewitches us, inebriates us and we do not know why. Is it the power of color, is it the expressiveness of the pigment stain? It is probably the mixture of all these elements. Art is that thing that, basically, does not serve the sustenance of life and yet is necessary and, in this sense, is water for our eyes and food for our soul. And this is how "Free" reveals itself to the viewer, a game of chromatic colors and pigment stains that makes the soul of the viewer vibrate, nourishing it, comforting it, giving an effervescent wave of energy. To welcome our eyes to the vision of the work there is a green-blue background. It recalls the shallow seabed of some distant land. The color is so diluted as to make evident the fibers of the paper that lies beneath. The pigment is so transparent as to reveal the sandy bottom of some paradisiacal island. Just below, a black-purple stain stands out on the support. Its shape is serpentine and it winds in long tentacles covering most of the work. A little above, the epiphany. Big fuchsia spots capture our attention. The color is extremely dense, it almost seems to be printed on the paper. Like spring flowers, the spots of color blossom revealing all their expressiveness to the viewer's eyes. The almost fluorescent hue invites the viewer to get lost while observing its peculiar characteristics, its veins similar to delicate corals, its sharp contours fused with the underlying color. Hannah's work is a cry for freedom of expression, a hymn to the freedom to express the emotion you want to spread. And this is the strength of art, the strength that makes it suitable to be the bearer of a universal language. Its power to fix with color the emotion of individuals and pour them into the hearts of others.

Art Curator Lisa Galletti


Hannah

Free


Hanne ink Self-Culture is a new cultural sensibility that consists of a sense of individual freedom, in which people have full awareness of who they are as well as their potential, making themselves the centre of their projects. Hanne ink, a Norwegian artist, finds her inspiration in the abstract beauty and makes it the centre of her life, focusing her energy on her art. Through the technique of alcohol ink, combining fluid liquid, hot air and paintbrush, the artist creates unique and marvellous figures such as "Orchid". This artwork is a representation of a flower with white, blue, and black tones. The fluid liquid is used for the shapes of the petals, which recreates the blooming, slightly uncovering the golden pistil of the flower. The artist also uses golden and silver pigments which embellish the edges of the petals. The golden pistil seems to shine with its own light, as if the flower was coming out through a spell. The lower part of the flower is black, and its golden pistil seems to shine even more thanks to the chromatic contrast with the black colour. The shapes of the petals look soft and seem to float like the shapes painted in the second Hanne ink’s artwork "Veil". In this case, shapes are different, the tones of white and black mix themselves creating a match between shades and transparencies. Even in this artwork, there is a chromatic golden component that seems to be contained inside the veil. The wind blowing releases the golden powder that spreads creating a sort of golden cloud. The ruffles of the veil are gentle and, in some places, seem to release some little bubbles that move to the external part to then dissolve themselves. At last, the third Hanne ink’s artwork is entitled “Butterfly”, representing the majestic animal as the name suggests but this is not a common butterfly. In fact, it has three pairs of wings that are not flapping like the common butterfly wings: these fluctuate, expand, and open themselves and seem to move like jellyfish in the water. The white and brown wings enclose and protect the precious golden body of the butterfly queen. The artist chose to represent the animal light, majestic and powerful. Through the use of this technique, Hanne ink creates wonderful and marvellous images that enable the viewer to dream.

Art Curator Sara Giannini


Hanne ink

Orchid


Hanne ink

Veil


Hanne ink

Butterfly


Haowen Yang What emerges from Haowen Yang's images is the representation of a climate, of an embodied taste, as if to remind us that in the end, what matters is the fashion brought and that in any case fashion itself is first and foremost a way of being, a behavior that is triggered by clothing, but which certainly cannot be identified with the pure materiality of the dress. His works are divided into three groups and three different styles. In "Rococo women" Rococo culture is interpreted from a new perspective through fashion photography and make-up. The Rococo style is an ornamental style that developed in France in the first half of the 18th century as an evolution of the late Baroque. The term derives from the French "rocaille", a type of decoration performed with stones, rocks and shells used as embellishment. It stands out for the great elegance and opulence of its forms, and stands in stark contrast to the heaviness and stronger colors adopted from the previous Baroque period. The style tends to reproduce the typical feeling of the aristocratic life typically free of worries. The images are dominated by a pastel palette of muted shades, pale pink, watercolor blue, vanilla, subtle green and ash gray. The make-up is also delicate, achieved with the help of blush and powder. Both loose and gathered hair looks like that of porcelain dolls, hair decorated with flowers and pearls that enhance beauty and shine. In the "Rococo Women" triptych, the models' faces are very smooth and ethereal. The dominant whiteness in these images magically projects them into a dimension of minimalist abstraction, and actually leads us to think that we are facing a radical change of identity, a real genetic mutation towards an artificial, laboratory-like beauty that is current and engaging."No turning back" is the second triptych presented by the artist, it was made in the suburbs of his hometown, in China. The images somehow recall the tragedy that occurred in Urumqui on July 5, 2009. A revolt, which began as a protest but escalated into violent attacks aimed at the Han. Years later this is just a bad memory that has left some visible signs until today. It is precisely what the artist tries to highlight in his photos, the past that intersects with the present, a past that certainly cannot be forgotten, but a present and a future that can be better. The model's body is pervaded by abstract shapes that recall the customs of local minorities, a colored body that symbolizes freedom, the future. These photos are not the duplication of reality, but the exhibition of a new reality. The whole group of works moves gradually from the inside out, evokes an absence through a presence, follows the path of freedom to leave behind the depression and pain of what has been.The photographer's third triptych closes with "Lost". Haowen Yang focuses on consumerism and its psychology by presenting it through the art of photography, thus turning a thought into a work of art. Consumerism is an economic and social phenomenon about the increase in consumption to meet the needs induced by the pressure of advertising and social imitation phenomena widespread among large sections of the population. The artist produces a sort of Duchampian ready-made where there is a decontextualization and relocation of the subject, like the model on sheets of paper or on the bed. The subject is not limited only to the identity of a work of art as such but acquires the status of proportion within a broad and intricate discourse. So, in what sense "Lost"? "Lost" in the scale between reality and perception, between the world and the ego, between the copy of reality and interpretation.

Art Curator Chiara Lezzi


Haowen Yang

Rococò woman I


Haowen Yang

Rococò woman II


Haowen Yang

Rococò woman III


Haowen Yang

No turning back I


Haowen Yang

No turning back II


Haowen Yang

No turning back III


Haowen Yang

Lost I


Haowen Yang

Lost II


Haowen Yang

Lost III


Harawata

We are drawn to the abyss. We are captivated by the thought of what may lie hidden in the darkest depths. Quiet or chaos? Freezing temperatures or extremely hot? What noises, what sensations; how would our body behave? And our mind? The human being is inevitably attracted by the abyss. He is fascinated by nothing, by the discovery that could be hidden, by the curiosity that a place - never seen before - could be observed in all its peculiar characteristics. Yet, although we are fascinated by cheating, we are also terrified of it. The absence of any ground on which to land with our feet makes us waver, the fear of not being able to breathe makes our souls restless. Yet we fall. We plummet downwards with all the weight of our body, after inhaling a deep breath. We fall, the speed becomes greater, the resistance with the air - or with the water - makes it impossible for any muscle in our body to move. But we don't care. The terror, the fear of never landing, the thought of having left a safe place no longer grips our thoughts. Now we have crashed, our mind is already there, in the depths we so feared but so longed for. And so it is that the atmosphere becomes denser. All around us a fluid with bluish reflections wraps itself around our body. It is cold, icy and dense.


Harawata

Looking towards the surface it is possible to catch a glimpse of sunlight, looking down instead, the deepest darkness is calling us. Yet, our mind is not troubled, our body is relaxed and soft, as if cradled by that blue fluid that heals our souls. Blue and then purple streaks, blue and then whitish and pinkish waves accompany us in our gait. What is there on the seabed? We wake up. In front of us a red chasm. The image evokes something burning, the section of the magma chamber of a volcano. We look carefully. Those vertical lines that from the top inevitably plummet downwards remind us of an enormous Gothic cathedral. The atmosphere is dry, the air is boiling. All around, silence. It almost seems to hear echoes in the distance that vibrate through the vaults of this splendid and terrifying cathedral. Where are we? Where have we ended up? It's an abyss. It's a chasm just like that blue place described above. And yet, the two spaces are characterized by diametrically opposed architecture. Harawata with the diptych "The Abyss is for Chaos" highlights the differentiations of human sensitivity through the medium of digital art. Although both works refer to the abyss, to the abyss; the two places are at the antipodes as representatives of antithetical emotions, sensations and thoughts. In which of the two abysses would we like to fall?

Art Curator Lisa Galletti


Harawata

The Aybss is for Chaos - The Abyss


Harawata

The Aybss is for Chaos - The Chaos


Helena Kästel "Color is a power which directly influences the soul." (Vasilij Kandinsky)

Among all the artistic currents, abstractionism is the best for representing irrational emotions and expressions, since is itself as a current starts from an irrational motif of representation. Thanks to Vasilij Kandinskij at the beginning of the 20th century, the artist's need emerged to go beyond objectivity and thus began a more profound search through the colors and shapes of things up to the point of distorting the very nature of objects in order to obtain the soul. The search for oneself is the same for artists. The artist Helena Kästel is the very representation of this concept and the need to overcome objectivity clearly emerges in her art. The real question for the artist is not whether one can represent someone's inner self, but how. Through the freedom of expression and the total abandonment of objective reality, the artists are able to overcome logical barriers by showing for the first time in the history of art how complete a painting can truly be. This may seem a paradox given the absence of realistic subjects, yet one is enchanted by Helena's ability to represent reality. Only through the representation of her abstract reality of her she can represent what she really keeps in herself and makes a gift of this to the viewer. Colors and shape are perhaps the artist's only true hidden I.

Art Curator Letizia Perrieri


Helena Kästel

Lighten up


Helena Kästel

Reach beyond


Helena Kästel

Your unique path


Helena Valfridsson

Helena Valfridsson is a Swedish painter whose practice shifts from commissioned works that see repeating the figure of the horse as a subject and her personal projects. In her individual research the artist focuses on the pattern of light and shadow, the experimentation of the body as a painting tool and the use of metallic color to increase the attractive power of the composition. The scheme of lights and shadows is so intense it can recall Tamara De Lempicka’s ones. Once installed, these paintings are strongly magnetic, the image captures the eye and thoughts present in the room, relieving the viewer of their duties to favour a time of safe contemplation. The subjects are sinuous and perfect women's bodies, completely in line with the expectations and parameters of contemporary beauty. An idea of beauty proposed today as in the era of Greek classicism. A body that is the body. A dancing movement is perceived in these paintings. The artist spends a lot of time in the construction of the sketch and makes her compositional decisions with extreme care. This kind of precision and awareness allows, once the draft is completed, to proceed freely in the drafting of the color, where stronger shades are absolutely permitted and experimentation can begin. Valfridsson recently embarked on the adventure of her own independent gallery in Sweden, where she focuses on her own practice and gives other artists the opportunity to exhibit their work.

Art Curator Federica D'Avanzo


Helena Valfridsson

Kiss me hard before you go


Helena Valfridsson

You make me feel like


Helena Valfridsson

Giulia


Hero Painting and shapes at the service of full self-expression. Spots, circles, strips of color, vital and energetic pigments are transformed into letters of an alphabet that has as its primary purpose to translate through visual transposition the emotions and feelings of Hero. It happens that when an individual expresses his thoughts verbally, a part of his soul is poured into the real world and interacts with those around him. The thought, transformed into conversation, reaches other individuals and from this comes the sharing of experiences, the participation in the problems and desires of one and the other. Yet the spoken idea, although immediate and extremely effective in its expression, has its limits. Opening up to others and literally exposing oneself to the world is often an obstacle, a high mountain full of pitfalls. You can't find the words, you are afraid that the other person won't be interested in what you are trying so hard to express. One is afraid of exposing oneself to the world: a medium as direct and efficient as the spoken word leaves no time to think, no time to stop and reflect. Immediacy is its cross and delight. Art - which we can consider as a real language - is on its part defined by rules that the artist himself imposes on it. It is not immediate, this is certain, and it responds to certain rules that develop from time to time, canvas after canvas and spot of color after spot of color. Slowly the work reveals itself: you have all the time to listen to your heart and then try to translate your emotions into graphic signs. And this is how Hero's work appears to the viewer's eyes: a tumult of color and shapes that expands to lap the shores of the viewer's soul. A golden fluid with silvery features rises from the center of the work. Its composition is delicate, it almost seems as if it is formed from a transparent material. Yet, its expressive power is enormous. It stretches, distorts and expands to the sides of the work, going to lap the rest of the representation with an unparalleled energy. And so it is that in "Encounter" the two universes meet. The golden fluid is nothing but the by-product of the encounter between two distant and unknown realities. The color, the shapes, the composition tell us the wonder of an encounter, of two hearts that, finally, have the chance to meet. It happens then, that when art joins the spoken word, what comes out is something extremely expressive and clear to the viewer. "You are beautiful" is the result of a troubled history, of second thoughts and doubts, of pauses and resumes. The creative inspiration is restless, it is difficult to tame and schedule its arrival. Like a volcano, it has its quiet moments and its moments of activity. Yet, when it is about to erupt, the creative power is so strong as to give resolution to a work left unfinished. "We are beautiful" is artistic language, it's written language: it's the incredible fusion of two distant worlds capable of narrating the interiority of Hero.

Art Curator Lisa Galletti


Hero

Encounter


Hero

En


Hero

You are beautiful


Hilde Heymans "First of all, the emotion! Only after understanding!" (Paul Gauguin)

The therapeutic effect that art has is what encourages Hilde Heymans to create and spread her own artistic poetics. The world that surrounds it becomes the true source of inspiration, a real and rational space on which to reflect, to extrapolate all those small elements, those sensations to be brought back to the canvas. The brush does what the soul dictates, impressing an energetic stroke on the canvas that takes charge of the artist's emotions. This is what drives Hilde Heymans to create art, a profound, personal art, linked to the impressions, emotions and sensations that surround and accompany her during her days. A dynamic artist, like her works, which do not give space to any kind of rational reasoning. The shapes, lines and colors suggest to the observer an abstract image of the artist's soul, inviting him to embark on a journey to discover his own interiority. Painting to feel free, to seek the spark of wonder and mystery of art in the immediacy of the present.

Art Curator Federica Schneck


Hilde Heymans

ONE MOVE


Hilde Heymans

NO COPY


Hilde Heymans

UNTIL I READ, I WRITE...


Hiroaki Furukawa “The human face never lies: it is the only map that marks all the territories in which we have lived.” (Luis Sepúlveda) The world around us is changing, an ongoing revolution leaves one reality behind to make room for a new one. And… Do we always remain the same? Inevitably, what surrounds us influences our way of thinking, the relationship we have with others but also with ourselves. Let's stop, look in the mirror and ask ourselves what we have been, what we are and what we want to become in the future. Through his works, the Japanese artist Hiroaki Furukawa represents a cross-section of everyday life: people he meets by chance, landscapes that excite him, streets of his city. In this case, the protagonist of the painting is the artist himself. “Portrait with bag” was made in 2022 with mixed media technique - oil coloured pencil, highlighter, pastel, crayon, blush pen, Aqyla. Black hair, large round glasses and a serious expression characterize the face of the protagonist intent on taking a photo in the mirror with his mobile phone. The protagonist is him, but also the bag that he holds on to his shoulder. It is a bag that is not simply a bag: it represents a fellow traveller for about ten years of his life. It is not just a container for putting back objects, but a collection of memories and experiences. The famous writer and director Luis Sepúlveda wrote that the human face never lies, but it is the only map that marks all the territories in which we have lived. What does Hiroaki's face tell? Immerse yourself in his magical world and discover it with your eyes, with your heart.

Art Curator Camilla Gilardi


Hiroaki Furukawa

Portrait with bag


Hiroshi Wada

Hiroshi Wada is a Japanese calligrapher artist living in Kyoto. Hiroshi's artistic production combines Japanese tradition, through Shodo and the artistic culture, especially at the stylistic level, of Franz Kline's own abstract expressionism. In fact, Kline became interested in oriental art and for this reason his black and white paintings have often been associated with Japanese calligraphy. Wada combines writing with artistic expression, language itself becomes art, communication is not, in this case, interpretation, but a true representation of the message you want to convey. "FREEDOM_03" means "yourself is made up from the fact you choose", the freedom to make decisions makes us what we are, so we are the sum of what we do and the choices we make, and the very possibility of choosing makes us free to be what we want. In the creation of "ZERO_02", Hiroshi is inspired by the Zen philosophy according to which it is very important to place one's mind in "nothing" in order to refine one's senses, according to the artist the creative ability is based on this "time to zero mind ”which is fundamental for the creation of something. "HEAVEN_01" is the ultimate representation of infinity, synonymous with infinite possibilities that can be grasped by human beings to express their maximum potential. "HEART_02" represents a hieroglyph that depicts the shape of a heart, Hiroshi gives it a unique and visceral importance, as the very source of life and all human feelings. As for “ONE_03” The character of [ ] (one) comes from "counting rods" which were used to count numbers in old days. It represents the shape of a wooden stick. The one is the beginning of all things, it is the departure, the first of many possibilities that may arise, the one embodies the positivity of the unknown and the beauty that hides in the future.

Art Curator Martina Viesti


Hiroshi Wada

FREEDOM_03


Hiroshi Wada

ZERO_02


Hiroshi Wada

HEAVEN_01


Hiroshi Wada

HEART_02


Hiroshi Wada

ONE_03


Ildikó Cseh-Rigó "Art is not what you see, but what you make others see." (Edgar Degas) Ildikó Cseh-Rigó is a talented Hungarian artist. The art of painting and drawing has been part of her life since childhood, and over time she has developed into ever new forms, up to a versatile and ever-changing style. The artist expresses on the canvas an irrepressible explosion of emotions, which capture the viewer with a magnetic fascination. Ildikó's multifaceted talent pushes her to experiment with new techniques, from figurative to abstract, from acrylic to mixed media, moving with ease from one style to another. We can admire the great mastery of the artist in the works presented on the occasion of the exhibition "I - The world revolves around ME". In Levitation the artist places the viewer in front of a singular still life, which depicts a sumptuous black and gray tutu floating in midair. Despite the fixity of the garment, the use of fabric makes the composition dynamic and gives the impression of inflating with every gust of wind. The illusion is so perfect that it leaves the imagination free to imagine the invisible wearer of the garment, floating lightly. With Mystique Ildikó transports the viewer into a completely different dimension, whirling and colorful, in which the shades of orange, blue and purple dominate unchallenged. The artist demonstrates her expressive power also in the field of abstract art, creating a work of rare intensity and visual impact. The overwhelming rhythm of the composition summarizes the density of meaning that lies behind the aspiration to mysticism, which can appear chaotic at first glance, but which reveals itself more and more harmonious as the eye lingers on it. Finally, from the triumph of colors and shades, the artist accompanies us in a more intimate and reflective dimension, expressed in Wind. The work, performed in neutral acrylic colors in shades of gray, beige and black, depicts a splendid female face, absorbed in a meditative expression. The fixity of the whole is broken by the slight movement of the hair, swollen by the wind, which blows slightly, and above all by the trend of the brushstrokes, which follow the features creating an unexpected movement. The accuracy of the details of the face balances with the indefiniteness of the background, of which only vague shadows can be guessed, and induces the observer to focus attention on the woman's half-closed eyes, almost expecting that they can open at any moment. Ildikó Cseh-Rigó transforms the illusions of the canvas into something alive, breathing, accompanying the observer in unexpected and engaging universes, which excite and amaze.

Art Curator Chiara Rizzatti


Ildikó Cseh-Rigó

Levitation


Ildikó Cseh-Rigó

Mystique


Ildikó Cseh-Rigó

Wind


Ines Galactica "To create one's own world takes courage." ( Georgia O'Keeffe)

Ines is a young artist of Russian origin. She has been painting for as long as she can remember and her manual dexterity in handling artistic tools is evident. What shines through in her artworks, in addition to her refined taste in the combination of colours, is her pictorial exuberance, her unmistakable and imaginative style, which is extremely personal. Her canvases capture the viewer and surprise him because they are so rich in food for thought, details and artistic forms that the human eye gets lost and is captivated. Ines likes to experiment and use different techniques that give a different final effect. In the painting "Pink Mood" she puts a girl at the centre of the picture, whose shapes and contours are dispersed in the exuberant and lively background created by the intersection of different and innovative shapes. Ines lets herself be guided by the colours and traces that the brush leaves on the canvas, without immediately looking for the final effect but arriving at it little by little in an unprecedented way. The colours she uses are pink, purple and yellow, while white gives movement, creates luminous spaces and creates a contrast between solids and voids. The artist favours the curved line that wraps around sinuous forms. The work focuses on the female figure with an absorbed gaze. It is as if the viewer is invited to put himself in the girl's shoes, to read her mind and see her worries, anxieties and fears. The young woman's face is emblematic, absorbed, and it is not clear whether she is looking towards the future or wistfully thinking about the past. The spectator is invited to answer this question, to identify with her and to grasp the thoughts, hopes, fears and difficulties that are different and subjective for each age and phase of human existence. The contrast between such a profound reflection arising from such an apparently playful and lively painting is striking. A riot of forms that involves the viewer and guides him into the deeper and more intricate points of reflection that the acrylics conceal. With extreme skill and gestures, Ines encapsulates the emotions of a young girl at the most sparkling and energetic moment of her life. She encloses in brushstrokes and coloured hues the feelings of a young girl who has the world in her hands and a future ahead of her full of new opportunities but at the same time also full of uncertainties and doubts. The artist is bold, creative and imaginative. She is not afraid to be daring with colour and form. Her paintings are intriguing and evocative as well as extremely joyful and brilliant. She captures strong emotions common to all with extreme sensitivity.

Art Curator Ilaria Falchetti


Ines Galactica

Pink Mood


Inge Gijzen “Never bend your head. Always hold it high. Look the world straight in the eye.” (Helen Keller) What awaits us tomorrow? We don't know, we live day by day giving ourselves and others the best. Difficult challenges and obstacles block our path, but only by overcoming them with strength and determination we can reach the light. Contemporary artist Inge Gijzen tells stories and plays symphonies through the faces she paints. The whole of her works is like a succession of pages in a diary: a precious collection of memories, emotions and experiences that marked the best years of her life. "Face the world" was created in 2021 with the acrylic on canvas technique. A woman whose features we do not see, but only the silhouette in profile, holds her head up and looks straight ahead. Dark skin and a large turban painted with broad brush strokes stand out from the entirely yellow background. The title of the work is very evocative: face life despite everything that happens to you, life is a wonderful journey that must be fully experienced in every single facet. Dark and light chase each other, joy and pain follow one another continuously. A white contour line encloses the protagonist in a bubble as if to protect her from what surrounds her. Break down any barriers that you or others build around you and face the world head on. Reality is sometimes harsh, but it often represents a great opportunity to grow both intellectually and humanly. Thoughts, emotions, and sensations not to be kept to herself, but to share with the viewers: Inge's art makes you think, Inge's art speaks to the heart.

Art Curator Camilla Gilardi


Inge Gijzen

Face the world


Irina Ges Irina Ges is an artist who lives and works in Vilnius, Lithuania. Art in her life is not just passion, it is everything. She is inspired by everyday life, creating extraordinary and intriguing works of art that lie somewhere between figurative and abstract. Although she starts with a realistic subject, her emotions and feelings take over, enveloping her art and inspiring it deeply. Life around us is magical and Irina captures this by capturing ethereal moments in her artworks. She celebrates love, passion, mystery, the curiosity typical of the human experience. Her gestural expressiveness is incredible, alternating sinuous lines with stronger brushstrokes, and her characteristic is that she uses dark tones to enhance the subsequent light tones she will apply to the surface. In "Ordinary evening", Irina creates a perspective landscape, a view from above of a city illuminated by the lights of the night. The bird on the left is the real subject of the work, watching over the city and giving a feeling of security, of protection. The tree trunks give movement and dynamism, with their interlocking oblique lines. The feathers on the wings are extremely detailed and the multicoloured sky is evocative and magical. The night is an evocative landscape, difficult to paint and immortal. But Irina manages perfectly to suggest a feeling of wonder, of protection. A quiet night, like so many others, protected by the familiar colour of the nature that surrounds us. In "Unification", the artist explores the combination of love and nature. The painting is decidedly more abstract, characterised by luminous fluid lines emerging from the deliberately dark background. Two stylised bodies of a man and a woman embrace, entwining in a sinuous and loving way. The affection between the two is perceptible and once again the theme of protection, of affection, returns. The contours of the two bodies blend in with the floral and natural elements, also stylised, that fill the canvas. Irina uses a painting technique that involves several layers of paint and the final effect is to make the elements three-dimensional. Although the artwork is two-dimensional, the artist creates figures in a plastic way, making the viewer feel even more in tune with the work itself. Everything recalls harmony and balance, as is also the case in "Wind of change". This work is characterised by the prevalence of light and bright colours. Black is only used for the contours and to give volume and texture to the elements. Surrounded by a natural frame made of leaves, branches and plants, a young girl with flowing hair is shown in profile looking at an undefined point. This work is a hymn to freedom, to change. Irina invites the viewer to go beyond the harmonious and peaceful aspect of the work, leading him to elaborate on existential questions. Everything is enveloped in a magical, almost unreal and fairy-tale atmosphere Irina, with her refined and elegant taste in the choice of subjects and colours, creates evocative, plastic and delicate paintings. The expressive power of her creations lies in the gentle contrasts of light and shade, the soft, sinuous lines and the technique. The artist emphasises that magical, hidden aspect of everyday life that we do not always see. It is impossible not to be enraptured.

Art Curator Ilaria Falchetti


Irina Ges

Wind of Change


Irina Ges

Unification


Irina Ges

Ordinary Evening


Irina Onopenko Irina Onopenko's creative fury is expressed and freed through an intimate process of revelation of inner identity. Her paintings are inhabited by evocative and dynamic portraits of women with a vital, provocative and disruptive energy. Giving voice to a contemporary Humanism, the Ukrainian artist places the female universe at the center of her art, and, by laying bare the expressive immanence of the body, cathartically externalizes the forces that act within and against us. Onopenko does not depict real bodies, but portrays vivid sensations, aimed to reawaken and breathe new life into the beholder's crystallized or dormant emotional impulse. The artist gives her portraits the function of a portal-mirror to access inmost universes and to dialogue with them: Onopenko pushes the viewer beyond the boundaries of the canvas and colors, invites us to enter the gist of the painting, to expand the borders of our perceiving, to approach an "other" awareness and to experience an intimate and intense visual journey. Human existence and, in particular, the exploration of female subjects, is a central element of Irina Onopenko's pictorial poetics: crossing her own, she analyses and translates that of other women into painting. From flaming red, to the gloom of black and gray, the artist uses color in an expressive key, distributing the brushstrokes in a homogeneous, dense way and with contrasting drips. Onopenko draws thick white, black, golden and grey shaded lines, to enhance the contours and anatomical rendering of the bodies, whose intensely pronounced features, seem to be carved into the matter, wood or stone, acting as an emotional conduit between the sense of the world and the inner dimension. Endowed with a strong social conscience and sensitivity, Irina Onopenko creates an intimate and timeless art, which surrounds and envelops us: the artist universalises her own personal experiences, enters into a relationship and visually contacts our soul, opening a window to the deepest “self”.

Art Curator Maria Teresa Cafarelli


Irina Onopenko

Eve


Irina Onopenko

She's Beautiful


Irina Onopenko

Stay Human


Irinel Daniela Iacob "The only time I feel alive is when I'm painting." (Vincent van Gogh)

Irinel Daniela Iacob is a talented artist who paints spontaneously and instinctively. Art is a parenthesis in her life as a successful civil engineer and allows her to express herself completely. When she paints, Irinel is able to convey energy, strong emotions. Through colours she records her movement in space on the canvas, making her feelings tangible. Although she does not have an academic artistic background and is therefore self-taught, the creative power and visual impact of her paintings is evident. What sets her apart is her taste for colour matching and the spontaneity with which she lets the brush guide her through the artistic process. In "SCUBA DIVER" she creates an abstract image of a seabed, with its colours and contrasts. The fish, algae and marine flora dematerialise and become tangible traces. The reference to Pollock's Action Painting is also evident in the choice of bright, vivid pigments. Irinel's style, however, is extremely personal. With just a few details, she evokes an abstract landscape that gives the viewer a sense of calm and well-being. Each element creates balance and harmony, perfectly integrated with the whole. The background is in shades of blue, created with broad, flowing brushstrokes. On the surface, traces of pink, yellow and red colours emerge, in stark contrast with the background. The pigment is left spontaneously on the canvas, free to drip, create a path, imprint a trace. The trajectories are infinite and the result is an extremely elegant and refined tangle of lines and shapes. The chaos of signs on the canvas reflects a whirlwind of emotions that the painter gives to the viewer, hoping that he too will be enchanted. And so it is. This artwork is rich in details, each centimetre is different from the next, it is by no means monotonous but innovative and pleasing to the eye. Irinel moves through space, leaving a trace of her path. Her creative energy is released when she comes into contact with the canvas, allowing herself to be guided by the irrational, without clearly imagining what the final result will be, because any work that is born from the heart can only be a masterpiece.

Art Curator Ilaria Falchetti


Irinel Daniela Iacob

SCUBA DIVER


Ivana Marton Form itself, even if completely abstract ... has its own inner sound. (Wassily Kandinskij)

The inner world of Ivana Marton is her personal richness, from which she draws to create brilliant works that concretize her personal way of seeing the world. Through constant experimentation and the use of different materials, she is able to create her own personal universe, dotted with emotions, sensation, and little moments of daily joy. In her artworks, the subjective mark is very strong: she uses a restricted chromatic palette, which perfectly reflects her personal taste. Her canvas are thus animated by infinite modulation of grey, silver, brown and white shades that interpenetrate, are transformed, fade into each other, creating an endless and fluid dialogue, extended beyond the painting boundaries and able to strike our imagination. Ivana’s works are inclusive and capable to transport directly onto her emotional sphere: the artist, using different materials, is able to create a distinctly personal language, not influenced by external condition. In Green Bay, Ivana propose us her personal reinterpretation of a marine landscape e she does it so precisely to build a synesthetic image, thanks to which it seems almost to hear the wave motion of the undertow. The richness of the artist’s personal language allow us to admire her artwork from any perspective, appreciating it both in its entirety and details. The use of lime mess and marble dust allow the artist to create almost tridimensional images that simulate the natural elements; by watching closer her painting, it seems to understand details so well depicted to look like photographs, as the singular shape of a rock, or the shimmer of water above the sand. Ivana’s artistic language is following the wake of abstract tradition, since the artist is not reproducing the form of nature in a didactic way; however, her connection with reality is very strict and her creations are the marvelous result of the link between Man and Nature, in a constant succession of empathy and abstraction.

Art Curator Alessia Domenichini


Ivana Marton

Green Bay


Janie Molard “I dream my painting and I paint my dream.” (Vincent Willem van Gogh)

Glazes of colour blend into each other to create magnificent nuances, where ripples and details alternate in space, offering the viewer enveloping scenarios. The artworks by Janie Molard, a contemporary artist of French origin, are inner landscapes, tales of time and collections of deeply rooted experiences. The artist was born in Strasbourg, grew up in Tangier, an ancient city in North Africa, and then moved to Switzerland. The comparison with different cultures has become fundamental to her artistic research, intimately linked to nature and its energies. The lightness of the glazes and the intensity of the colour are elegantly distributed in space, in the form of waves that seem to describe a light and volatile fabric. A fabric imbued with emotions and fears that speak of a gentle soul. In "Diving in the Blue", violets, blues and greens mix in a visual weave through which a soft light filters, reverberating in the air. At certain points, the surface seems to split open, as if we were walking inside a fascinating nebula, made up of veils of unpredictable shapes, floating in space. Janie Molard navigates the waters of the unconscious, trying to give form to what she sees and encounters. She leads the observer into the abysses of her inner self, into a visceral spiritual connection with the nature of her spirit. She turns her gaze inward, aiming to illuminate and shed light where it is difficult to see.

Art Curator Francesca Brunello


Janie Molard

Diving in the Blue


Janie Molard

The Colours of Life


Janie Molard

Under the Veils


Janusz Tworek “The fundamental aspiration of men consists in trying to act with moral consistency. Our inner balance and even our very existence depend on it.” (Albert Einstein)

Between metaphysics and surrealism, between stillness and silence, the artist Janusz Tworek represents in his artwork two characters who, in the foreground, testify to an everyday reality characterized by positive and negative sides symbolized by black and white cats. The man depicted in green and yellow colors gives the feeling of energy and hope. Accompanied by a woman with a dark pink tending to red, the male figure also acquires strength and optimism. The compositional clarity of the undressed couple presents complementary colors and introduces the observer to a mystical and enigmatic dimension defined by a light green landscape and a clear blue sky that symbolize freedom and security. The space goes beyond physical appearance, beyond the sensitive experience, to expand into a background outside the work itself where the dark green and blue colors leave the idea of ​a further dark side of time. This unexpected event is the inevitability of fate that captures the couple in the center of the space through the black shades. The viewer's gaze widens to the plywood left devoid of color. This area frames the artwork and represents the absolute devoid of human interference. The real protagonists of Janusz Tworek's work are therefore space, time and color concentrated in a reality folded and revisited to give the characters and the artist himself the opportunity to coexist with it.

Art Curator Marina Maggiore


Janusz Tworek

Consistent


Jarkko Sjöman “The object of art is not to reproduce reality, but to create a reality of the same intensity.” (Alberto Giacometti) Do not represent reality as you see it, but recreate images through the combination of colors, lines, and shapes. The contemporary Finnish artist Jarkko Sjöman feels the need to give a subjective interpretation of the world, to represent the vision of what surrounds him in a completely personal way. Abstract art consists precisely in this: broad brush strokes that meet and overlap and spots of different colors that create strong contrasts arouse special sensations and speak to the soul of the viewers. The three works analysed were created with mixed media on canvas technique. In "All My Insides" (2021) different shades of purple, orange, and gold merge to represent the different facets of the artist's personality. All of himself in a single painting: cold colors that represent the darkest and most complex part of the soul collide with warm colors that identify with the light and vitality that Jarkko has within him. The creative process that gave life "Debris Of The Past" (2022) plunged the artist back into his past: what did he leave behind? Pain, disappointments, but surely also happy memories that he keeps in his heart. To represent this precious journey through time, Jarkko has chosen two symbolic colors such as red and black. With "Give Me The Storm" (2021) he expresses a strong sensation that pervades him: the desire to be overwhelmed by events, the desire to live everything to the fullest, the desire to overcome every limit that is placed in front of him. A riot of different colors come together to express the great energy that animates the artist's spirit. Let Jarkko accompany you on your journey to discover his magical inner world: you will learn about him, but you will also get to know yourself more deeply.

Art Curator Camilla Gilardi


Jarkko Sjöman

All My Insides


Jarkko Sjöman

Debris Of The Past


Jarkko Sjöman

Give Me The Storm


Jay Hodgson “Each time a woman stands up for herself, without knowing it possibly, without claiming it, she stands up for all women.” (Maya Angelou)

Educator, teacher, author and artist, Jay Hodgson is a full-fledged creative. He has worked on three discs and published numerous books on the subject of popular music, specializing in the research area of ​record production and media ecology. This mixture of interests and passions animates his art and his representations, which leads to his interest and his passion for creating collages. An interest both in the means of creation but also in the emotions it arouses on the visitor by immersing him in a completely new and unique context. Jay manages to free through his art what his mind imagines, he puts together the images in a particular sequence dictated by his imagination and his head. He lets himself be drawn into a creative and primordial instinct which is the fruit of creativity and imagination. He delves into the sensations and emotions he feels, he lets himself be carried away by what his mind suggests and creates pieces that he then puts together forming a surreal collage of imagination. In the collages we find cuttings and combinations of different elements, real and concrete with other imaginaries that interact with each other and that leave the visitor puzzled but they also intrigue him. Looking at the collages we are faced with a big question mark but we want to see more, discover more and imagine ourselves more in this ecstatic world. Interesting is Jay's unique creative process that creates a combination of different styles and elements but with a spectrum of static that does not stop at the work but goes beyond. Surreal collages, created by the set of heterogeneous and distant elements, in which we can identify with and perhaps imagine directly in the artist's mind.

Art Curator Giulia Fontanesi


Jay Hodgson

Emergent


Jay Hodgson

Neurodivergent


Jay Hodgson

Toot Toot


Jiawei Fu If there are 100 types of loves, then there will be 100 types of lies (Jiawei Fu) Men and human relationship are the heart of artistic language of the young Chinese artist Jiawei Fu, who deepens the link between human beings and reality through a number of artworks that range from painting to design. Everyone has his one love is part of a series of paintings titled Deceitful Lovers, where the spectrum of the artist’s reflections is based on lies that exist in any romantic relationship and underlines how, despite physical closeness of the protagonists, the center of their feelings is really focused elsewhere: “Our skin touches each other underneath the blanket. We are breathing in the same air in such tiny room. But neither of our heart is here, it always belongs to someone else”. Man’s relationship with the objects around him is the focal point of this research, according to a dichotomy Human – Not Human fundamental of Jiawei’s idea. Seeking balance in relationship thus becomes the starting point of the artist’s speculation, who is able to externalize the disparity between substance and appearance by the contrast among human figures and colours. In this painting, the main characters are a couple that Jiawei deliberately decides not to connote, defined through simple and clear shapes: the artist’s message is directed to all and shall be drawn up in a universal understandable language that goes beyond language barriers. Despite being together physically, their minds ranging somewhere else. Both think about love, symbolized by the hearts above their heads, but it is not the mutual one. The symbolic object of this lie is the smartphone, which isolates the two lovers and carries them in different worlds, an invisible wall that separates them and relentlessly distanced them. Jiawei intentionally uses a bright palette to reinforce her message, highlighting the sweetening of modern ignorance and implacability in all relationships.

Art Curator Alessia Domenichini


Jiawei Fu

Everyone has his own love


Jindeok Choi “What art offers is space – a certain breathing room for the spirit.” (John Updike)

Body positive sewing blogger Ebi Poweigha says that “creativity is honoring your instincts” and what is art if not a free and safe space where rules do not apply? Following and honouring our own instincts in art allows us to reflect, grow, communicate and share our feelings, thoughts and perspectives with others. South Korean artist Jindeok Choi sees freedom as the most important thing an artist can have, and intuition is what drives her painting process. Here, she envisions shapes and colours in her head which are then materialised and arranged in specific scenes on canvas. Without second thoughts and constraints, Jindeok firmly believes “that expressing colour or a certain form in her works is closely related to her personality”. By observing her works, it seems that they are placed in the middle between the abstract and the figurative, where changing forms, looking familiar and unfamiliar, are easy and difficult to grasp at the same time. Familiar representations of trees, human figures, sun and plants become unfamiliar mainly because of Jindeok’s extraordinary and personal use of colours and compositional structures. Here, a continuous game of juxtaposition of neutral and energetic colours, vertical and horizontal lines, creates beautiful and particular ‘optical disturbances’, which result in visual pieces of the artist’s self. In the painting “Pain”, the canvas is covered by violet tones which almost overlap the looking-like green and blue plants in the foreground. On the top, yellow is used to paint a seemingly human figure whose head seems to be swept away by a ferocious wind; at the same time, curved, black lines surround the yellow figure. The violet colour gives an uncertain, gloomy and painful atmosphere to the painting and the contrasting effect of the familiar/unfamiliar of both figures and atmosphere allows Jindeok to represent her pain in a way that can become and represent our own. It is like we find ourselves in front of the artist’s painful memories that inevitably become and represent ours. “Let the rest be known only through pictures”, Jindeok says about “Pain”.

Art Curator Martina Lattuca


Jindeok Choi

Pain


Joanna Jass

For the international exhibition “I - The world revolves around me”, Joanna Jass exposes the work entitled “Dwight”, through which she wishes to emphasize the intrinsic beauty of the natural and animal world, inextricably linked to the human one. As in the works of the Mexican artist Frida Kahlo, Joanna uses the figure of the monkey as a true artistic symbol that helps to express her moods and her curiosity about what surrounds her. This representation goes beyond appearances, bringing to life the artist's own inner universe. As the animal most like us as human beings, it has many facets: that is, it is able to feel, evolve and have the same social behaviour as an individual. These qualities elevate it from its purely animal role. In fact, Joanna depicts the monkey with an almost smiling expression, as if it were really a person: to underline this, there are elements such as its hand in the top left corner (which looks human), a bow and a hat covered with a myriad of butterflies. Those have a very special and equally symbolic meaning: they represent a true spiritual guide and a sign of hope. Since they hover in the air, they would also represent joy and creativity. Furthermore, their act of resting on the monkey's hat indicates positivity and the coming of a great change in life. For these reasons, and taking into account the overall composition, the viewer can extrapolate from the work satisfying and pleasant sensations, immersing himself/herself in that playful atmosphere full of vitality.

“Happiness is like a butterfly: if you chase it, you can never catch it, but if you settle down, it may well land on you.” (Nathaniel Hawthorne)

Art Curator Alessia Perone


Joanna Jass

Dwight


Joanne Elizabeth Shipp

The works of Joanne Elizabeth Shipp are currently connected with the period of crisis and uncertainty that we are living; however, she faces all this with a spirit of positivity, guided by the phrase "Everything will be all right in the end... if it's not all right then it's not yet the end.” from the film "The Best Exotic Marigold Hotel". Consequently, her works are governed by bright and cheerful colors, dynamic subjects and quick brushstrokes that make the works alive. In the work under examination, the artist of English origin, who has been living in Italy since she was 22 years old, represents a parrot, or more precisely a macaw bird, with its outstretched wings. The color is distributed vehemently on the canvas and with an immediacy such that it flows freely upon it. Also, the canvas has empty parts, painted in white, that become an integral part of the composition in a play of full and empty perfectly balanced. These empty parts are due to the spaces created between the words that are situated in the background to the canvas; here, in fact, there is a motivational phrase - that will be revealed only to the buyer of the work - repeated several times and in four different colors. The result is a tangle of words and colors lighter in the upper part of the canvas, darker in the lower one - dancing before our eyes on the notes of a cheerful melody. "Words have a strong meaning in my painting." says the artist, having thus understood how words, as well as paintings are both expressive mediums and how to be able to tie them together without falling into the banal. With her works, Joanne Elizabeth Shipp expresses joy and beauty and manages to convey happiness, liberation and general well-being.

Art Curator Francesca Catarinicchia


Joanne Elizabeth Shipp

Trust


João Vargues

João Vargues is a Portuguese artist based in England. During his university years he was fascinated by the style of Willem de Kooning, whose expressiveness and free and spontaneous approach to painting he picked up on. Just as for de Kooning the gesture associated with artistic creation is an affirmation of existence, so for João the urgency of communication is translated into bodily expressiveness. His style, which favours deconstructed forms in bright colours, is best expressed on large canvases, where the artist's body is free to move in a sort of dance guided by music and his unconscious. For this exhibition he presents three canvases whose dominant theme is human relationships and their ability to influence our world. Fractions expresses the disintegration of the self. The fragmentation of the image is evident in the choice to depict small segments of different colours that follow one another in a disjointed manner, occupying the centre of the composition. In the two works from the Love series, colour is once again the protagonist, but this time it is applied in the form of broad, fluid brushstrokes. They blend together, suggesting the idea of the variety and complexity of human feelings through a vital and almost playful spirit. The colours are bright and the shapes fit together fluidly, almost as if one were generated by the other. In these works, João explores the feelings that animate our relationship with others and with ourselves from a privileged point of view, that of his interiority. By giving voice to his inner world, he demonstrates that he embraces the spirit of this exhibition, which encourages artists to attempt to transcend boundaries in order to investigate the deepest sense of self.

Art Curator Marta Graziano


João Vargues

Fractions


João Vargues

LOVE II


João Vargues

LOVE III


Jodie Willis

Jodie Willis is a Canadian painter that develops his work and his style through philosophy, culture, science, nature and the human experience. The former painting “CRISPRchicken'' is made of only two colors: yellow and red. However it’s a very strong work that strikes for the accuracy of the various forms on the canvas. It’s a vibrant work, it seems to be moving thanks to the different forms that the artist has given to the composition. We are in front of a painting that seems to be in motion, it seems to move before our eyes as we watch it. The second artwork in the exhibition, titled “How to fight loneliness”, talks about the pain for the loss of a loved one, as can be that of a parent. The artist looks for his mother in the places they visited together, perceiving her close to him, he hears her voice as if it was imprinted in the places she lived. But it's also about the natural separation of any child from their mother when they are just a baby.


Jodie Willis

The psychologists say that during the first months of life a human can't differentiate it self from world. So, it's in that moment that a baby realizes for the first time that he's an individual seperate from the world. That's how this great artwork talks to us about the return to ourselves: as human beings we must learn to know ourselves and recognize ourselves in the world. The painting represents a place dear to the artist, Franklin Island. We see a natural landscape with very strong colors. At the top there is a prevalence of earthy colors like brown, green and yellow, whereas at the bottom there are colors like blue and gray that characterize the stone and the water that reflects it. Jodie Willis shows us how he knows exactly how to manage the composition and the colors and does it with a great mastery of technique. Jodie’s pictorial research reaches for results in which the use of wellmatched colors reflects a poetics that expresses itself thanks to a solid technical preparation. He rediscovers the wonder that is hidden in everyday things, nature, trees in abstract figurative elements.

Art Curator Federica Acciarino


Jodie Willis

CRISPRchicken


Jodie Willis

How to fight loneliness


Joe Gilmore "Change your opinions, keep to your principles; change your leaves, keep intact your roots." (Victor Hugo)

The family and the image of intimacy connected to it are the main issues addressed by the artist Joe Gilmore. Descendant of Africans reduced to slavery, what pushes the artist to create his own works of art is reconnected to his visceral and authentic bond with his personal history and with his family. The teachings of loved ones seem to guide Joe Gilmore within his own artistic poetics, which evokes the importance of the concept of family, of belonging to a family unit that, for better or for worse, unites all human beings. The characters that populate his works manage to emerge, thanks above all to the skillful use of energetic and bright colors and their naturalness in posing as key elements of the entire artistic composition, arousing in the viewer a natural and comfortable feeling of tranquility combined with a strong awareness of the importance of one's origins.

Art Curator Federica Schneck


Joe Gilmore

The Father Lion with His Pride and Joy with a Cat


Joe Gilmore

The Beautiful Mother and Her Family (should say Beautiful not Pretty)


Joe Gilmore

The Spirit of My Ancestors on Goree Island told Me that I Am The Conductor of My Life


Joe Stublick American artist Joe Stubilick presents at M.A.D.S. Art Gallery three works during the "I - the world revolves around me" exhibition. All three works are consistent with each other in style, made of acrylic on canvas. Joe Stublick adopts a particular style that on the one hand refers to the technique of Fluid art and on the other to that of Action painting. What is certain and evident is the spontaneity of the works that appear as dictated by chance. In reality, the creative process is conveyed and followed meticulously by the artist, who directs the color determining shapes and shades, always moved by instinct. The first work examined is entitled "Eye", and is in this sense emblematic because it shows how the artist, driven by emotions and spontaneity, makes gestures on the canvas, almost reminding conceptually the Zen painting whose purpose was meditation. These spontaneous gestures lead to the birth of this canvas and to the creation of shapes and shades. What is surprising is the "creation" in the exact center of the canvas, of an eye with a blue iris. The artist interprets this eye as his soul. Equally conceptual and significant is the work entitled "Sid". It consists of a palette of amber green, stone that symbolizes wisdom and serves as a protector. The artist in this stratified work intends to pay homage to Buddha, a teacher who believed in the art of awareness and presence. The most interesting work from a technical point of view is undoubtedly "Waking the Dragon". An explosion of acrylic on a canvas left white. Again the Zen influence is strongly evident. The artist describes with these words the feelings of this work: “Usually upon “losing it all,” you can begin to remember who you once were. You can reclaim your sense of SELF, and you can take back your identity… And when you do this, it feels like waking a dragon…” The shape created on the canvas recalls a dragon in flight, transmits strength and a great spiritual charge. The works of Joe Stublick are both visual and conceptual, they dig into the soul of the spectators and push them to reflection.

Art Curator Giorgia Massari


Joe Stublick

Eye


Joe Stublick

Sid


Joe Stublick

Waking the Dragon


Johan F. Källman and Kristina Zetko "Art is not what you see, but what you make others see." (Edgar Degas)

Johan F. Källman is a highly original Swedish visual artist. His creative process involves deconstructing the photograph through its various components and reconstructing a different image. The end result is something unprecedented and utterly exciting. His artworks overwhelm the viewer, giving strong emotions, vital energy and amazement. The artist's aim is to make art accessible to everyone, turning it into something creative and playful. Between intertwining lights and shadows, the shapes explode in a disruptive and original harmony. For "Laser Triptych", Johan collaborated with another very talented artist, Kristina Zetko. It is a work made up of three individual compositions but closely linked by a single thread. Lights, shadows and sounds create an explosion of energy in purple and blue. The chromatic hues mix, dispersing in space as if to create a playful dance. Both artists combine their characteristics and artistic skills in an extremely harmonious and captivating result. The sound that regulates the elements, the noise that the colour creates in the space is perceptible. Also interesting is the technique used, Camera-less C-Type print. Exposed with laser, the result of careful and detailed research. Johan is a meticulous artist who likes to experiment, but at the same time his creations are the result of alternative creative research. He creates something that has never been created before by working with technology and applying it to art. The triptych is a progression of emotions with a rhythm that increases and amplifies as it grows. The viewer can identify with the work and read into it the different impulses that govern human existence. The result of Kristina and Johan's work is poetic, impulsive and rich in stimuli. The contrast between the colours and the neutral background gives greater strength and impact to the composition. Three images which, when read individually, have an intrinsic abstract energy but which, when put together, create a masterpiece that encompasses all the primary elements of artistic language. The artistic skills of both authors are evident. Together they complement and enrich each other, giving the viewer a unique visual and communicative experience. Johan proves to be an original artist, extremely skilled in making art more inclusive and entertaining.

Art Curator Ilaria Falchetti


Johan F. Källman and Kristina Zetko

Laser Triptych


JRN Artemis Biche “Art is the concrete representation of our most subtle feelings.” (Agnes Martin)

Bright colours, stains with unpredictable shapes and long metallic lines tell of the lively and deep soul of JRN Artemis Biche, a contemporary American artist. Strongly influenced by Jackson Pollock's action painting, her artworks immediately show themselves to be dynamic and full of energy, collectors of emotions allowed to flow without limits. Also closely linked to Japanese kintsugi art, a symbol and metaphor of resilience, her paintings are first torn and then sewn back together and repaired with gold. On the occasion of the exhibition "I" The world revolves around ME, at M.A.D.S. Art Gallery, the artist presents a triptych specifically dedicated to the theme, exploring her relationship with herself through art. The project "The Starring Role" therefore, becomes a dimension within which the artist tries to define her life path, involving the viewer in a universally translatable reflection. Against a red background, black spots stand out, surrounded by cracks filled with golden glue. A ramification similar to that of a broken glass, widening under the weight of footsteps. JRN Artemis Biche accompanies each of us on our own red carpet, a carpet covered with glass that memorizes our passage, reminding us how exciting, and equally delicate, the path of life we walk is. As the protagonists in our lives, the traces we leave behind take on unexpected shapes and, step by step, we have no choice but to turn them into a work of art.

Art Curator Francesca Brunello


JRN Artemis Biche

The Starring Role (Me)


JRN Artemis Biche

The Starring Role (Myself)


JRN Artemis Biche

The Starring Role (I)


Juan Dinski

What does 'the world around me' mean? This is a common question that we ask to ourselves when we try to understand the reality around us, maybe when we turn around a city or just when we stay alone with ourselves. Maybe it is the same question that the artist Juan Dinski has asked him for the construction of this work titled WORLD AROUND ME. In fact if we watch this composition we can see a figure that represents a face put on the center of the work. This face could be the selfrepresentation of the artist. Around the protagonist are many shapes that frame many things that seem to come from reality. We can see road signs, photos, pieces of other paintings, animals, eyes, people and many different symbols. This kind of technique communicates with the will of the artist will of the artist to fragment the world around him, to break it down to understand it better. As if the message beyond the construction of the work is that to understand what is happening around us we need to singularize and abstract the elements of reality. The artist Juan Dinski with this work seems to refer to the work of another great contemporary artist that, like him, is a digital artist. I want to mention the work of collage that the artist Beeple titled ‘The First 5.000 days’. Also this work uses the technique of the collage and puts together many pictures product of digital art.At the same time the intention of Juan Dinski is to describe in a very interesting way what happened when he watched the world around him and give us a new perspective to watch also our reality.

Art Elisabetta Eliotropio


Juan Dinski

WORLD AROUND ME


Juan Mengual My work comes from the interest I’ve got from the unconscious and I use techniques that involve chance to make it arise. (Juan Mengual)

The collective and individual unconscious is the main ingredient of Juan Mengual's masterpieces at the international exhibition "I" the world revolves around me, hosted by the international art gallery M.A.D.S. Dancing with myself, Exodus and Gossip are The reflection of her unconscious, her personal experiences what she has seen during her life journey and all the people she has met. Part of his unconscious is collective, it belongs to those who share his culture and context, now increasingly global. This makes his works very personal but universal. The artist chooses a dreamy palette that has, as he puts it, "cartoonish shapes." Chance, or the emergence of the singular and collective unconscious, leads the works to take their own shape, which often brings out a dark side. There is no intentionality except in the choice of colors and movement, so the works take on a life of their own and detach themselves from that of the artist. They belong to themselves. This leaves room for the observer: the basis of collective unconscious allows to recognize oneself in the work, which, however, takes on its own form and the visitor, for this reason, is free to interpret it according to his personality and experiences. About Dancing with myself the artist states: "The starting point for this painting was a quite particular chance shape. Looking and looking at if I finally found someone playing the guitar wildly. It was a short time since Little Richard died so this probably influenced me. It was the toughest of the pandemic and sometimes when a rock music played on the radio I started to dance and jump by myself at home and this feeling came out while I was working on it, then I remembered the Billy Idol song that I love and I knew I had the name for it. Finally, I put three straight lines for the guitar strings that give strength to the composition". Exodus is the result of the randomness that belongs to the painting of Juan, he chose uncommon colors for him and then "winged, sea and random creatures started to appear as in many of my paintings, but eventually it all started to make sense. Looked like they are in an epic journey to somewhere, that there are leaders and followers and even someone that do not agree with the rest of them. So the story from the bible came to my mind and I knew the name of the painting". Finally, Gossip, It depicts three sea creatures talking to each other, as if they were whispering. The artist states "I tried to move forward with the painting but it wouldn't. The whole story was there and nothing I would do would improve it".

Art Curator Mara Cipriano


Juan Mengual

Dancing with myself


Juan Mengual

Exodus


Juan Mengual

Gossip


Kankana Chaudhury

Kankana Chaudhury presents “Voices” for the “I, The world revolves around ME” Art exhibition at M.A.D.S. Art gallery. To walk through our inner happiness, is to discover how to carry on in present time as part of evolution. Stillness often brings enlightenment to pursue new paths. Strength is perceived when we focus on something, when we decide to look up. Look up and go ahead, just go forward and never hesitate. Be brave to witness the feminine energy around you. Follow the female gaze, presented by Kankana and you will be presented with two choices: a red one or a grey one, a bold choice or a prudent choice. You must be quick to decide, Kankana has traced short paths to follow. Take a last glance into her eyes to perceive your decision. The artist depicts gazes ready to find new paths represented by grey tones and red tones to distinct the power of a bold choice. Contrasted colors push a fast decision to keep walking at our own pace and try to change paths as needed. The intensity of the red is imperative to understand how time passes around us. Our gaze changes through life as we witness changes brought by nature manipulated by us. The female energy will prevail as a guide is the one we were born into. Listen to her voice and look up.

Art Curator Karla Peralta Málaga


Kankana Chaudhury

Voices


Katarina Bradovkova "Every new morning, I will go out into the streets looking for colours" (Cesare Pavese)

The artist Katarina in creating her works follows her instinct, she lets herself be guided by the emotions that find concrete form in the various shades of color. The fluidity of the color on the canvas creates unique weaves and details, the viewer lets himself be carried away by the flows of colour that move in a delineated and harmonious way. In front of Katarina's artistic work, the viewer finds himself observing an intertwining of streets and paths lined with emotions and sensations. The colours chase each other on the canvas, intertwine and mix, creating unique and unrepeatable shades, Katarina's works become a metaphor for life with its ups and downs, joys and sorrows. Colour is the main and undisputed protagonist, through colour the artist tells a story, in an incessant encounter and clash, one that rejects the other, the colours move in total freedom within Katarina's works. Katarina's works are not static at all, on the contrary they are in continuous movement, the observer is totally captured by the colours that move, run and flow in a continuous motion. Katarina's entire artistic work is alive, possesses great dynamism and exudes a strong energy. The artist's works are made in full "pouring art" style so they are totally abstract, the only protagonist is color. There is no figure that recalls reality, there are no signs or lines, there are no constraints, the colour moves within the canvas with total freedom. In the same way, the artist's emotions are free from all constraints to create works of great visual and aesthetic impact. The entire artistic work of Katarina is imbued with emotions and energy, positive sensations pervade the works emerging from them and "infecting" the observer. In fact, Katarina gives us the opportunity to discover new emotions and bring dormant memories to the surface.

Art Curator Vanessa Viti


Katarina Bradovkova

Eye of the purple


Katarina Bradovkova

Hope with darkness


Katarina Bradovkova

The soul of the amazon in me


Katharina Moser Nature is alive, mystical, tells stories. I interpret the theme abstractly, and search for new forms and colors (Katharina Moser)

Katharina Moser at the international exhibition "I" the world revolves around me, hosted by the international art gallery M.A.D.S. shows her artwork Telling a story. The delicate and refined palette is combined with a marked sensitivity of the artist who places at the center of the work her intimate and abstract vision of its changes. Immersed in the millions of nerve cells, there is a moment in which everyone begins to be silent and to observe and listen to the voices of nature.In Katharina Moser's work, the stories that nature chooses to show emerge. Observing and listening to nature becomes, on the canvas, a play of colors and an interweaving of forms. The peace and wonder on canvas is temporary but eternal: the artist has opened a window on a world of wonders very close but almost invisible and inhabited by small beings capable of doing great things. The secret is to look out of the window indicated by the artist and never stop being fascinated by the stories that nature offers us, always different and always unexpected. Stories of fierce battles, love affairs, entanglements, voices that the artist carefully collects and then describes through the medium of painting. The vehicle is the sensitivity of the artist, which makes the work unique. She captures the wonder and gives it to the rest of the world.

Art Curator Mara Cipriano


Katharina Moser

Telling a story


Kériiyada The young artist Vickie Darika, in art Kériiyada, was born and raised in Bangkok, Thailand. Always passionate about art and fashion design, she began to paint as a means of expression, to release emotions on canvas. She herself says that her art must not be understood but must be perceived. On the occasion of the exhibition "I - The world revolves around me" organized by M.A.D.S. art gallery, the artist exhibits three works that best represent her particular and unique style. All three works are made of acrylic and mixed media, the artist in fact uses coffee and cigarette ash, all applied on canvas through the brush, hands and fingers. Kériiyada’s canvases convey a raw, primitive, intimate and unpremeditative reality. From a certain point of view the free and the raw style recalls the German expressionists, and in some ways especially the works of Egon Schiele. The nudity and gloom present in the work "Red room" are a clear example. The work represents the naked bust of a woman, whose face cannot be seen, the dark colors convey feelings of anxiety and anguish but at the same time the white brushstrokes give a sense of peace. Each brush stroke emphasizes the folds of the body, the inlets of the soul. Red in this case gives pain to the scene. Similar sensations are present in the work "Wrinkled souls”. Here the protagonists are two, their bodies are glimpsed between the flows of color coming from their faces without connotations. Probably the choice not to represent the faces is due to the artist’s intention to leave a kind of blank paper to the viewer who is so able to identify himself in the subjects, perceive their feelings. Compared to the previous work, here the black lines are more evident, the contours are marked but the brush stroke is unstable, wavy, communicating a feeling of uncertainty. The last work examined, "New home", is different from the previous ones. The pattern of the canvas is horizontal and the colors are brighter. Water green, red and orange dominate the canvas. Unlike the previous ones, here the artist gives space to the faces and its connotations. The emotions of the subjects are clearly perceptible: sadness, fatigue and pain. The subject on the left is probably crying. The second has the look lost in the void. The dripping technique is also present here, accentuating the feelings of sadness. Kériiyada’s art is deep and intimate. It digs into the soul of the spectators and leads them to reflection.

Art Curator Giorgia Massari


Kériiyada

New home


Kériiyada

Red room


Kériiyada

Wrinkled souls


Kerstin Kager

Kerstin Kager is an Austrian artist whose passion for art was born at a very young age. Kager's artistic production recalls the Abstract Expressionism of De Kooning and Asger Jorn. Kager's works of art are her expression of her most intimate self and her vision of the world. Kager is a guest, for the first time, at an exhibition organized by M.A.D.S. Art Gallery on the occasion of "I - The World Revolves around Me" in which she exhibits "Selfportrait in hommage to Frieda", a real celebration of Mexican artist Frida Kahlo, just like this artist Kager tells herself through art , the use of color and shapes give life to powerful communicative images, thanks to this the artist is able to reach the viewer by eliminating any unnecessary superstructure or detail. In "Selfportrait in hommage to Frieda" the use of colors recalls that of the Fauves, but at the same time they are used in a surreal way, for example the purple used for the hair and to represent the cat positioned on the subject's right shoulder. The brushstrokes are confident, decisive, without any hesitation, but still impulsive, reaching the point of transmitting the artist's deepest intimacy and her most visceral essence. The observer feels satisfied in observing this work of art as the celebration of Frida Kahlo arouses a sense of belonging for all lovers of art and the life of this avant-garde and fascinating artist, with this work Kager us tells about his way of seeing herself and Frida Kahlo and the passion for her art.

Art Curator Martina Viesti


Kerstin Kager

Selfportrait in hommage to Frieda


Kinga Malkus “Colors are the smiles of nature.” (Leigh Hunt)

Nature expresses itself through a unique language, it smiles at us showing us the colors that illuminate it. An abstract painting to represent a place according to an extremely personal and unprecedented vision. Kinga Malkus, contemporary artist based in the Netherlands, through “Portofino” wanted to pay homage to this characteristic Ligurian fishing village, one of a kind. In the blue sea where large boats float, the houses with pastel-coloured facades and the luxuriant nature are reflected. In the work created in 2020 with the acrylic on canvas technique, in fact, we see on the left blue brush strokes representing the sea, while on the right several spots of different shades that symbolize the houses around Piazza Martiri dell'Olivetta - known even simply as "piazzetta". For those who know Portofino, looking at Kinga's work, memories of those distant days come back to mind; those who have never been there let themselves be overwhelmed by the imagination by dreaming a small earthly paradise where peace and harmony reign. Kinga loves to travel and capture the essence of every place she visits: every emotion that involves her, every experience she lives is transformed into a work of art that represents her strong personality, which releases great energy and strength.

Art Curator Camilla Gilardi


Kinga Malkus

Portofino


Koh Chaik Hong

Koh Chaik Hong is photographer graduated from Nanyang Academy of Fine Arts in Singapore. The art of Koh Chaik Hong tears the veil of maya and shows us the true reality of things. It goes beyond the boundaries of photography, conceptually and aesthetically to make us see the world with different eyes. His main subject is nature and our relationship with it. "Dreamland" is a series of photographic sequences that question the way nature is seen by the viewer. In a world where cities are full of concrete and little green can only be seen in small parks, humans are no longer used to looking at nature, seeing its colors and shades. We are so busy that we do not notice the colors of the leaves that change in autumn or the flowers that bloom in spring. Kon captures with his photography the beauty of nature, always changing and never boring. In Dreamland # 01.1.1 we are faced with a beautiful autumn landscape. A wild, uncared-for landscape, in total contrast to the city's well-kept parks.


Koh Chaik Hong

The predominant colors are warm colors: orange and red. it is a landscape that immediately gives you great serenity. The same as being outdoors on a beautiful autumn day, with the sun warming your eyes and the damp smell of the woods filling your nostrils. Looking at this work makes you want to give up everything and immerse yourself in nature for a few days. Dreamland 02.20.1 reflects another beauty of nature: the winter one. The cold colors of pink and blue predominate. The landscape is bare and silent, nature rests and then blossoms in spring. But beauty is not only seen in large landscapes, even in small things. In colored flowers that come out of the asphalt in Dreamland # 01.4.2 and in a lush bush in # 01.7.1. Kon teaches us how to observe nature, to fall in love with its colors and to pay attention to even the smallest detail, because it can turn into something extraordinary.

Art Curator Lucrezia Perropane


Koh Chaik Hong

#01.1.1


Koh Chaik Hong

#02.20.1


Koh Chaik Hong

#01.4.2


Koh Chaik Hong

#01.7.1


Koto An art that goes directly into our contemporary world. The colors are extremely vivid and the chromatic palette is composed of essentially acid tones. The reference to pop imagery is therefore something extremely evident in Koto's work. Her art, the result of life lived in the 21st century, is dressed in the colors of screens and the digital world, borrowing the shades but also and above all the poses of those portrayed. There is a girl sitting cross-legged, there is a boy staring fixedly at the lens with one hand placed on his face to partially hide his gaze, there is a girl making a funny face. Yet, these images, although they can be traced back to the contemporary way of living the aesthetic experience, have something deeper, in some ways more ancient. In fact, the digital medium is shaped in such a way as to transform itself into other techniques. And so it is that in Meditation the stroke, essentially dry and hard, seems almost like dense acrylic color, stretched in an accentuated way on the support. If we look closely, the dry and scratching element also recalls the dry intervention of the pastel that illuminates the light parts of the composition. Yet, Koto's is digital art. In Float, however, the feeling is quite different. We are faced with an extremely soft and languid painting. The contour line is uncertain, ill-defined and, within it, the patches of color fade into each other without fear. Looking at Float is like watching magma bubbling up from the earth's surface. The shades are gradual, the color element is extremely balanced, everything is warm and slow. The color effect in this case, is reminiscent in every way of oil painting and its expressive depth. Those intense purples that fade into fuchsia and fiery red, that yellow-orange background and the young man's skin so diaphanous are all elements imbued with great chromatic malleability that only an instrument like oil can achieve. And so it is that Koto's art unites two worlds, two blocks of space-time extremely distant from each other. We are used to thinking about the present, to living in our frenetic contemporaneity and using the means it has developed, just as Koto does with digital art. And yet, the past is always there, watching over us like a memory, like an atavistic thought. The artist, therefore, although she uses a purely contemporary medium for the realization of the works, draws heavily from tradition to express and give a face to those depicted in her works. The boys and girls portrayed, although they present particularly captivating poses that can be traced back to a myriad of advertising photographs or even posts on social networks, have an ancient soul. Their flesh, their skin, their clothes as well as the backdrop in which they are immersed, testify to the evidence of a past that still lives, a past that is being transformed into the present and that helps the contemporary in the task of expressiveness.

Art Curator Lisa Galletti


Koto

Meditation


Koto

I am cute


Koto

Float


Larisa Sved Larisa Sved is a talented self-taught artist inspired by nature and the enchanting and overwhelming atmosphere of the Cayman Islands and Canada. Colour is the true energy of her creations. She uses vibrant, strong and overwhelming colours that have a strong visual impact on the viewer. The subjects are often flowers, plants and landscapes created with a realistic and intriguing technique. Flora and fauna come to life through her brushes and what she paints seems to come out of the canvas. The artist conveys positive emotions, joy and harmony. She searches for balance and peace in the forms she creates, both through colours and through contours and lines. Larisa paints directly with heart and soul, visibly transferring to a pictorial medium her feelings and the emotions that nature arouses in her. Art is a mirror for the artist's soul, which lets itself be overwhelmed by emotions, creating unique and overwhelming compositions. In "Blue Iris", a marvellous bright blue and vibrant flower emerges among the green blades of grass. The composition is designed so that the protagonist of the work is clearly visible in the centre. The juxtaposition of vertical lines is also interesting, giving movement and dynamism to the composition. The contrasting colours attract the viewer's attention, who is invited to capture all the details of the fragile but beautiful flower. This flower represents faith, hope and courage. It is a symbol of joy that opens up new horizons and perspectives. In "Charming Ranunculus for My Sister" the theme of the flower and nature returns, but the colours and the setting change. The ranunculus is painted a bright pink with soft, luminous colour gradations. The petals are bathed in light and positive feelings emerge everywhere. The subject is fascinating and extremely attractive, reminiscent of spring and appealing to man's five senses. It is as if its scent and the softness of its petals were perceptible even to those looking at the painting. With Larisa's creations, nature awakens, sending positive feelings and cheering people up, giving them a moment of serenity of peace. A break from the hectic world. These feelings are also evoked in the painting "The Star Flyer Tall Ship in Grand Cayman". In this work, the artist represents a landscape where nature is still the protagonist. The large boat in the centre is imposing but at the same time lost in the magnificence of the sea and sky. A majestic ship that rules the waters, moored in a small, rocky port. A poetic, emotional vision, where nature creates the perfect atmosphere and frames everything. The clouds are realistic, as are the details of the boat. Larisa is able to trap in twodimensional canvases, a three-dimensional perspective and real emotions. She gives the viewer unique visions, elusive details that deserve to be represented. As in a photograph, through brushes and colours, she traps an eternal, ethereal moment, destined to remain in the memory of people who will always remember it with joy and harmony in their hearts. Larisa is a very skilled, intuitive and realistic artist who is able to bring out the positive side of nature, which is as immense as it is fragile and delicate.

Art Curator Ilaria Falchetti


Larisa Sved

Blue Iris


Larisa Sved

The Star Flyer Tall Ship in Grand Cayman


Larisa Sved

Charming Ranunculus for My Sister


Laura Sieg

Laura Sieg is an artist and studies biology. She studies at the University of Duisburg-Essen and lives in the city of Essen in Germany. In her free time, she enjoys working on new works of art and practicing different artistic techniques. In her works she combines art with biology, in fact some of her works are inspired by human anatomy, the human body and its organs. Her artwork is titled "Fingerprint" and is her self-portrait. In this work it is difficult to identify the outlines because the lines are broken or continuous and often left open. In this way the concreteness of the body is dispersed to become intangible like the artistic soul of Laura Sieg. The lines are responses like fingerprints that outline the artist's identity. She begins to paint, her whole body gives itself to art, joins the work of art, becoming itself a work of art. In her art she is free to express herself and has no boundaries. Art gives her everything she needs and eventually the artwork becomes part of herself as she has become part of the artwork. Her paintings are impulsive as are her ideas. "Fingerprint" represents the hidden soul, the artist's passion for the particular, the ordered and the disordered, the introverted and the extrovert, the fine and the gross, all characteristics that determine the art of Laura Sieg. Her hand in front of her face represents her creative vein and hidden behind her her creative vein she feels free to be herself. The movements of the lines are like the waves of creative thought that move incessantly to leave the artist's mind through her hand.

Art Curator Martina Bassi


Laura Sieg

Fingerprint


Laure Sylla

If we consider the painting presented on the occasion of the international art exhibition “I” the world revolves around me. It's easy to discover the influences beyond the construction of the work. As the title communicates ‘fluting world’ the intention of the artist is that of creating a world coming from the imagination. The intention is not one to represent a place of reality but a fantasy space in which every element wants to represent allegorically something else. At the center of the composition, we can see a female figure that is portrayed in profile. What captures the attention of this figure? Firstly, instead of the face of the woman it seems to be realistic at the same time the shape that stands out on her head reminds the idea of a cloud as if the artist wants to represent her thoughts. With this formal choice the artist wants the protagonist of the painting to say: <<There are many thoughts in my mind>>. Another element that stands out in the composition is a particular shape put in the foreground. Maybe it could represent a jellyfish. In fact if we consider the meaning of this symbol, it can be said that in Greek mythology it represents the role of the guardian or a protector. The intention to put this image near the female figure maybe can remind the idea of a protection toward her. This kind of technique comes from the surrealist language in which the form and the shapes are used to communicate an exact meaning and do not want to represent. It is also this process a way to describe the world around us, and the way to feel and understand this world. As if the artist wants to tell us about a dream that she has in which she has seen a lot of elements that come from her reality. Watching Laure Sylla’s painting is like listening to a voice that seems to tell us: << That is what I have seen during sleep and maybe for me this is the real world around me>>.

Art Elisabetta Eliotropio


Laure Sylla

Floating world paiting


Lawrence Robert Armstrong

Lawrence Robert Armstrong presents “VyolBhelBhel 2.0”, “GhelGeolureadGhreBhel” and “GhreBhelYnde 2.1” for the “I, The world revolves around ME” Art exhibition at M.A.D.S. Art gallery. “A painted surface is a real, living form.” Kazimir Severinovich Malevich, liberated art from the representational world in order to pursue its essence. “To seek the supremacy of pure feeling”, was imperative to undertake the task of starting from zero. To avoid embellishments and prudence, to follow boldness and enlightenment. Each artwork presented by L.R. Armstrong depicts a starting point, a zero point from which colors are built carefully to reflect its supremacy over influential objects meant to distract clear objectives. The first artwork relies on harmonic feelings, while the second artwork carries the responsibility to showcase warm tones as a moment of tranquility, which leads the way to the strength of “GhreBhelYnde 2.1”. If L.R. Armstrong pursues the boldness of his truth, can we be distracted by how we feel towards his artworks or can we really perceive what the artist meant? To seek supremacy is to perceive a sublime quality, just like I. Kant stated? If the world revolves around these three artworks, are we able to isolate its truth and understand the zero point to avoid the representation of an object? “VyolBhelBhel 2.0”, “GhelGeolureadGhreBhel” and “GhreBhelYnde 2.1” abstract sublime doubts and sensations to hold the beholder’s truth.

Art Curator Karla Peralta Málaga


Lawrence Robert Armstrong

VyolBhelBhel 2.0


Lawrence Robert Armstrong

GhelGeolureadGhreBhel


Lawrence Robert Armstrong

GhreBhelYnde 2.1


Leah Jayne "The human body is the best picture of the human soul.” (Ludwig Wittgenstein)

Two naked bodies intertwine to themselves as if they become one in an intimate and sinuous emotional dance. Their bodily movements are free and spontaneous, light and heavy at the same time just like their facial expressions convey contentment, ease and concern. The two bodies poetically fold and unfold in each other like the petals of a flower do, opening their hearts and emotions before each other. It is “Fold” by English figurative artist Leah Jayne; “Fold is a painting I made after seeing the pose, and instantly related to the weakness and strength within the models positions”, she says. The expressiveness of our body goes beyond our perception and creates, together with our emotions, a world made of two connected dimensions: when our emotions speak, our body reacts silently. By looking at the painting from a frontal perspective, it is possible to fully grasp the extraordinary articulated compositional structures of the painting which recalls the well-known sculpture “Psyche Revived by Cupid's Kiss” by Antonio Canova to a certain extent. In both works, the two bodies intersect in a sinuous ‘X’ that almost hovers in space. However, if the sculpture is the realisation of pure love according to Apuleius’ myth, Leah’s painting powerfully whispers contrasting emotions to the viewer: the two bodies are as strong as they are weak, they rely on each other as they carry a solitary burden. Two sides of the same coin, two opposites that are inevitably connected to each other and “which balance each other out”, the artist explains. Here, balance and expressiveness coexist in a skilful play of lines, colours and bodily movements through which Leah tries to grasp the vitality, the communication of emotions and the sensation of a continuous becoming that is never the same.

Art Curator Martina Lattuca


Leah Jayne

Fold


Lena Augustinson

Lena Augustinson is a Swedish artist whose artistic production focuses on abstract expressionism. Lena is again a guest at an exhibition organized by M.A.D.S. Art Gallery on the occasion of "I-The World Revolves around Me" in which she exhibits five works of art with a Dante atmosphere, intense and calm. "Release me" is a work developed with a visceral intention of primordial expression, the use of color is deep, pressing and determined. In the other four works, green and blue are the dominant colors, but the techniques used are different from each other. "The meeting on the mountain" is a work that seems to represent a rural landscape, on the border between the arid and the glacial, a landscape that under these terms appears surreal. "Blue landscape" expresses calm and tranquility, the large amount of blue interspersed with shades of yellow, gray and green, transmits a sense of silent peace to the audience. You seem to observe a snowflake under a microscope, with all the veins of the ice and the reflected light that creates rainbows of colors. In "Just Abstract" the artist's aesthetic taste finds maximum expression, with a color field painting technique, the different shades of green accompanied by gold give great elegance to the work. "Waves" seems to be the most impulsive of the works on display, the central colors are always the same, but the sense of calm, in this case, is lacking, due to a greater sense of agitation due to the movement provided by the various black lines.

Art Curator Martina Viesti


Lena Augustinson

Release me


Lena Augustinson

The meeting on the mountain


Lena Augustinson

Blue landscape


Lena Augustinson

Just Abstract


Lena Augustinson

Waves


Lenor Bingham “I like this place and could willingly waste my time in it.” (William Shakespeare)

The colour spreads raw on the canvases by Lenor Bingham, a contemporary American artist, and blending with meticulous details, contributes to describing subjects with a female physiognomy. Thin lines of ink fill the colour fields, helping to define almost fairy-tale imagery. From the outset, the link with nature proved fundamental in her artistic research, so strongly influenced by the passing of time. Indeed, both the choice of colours and the settings constantly vary according to the cyclical nature of the seasons. Even the plants represented in her pieces take on different forms and consistencies. An interesting example of this can be found in the artworks presented at M.A.D.S. Art Gallery on the occasion of the exhibition "I" The world revolves around ME. In the work entitled "Winter Solstice", the subject is wrapped in cold colours and the vegetation seems to be drier, unlike "Swan Dive" or "So What", which were most probably created during the warm seasons. The constant presence of the female figure further contributes to the definition of this link, which has always been characterized by the relationship with Mother Nature. The rough texture that appears to the eye invites the viewer into physical contact with the work of art. A sudden need to know the material from which it is made and reconnect with the origin. The link with nature is so deep that it involves the observer, who now feels a fundamental part of something greater. The same stylistic choice, decidedly influenced by the European Expressionism of the first two decades of the 20th century, contributes to creating strong emotions in the observer, initiating a dialogue that is as silent as it is powerful.

Art Curator Francesca Brunello


Lenor Bingham

So What


Lenor Bingham

Swan Dive


Lenor Bingham

Winter solstice


Léonce Lemmens “True happiness comes from the joy of deeds well done, the zest of creating things new.” (Antoine de Saint-Exupéry) Art as a faithful companion; art as a haven of safety in which to take refuge; art as a tool through which to express one's emotions. Art means being yourself. The contemporary Dutch artist Léonce Lemmens had a complex relationship with painting during her life, but, despite this, she always reserved a special corner in her heart for it. A trip meant a great turning point for Léonce: while she was in the Gobi Desert, a light came on inside her and from that moment abstract art became a fundamental part of her everyday life. People, events, landscapes are the source of inspiration during the creative process that leads to the creation of works of profound meaning. INTO ANOTHER WORLD was created in 2021 with a mixed media technique - acrylic and oil on canvas. Several layers overlap, creating a play of levels and color contrasts. Black and white intertwine with a warm color like yellow and a cold color like pink giving rise to a curious effect. The title invites the viewers to immerse themselves completely in the work and travel with their mind to another world. How do you imagine it? What is fantasy for if not to escape from the sometimes-oppressive reality, travel to unexplored places and experience new sensations? Observing the works means talking to the artist, but also getting to know yourself better. Open your eyes, heart and mind and get involved in the flow of thoughts and emotions. Léonce creates art because she feels the need, Léonce creates art because she knows that many of us need it.

Art Curator Camilla Gilardi


Léonce Lemmens

INTO ANOTHER WORLD


Lika Ramati

Lika Ramati, permanent artist at M.A.D.S. Art Gallery, interpreted the concept of the exhibition to the letter, maintaining her unmistakable style. The works exhibited in “I - The world revolves around ME” have a constant, the artist decided to use her own image for all the figurations. What immediately catches the eye is that each piece has a predominant shades that connects to the emotion that the artist wants to bring out. “Blue”—title derived from the dominant color of the work —in the most common use this color is associated with an emotional state of sadness and discomfort, normally is a feeling that you want to hide and cancel, the artist herself tries to hide it by putting a see-through veil that descends on her face, her gaze seeks comfort from the people near her. On the same line there is also “Layla”, here the artist uses black and white, the opposites color, which provide to the subject, a more austere air, nobility, elegance, preciousness, also underlined by the use of a cameo pin placed on the head covering worn by the woman, leading us to contemplate the image of a figure from another era. In opposition instead we find “Golden Goddess” as deductible from the title the gold predominates the composition, the subject is represented as in an antique mosaic, the figure is completely covered by precious clothes and jewels, just as in ancient times it was used to do for important characters, here the artist brings out her strong and confident character, seeing herself as a deity to be venerated. “Lucy in the Sky with Diamonds” highlights the euphoria of the artist, inside we find not only the subject, on the right end, who is in peace and happy, but other elements, which articulate the composition in a precise rhythm, that guide us to know and discover more of her personality, connecting her spirituality with her discipline, in a perfect balance. In “Self Portrait” the artist represent herself in a compositional structure different from those analyzed so far, but maintaining a stylistic continuity, she uses freehand drawing of irregular and sinuous lines that starting from the end of the compositional space go to join the center giving shape to the face of the artist, in a proud and glorious attitude, highlighted by the jewels that she wears.

Art Curator Alessia Procopio


Lika Ramati

Blue


Lika Ramati

Golden Goddess


Lika Ramati

Layla


Lika Ramati

Lucy in the Sky with Diamonds


Lika Ramati

Self Portrait


Luana Boric Jagodic Luana Boric Jagodic is a very young artist from Slovenian. She is currently six years old, but she starts painting at the tender age of 2 years. Her parents admire her ability to deal with problems and emotions through art. Art is for her a safe place to take refuge and have fun. The innocence and delicacy with which Luana paints can only be typical of a child. Her pictorial ability is evident from the painting entitled "The cure" exhibited at M.A.D.S. Art Gallery during the exhibition "I - the world revolves around me". The work is made of oil on canvas, a difficult technique that already denotes the incredible talent of the prodigy artist. The work represents a vase of white flowers resting on a table, typical academic work of still life. Luana, however, gives her style and already at the tender age of 6 years it is possible to recognize some pictorial influence, probably influenced by the images she sees during her course of painting. "The Sunflowers" by Van Gogh on the one hand and on the other the lightness of the impressionist artists who, just like Luana, let themselves be carried away by the immediacy. The dark colors of the background contribute to enhance the subject: a transparent vase that beautifully reflects the light and four white flowers that symbolize purity. An interesting detail are the two dried flowers, deposited on the table, they are made in a faster way, almost neglected, underlining in a sense the difference between life and death. Luana Boric Jagodic is in love with art and she’s with her. She is an artist to bet on, whose audience expects to see where the growth and her evolution will take it.

Art Curator Giorgia Massari


Luana Boric Jagodic

The cure


Luba Koleva-Nenova

A close look into nature, a declared and delicate love, respectful of the immense value that it is. A strong sense of gratitude emerges from the works of Luba Koleva-Nenova. This is a punctual reflection on the contemporary time we are living in. An aesthetic invitation to be grateful just for the opportunity of being alive, feet on earth, a celebration of the highest of emotions. The public is encouraged to get in touch with their character of joyful beings in their innate environment. Nature as a ready made beauty to be admired, internalized and presented to the world in different forms. The artist chooses the pictorial language to give her own interpretation of the plant world around us. Painting, mother of representative techniques and the first form of imitation of nature, is thus consciously honored with its own history and honored by the task of flattering. The joy of being in the world seems to be the only possible way in front of this painting which, through a zoom in and the mere observation of a texture, brings back nothing but light. The result is a simple but profound investigation about existing as part of a life cycle that first of all belongs to nature itself. Everyone has talked about nature and its effectiveness in arousing the human soul. Among the many minds Henry David Thoreau in the wild nature identifies man's path towards the recovery of morality and the sense of limitation as it was intended by the Greeks. Awareness of the limit, evolved in an ecological sense, is an indispensable knowledge to maintain the order of the world, which is beauty. And it is about beauty that art is all about.

“Live in each season as it passes; breathe the air, drink the drink, taste the fruit, and resign yourself to the influence of the earth.” (Henry David Thoreau) Art Curator Federica D'Avanzo


Luba Koleva-Nenova

The crossroads of dreams


Luisa María Lasso Palacios "Little but great moment" (Luisa María Lasso Palacios)

Luisa María Lasso Palacios is a Colombian artist with a strong creative ability in reinventing artistic images and concept taking them outside their natural borders, in order to experience art at 360 degrees. In her artistic experience, she takes a participatory role through art in ethical and environmental responsibility in order to build a better country for a better world, in a context of creative coexistence. Before studying Visual Arts at university, while spent years studying chemical engineering, she came into contact with the micro world, made up of substances, particles and reactions. Immediately, she was fascinated by these micro cosmoses and the unique colors of these small realities. On the occasion of the exhibition "I - The world revolves around me", held by M.A.D.S. Art Gallery, she proposes a microscopic painting. From the moment in which they are mini artworks, these, for the surrounding environment, change in a few moments. The process of making these microscopic paintings requires many hours of work, not only in their execution, but also in the moment of capturing the image, given the impermanence of the subject. As a whole, the charm of the image is to conceal a microcosm, made of fluidity and compactness, where the main shades, ocher and shades of blue, give conformity and serenity to the work that recalls a small precious world. What we see is not just a representation of a mini painting, of something visual, but it is the capture of an exact moment. Luisa María Lasso Palacios manages to let us enter her fascinating world, making us discover the beauty of little things and showing her ability to capture time, to catch a little but great moment.

Art Curator Angela Papa


Luisa María Lasso Palacios

Untitled


Lujaina Abdelmohsen

Lujaina Abdelmohsen is an Egyptian artist and architect, whose expressive form is identifiable in abstract art, especially in abstract expressionism. The technical and stylistic modalities of Lujaina Abdelmohsen's works express a constant search for oneself, for one's own truth and the clarification of one's feelings. The artist is a guest, for the first time, at an exhibition organized by M.A.D.S. Art Gallery on the occasion of "I-The World Revolves around Me" in which she exhibits "wildfire", a work of art whose communicative and evocative impact reaches the soul of the beholder. It is a real research, verification and self-expression, wanting to quote the debate started in 1948 by the magazine "Life" on modern art, a research that culminates in expressing, through art, one's feelings, doubts , fears in an impulsive way, eliminating any decision in advance to the creation of the work. The protagonist color of this work is red, an extremely bright and bright red, accompanied by small strokes of white and black, which can be interpreted as darkness and light. The wild fire represented by Abdelmohsen is transmitted by the very use of color which is applied in a powerful, decisive and direct way, resulting in a concrete and strong way. Lujaina Abdelmohsen reaches deeply those who have the opportunity to look at her work, she does so by expressing herself in a pure and safe way.

Art Curator Martina Viesti


Lujaina Abdelmohsen

wildfire


Lydia E. Koutoulea "I wish to express my feeling of oppression and to help -through my art- decrease or even eliminate the objectification of the female body and the female energy.” (Lydia E. Koutoulea) Lydia E. Koutoulea, a Greek artist, uses her artistic talent and expresses her creative soul to fight against a social phenomenon which has the women and her bodies as its victims. As the artist herself says “Let’s us day by day, with every little red stroke establish a ground of respect and worship towards women. Let’s accept the natural beauty of them as we would do with a great sunset”. She creates a colourful and conceptual technique using the sunset colours for painting “Wildfire”. This artwork represents the upper part of a naked feminine body. The pose of the mysterious woman whose face is not seen is calm and composed, the arm rests harmoniously behind the back and she keeps her back straight, proud, and courageous. The artist represents not only the beautiful body that wants to be admired by the whole world and that must be looked with respect and not objectified or denigrated. She uses those colours to represent the ardent and passionate soul of a fighter, who never surrenders, driven by the fire inside.She’s not afraid, she’s not ashamed, she’s not threatened by anyone. She’s proud of who she is and how she’s made. Lydia E. Koutoulea uses her art not only to express her identity and her creativity: she uses it to represent an ideal and to call every human creature to face without fear a social phenomenon that has claimed many victims and that is often still minimized. Lydia uses her art with courage and passion for human freedom and justice.

Art Curator Sara Giannini


Lydia E. Koutoulea

Wildfire


M Restless "The principles of true art is not to portray, but to evoke." (Jerzy Kosinski)

M Restless creates street-influenced artwork by introducing lettering and pictorial elements that enrich and colour the streets and suburbs of cities. Assigned to the female sex at birth, they are nonbinary, genderfluid. They lets themself be inspired by everything, they are never banal or obvious. Curious and enraptured by the flow of things, they allow themselves to be fascinated by reality, putting into practice an art that mixes the past with the present. They resort to schemes already seen and analysed in previous artistic currents and make them their own. Loss is a constant theme in their artistic process which they rework in a pragmatic and evocative way. Their art is exuberant, intriguing and enveloping. In "I Am Going To Put The Light Back In My Eyes", two stylised, wide-open, curious eyes take up space against a colourful background. They are framed by two lighter elements that contrast with the yellow-green, red and blue. A small light, like a shooting star, is imprinted on the eyes, as if to give hope, the desire to assert oneself, the need not to give up in the face of obstacles. The title is written at the top, like a motto, a reminder. An overwhelming artwork, a manifesto of being where the artist gathers their will for a brighter future. In "I Used To Pray To Make It Stop" a harmonious chaos pours onto the canvas. M Restless uses different techniques in their artistic process and this allows them to give a varied, exciting effect. Spray paint gives a realistic, raw feeling that contrasts with the use of acrylic. The artwork has a contemporary feel, but at the same time draws on the past. The words of the title occupy the entire vertical extension of the canvas and the traces of colour try to erase them, to overlap. It is a multi-layered painting, a harmonious chaos in which colours and colour traces play a decisive role. In "Second Grade", M Restless also uses the graffiti technique with water-based spray paint. This work is more straightforward, with few colours other than the white of the background, which makes the black of the words stand out, and a yellow trail which makes room for dynamism and movement. It strikes the viewer who cannot escape the expressive power of this canvas. The colour is not confusing and the writing is clearly visible, forever imprinted. M Restless proves to be a skilled contemporary artist with a strong and evident communicative power. They expresses creativity through the alternation of spray paint, acrylics and airbrush. In their artworks they pours the continuous flow of their thoughts in a direct way, without shame or fear. They are bold, energetic and overwhelming.

Art Curator Ilaria Falchetti


M Restless

I Used To Pray To Make It Stop


M Restless

Second Grade


M Restless

I Am Going To Put The Light Back In My Eyes


Maja Petrović

Maja Petrović is a Serbian artist, graduated from the faculty of philosophy - psychology in Belgrade, her artistic expression lies in expressing an inner and unique world, devoid of any external disturbance. “Maja’s paintings are inspired by the ever changing world we live in and in creating her artwork she combines both of her passions – art and psychology.” The works of art exhibited by Petrović, on the occasion of "I - THE WORLD REVOLVES AROUND ME" evoke the expressiveness of color typical of the avant-gardes of the early twentieth century. Stuart Davis' American Abstractionism is just one of the various influences found in Maja Petrović's five works of art, the link with Arshile Gorky's Abstract Expressionism and her work "Garden in Sochi" is also powerful. There is also an evident reference to Jackson Pollock's Action Painting, especially in relation to the work "The Influence". The works of Maja Petrović combine shapes and colors, thanks to which the artist is able to tell stories, visions of the world, the artist's sensitivity allows her to grasp the essence of a message and transmit it in a direct and unique way on the canvas by eliminating the disturbing elements that can arise through language. Petrović makes her art the very vehicle of communication, each theme object of artistic expression is internalized and embraced by the artist who transmits it to the viewer in a credible and sincere way. Each unique color line leads the viewer's soul to look inside, more and more deeply trying to find reality and truth with respect to the questions that arise.

Art Curator Martina Viesti


Maja Petrović

Come Over


Maja Petrović

The Birth of Love


Maja Petrović

The Influence


Maja Petrović

The Intelligence


Maja Petrović

The Metarmorphose


Maria Evseeva Maria Evseeva is able to give the viewer unique emotions. Her creations have an intrinsic, evocative and meditative power. The colours she uses are therapeutic, good for the soul. As are the shapes and contours that he traces on the canvas in a sinuous and harmonious manner. Everything in her paintings contributes to creating a positive atmosphere of rest for the mind and spirit. Maria often uses the contrast between the immersive and mysterious tones of blue and the brightness of oranges and yellows. A perfect balance, a journey into the spirit and heart of the viewer. Mara's concept and intimate relationship with art is perfectly reflected in her work "Bajo el sol". Here, an imaginary and abstract landscape is painted where the movement is given by the lines drawn in a vertical direction in contrast to the softer and more rounded contours of the lower part. The colours are applied in an almost musical, melodic and gentle rhythm. They blend together but maintain their own identity and continuity. The circular element often recurs, a symbol of perfection, harmony and union, which here takes the form of a bright sun disappearing into the spectacular sunset of a clear day. Light is the key to understanding the artwork, as it is also in "Sin titulo". Here the luminous circular element seems like a vortex sucking in all the negative energies, purifying them. Maria channels her strength into those few centimetres of light and pours it onto the canvas. The soft lines, the variegated and brilliant colours alternate in luminous games. The artist's gestural expressiveness and her skill in handling the painting technique is evident. More complex and convoluted is the work "Feminine and masculine. Origin', where two different but complementary worlds come together and find peace and harmony. The origin of everything is described by Maria in a magical and ethereal way. The lines intermingle, creating a continuous vortex capable of bewitching the viewer. Another colour, in addition to the usual blue and orange, enters the artist's palette: green. Green is the colour of hope, rebirth and continuity. Two luminous centres enclosed in chromatically different spirals that meet and interact to give life to something new. Maria proves to be a creative artist, with a style that makes her recognisable and unique characteristics that make her art a unique and wonderful phenomenon.

Art Curator Ilaria Falchetti


Maria Evseeva

Bajo el Sol


Maria Evseeva

Feminine and Masculine. Origin


Maria Evseeva

Sin Titulo


Maria Grimstad Tollefsen

Maria Grimstad Tollefsen's art is conditioned by her life experiences. Her travels have been fundamental to the development of her art. Relating to different cultures and people has changed the way she relate to her life, appreciating the little moments and trying not to be disheartened by adversity. The artist transmits these feelings in her paintings: in her art we can read joy and lightness. Maria lets herself be carried away by the inspiration of the moment, without trapping her art in an artistic current. Abstract motifs mix with geometric figures and bright colors."From glory to glory is the representation in our journey. It portrays a city landscape seen from above, which dissolves to the right. The artist wants to convey the uncertainty of the future and the concreteness of the present. Nobody knows their destiny, for be fully happy, we have to appreciate the little moments without worrying about what will happen. Not always we manage to focus on the beautiful things. In "Puzzled" we can see a blindfolded female face, a symbol of the sorrows that make us blind. Sometimes we tend to see everything negatively and can't find a way out. The artist wants to remind us that everything happens for a reason and that things will work out themselves. "Warrior" is the representation of our inner strength. The figure cuts itself mightily in the center of the canvas, transmitting feelings of power and courage. it is a painting that inspires the viewer not to give up in the adversity, because he has the power to transform things. Maria Grimstad Tollefsen teaches us to see ourselves and the world. She does it with the serenity of someone who has understood the secret of living happily and she wants to pass it on to the world.

Art Curator Lucrezia Perropane


Maria Grimstad Tollefsen

From glory to glory


Maria Grimstad Tollefsen

Puzzled


Maria Grimstad Tollefsen

Warrior


Marielle Orr “People like us, who believe in physics, know that the distinction between past, present, and future is only a stubbornly persistent illusion.” (Albert Einstein)

Marielle Orr is an Ontario artist, she expresses herself with painting and sculpture. Precisely in the mix of these two languages Orr manages to accomplish the artistic feat, the direct dialogue with the viewer comes with the strong feeling of mixing his own past and present history, the impossible becomes possible overcoming time as we know it. The hazy images immersed in the fog give back an image of disorientation, the past and the present can meet in the painting crossing these clouds and these seas. Meeting and friction points translate in lines and colors the impure act of coexistence of the two distant moments of life. Splits arise from these points. Light passes through these cracks and marks the boundary between abstract emotional space and the more prominent figures that seem to refer to some misunderstood but possible presences. An internal perspective from inside a cave, a look that retracts admiring and contemplating the serene. A place that can only be visited in this dimension of art. As light and earthy as life, this body of work intends to connect the public to emotional past experiences while transporting them to a new space. A non-place, built by the magical gesture of an artist, a dreamlike world that welcomes the traveler, like a village inn, where some refreshment can be found. Faced with these works of art, the eye follows natural hope. A nice feeling of a never-ending story to be lived and handed down.

Art Curator Erika Gravante


Marielle Orr

Sea of Dreams P1


Marielle Orr

Oceans Between Us P2


Marielle Orr

A Break in the Clouds P3


Mariola Wroblewski “I paint objects as I think them, not as I see them.” (Pablo Picasso)

Mariola Wroblewski is an artist with a colourful and luminous soul. Her artworks speaks for itself. They are a riot of colourful hues that together create overwhelming contrasts and gentle interlockings. The pigment is left free to wander in space, without limits. Mariola's technique is spontaneous, instinctive and energetic. Different impulses, including cultural ones, emerge in her paintings. They contain landscapes, scents and colours from many places in the world, which are harmoniously mixed together here. Thousands of images and fragments of different places are mixed with Mariola's creative taste and unmistakable artistry. The results the artist achieves are unpredictable; she lets the pigment outline the contours of her art. The artist completely frees herself of all emotion and lets the colours speak for her. The liquid pour of colour is mixed with gold leaf, creating an extremely interesting and unique mix of textures. In "Hydra with mask: tausend thoughts" abstract elements are mixed with a vague outline of a human head seen in profile. Mariola is intent on making tangible that chaos of thoughts that colours and mixes in our heads every day. Fears, anxieties, doubts and joys are realised here in the form of tangible elements. The contrasting effect of the multicoloured head and the background painted in neutral colours is interesting. In "Pure Imagination", abstract emotions are transformed into splendid multicoloured patches that mingle as if to create a landscape of the mind. White draws contours, gives light and movement. The pigment is so fluid that it gives the idea of dynamism. The colours mix, meet, clash and sometimes cancel each other out. A joyful dance in which Mariola unleashes all her emotions. In "Octopus and red Planet", the artist unleashes her energy once again. She moves away completely from the figurative style evoked by the title and towards an abstract dimension. Strong, bright colours prevail. The choice of using both black and white to outline shapes and give form to elements is evocative and decisive. The colour explodes, creates unexpected combinations but is at the same time controlled by the expressive power of black. Mariola's art is spontaneous. It invites the viewer to step outside the limits of reality and take new paths. The colour combinations she creates instil positive feelings, giving charge and hope even in artworks with more reflective and profound meanings. The emotions aroused by these canvases are perceptible. The artist's communicative and expressive power is astonishing.

Art Curator Ilaria Falchetti


Mariola Wroblewski

Pure Imagination


Mariola Wroblewski

Hydra with Mask : tausend thoughts


Mariola Wroblewski

Octopus and red Planet


Mark Celentano also known as Celentano O to be a dragon, a symbol of the power of Heaven - of silkworm size or immense; at times invisible. (Marianne Moore) Mark Celentano, also known as Celentano, is a multi media freehand artist originally from Chicago. He has always grown up surrounded by art and has taken his first creative steps since he was very young. His great sensitivity makes him consider art as something that can improve human existence, that can be of comfort for each individual, that can bring beauty and additional value during the days of one's life. What most inspires his artistic production, in fact, are the surrounding world and the people who characterize it, in a constant attempt to provide inspiration, fill and soothe their spirits. The art of Mark Celentano is very often made first by hand and then digitalized, as is the case of I Dragon Lord, a work that represents in its explosion of colors, the strength that resides within the heart and soul of every human being. The dragon has always been a symbol that combines danger with wisdom, evil with good, what is divine with what is infernal, what scares with what instead gives reassurance and power: a series of dualisms that are an inevitable peculiarities of the world itself. The dragon is the final test, the extreme fatigue, the apparently insurmountable obstacle that each of us must face in order to arrive at true knowledge and / or salvation of the soul. The chaotic and "decomposed" style of the artist, who skilfully combines cold and warm tones in a harmonious way, makes the work appear as a sort of ecstatic vision, the result of an inner mystical experience and which therefore cannot have defined outlines, nor recognizable figures, but which must be the pure expression of a marriage between sensations. Mark Celentano is the artist of everyone and for everyone, who, like a contemporary knight, uses art to make the world a better place.

Art Curator Chiara Isella


Mark Celentano also known as Celentano

I Dragon Lord


Marta Solaz Marta Solaz is an artist born in Barcelona, Spain, and living in Los Angeles. She made art her life, in many different ways: she’s an artist, a singer and an actress, bringing all this knowledge and creativity into her passion for painting. Her creations are inspired by a spiritual research of herself in philosophies such as Taoism or shamanism. So her art focuses on the meaning of the human being’s role and where he belongs, together with all the creatures of this world and its events. In the paintings "Into my Point of View" and "Into The Flower" we see a woman from behind that stretches an arc. In both, she looks far in the distance and that’s where her mind is, with her wishes, passions and worries. The colour is very important in those paintings: it gives power to the scene and determination to the figures, it’s vibrant and strong. The third marvellous and emotional work titled "Walking Tree" is a metaphor of the union between man and nature: a lonely woman walks in a desert landscape bringing a tree with her. It seems that the roots are growing at her passage, whereas her body replaces the trunk of the tree that, thanks to her feet, becomes able to walk. We can see a writing near the woman's feet: 'we are walking trees' that reinforces this concept of union with the nature that surrounds us. The delicate shades of the colours move on the canvas giving solid balance to the composition. So, in these artworks, the strength of her subjects are caught with a pictorial technique that never subjugates to the rules, but it sticks to the expressive needs of a refined artist.

"All things arise in unison. Thereby we see their return" (Lao Tzu)

Art Curator Federica Acciarino


Marta Solaz

Into my Point of View


Marta Solaz

Into The Flower


Marta Solaz

Walking Tree


Masaki Hirokawa Masaki Hirokawa is a Japanese artist whose wide range of activities includes graphic design, smartphone app development, interactive movie production and website development. At “I: The world revolves around me” exhibition hosted by M.A.D.S. Art Gallery, Masaki presents five photo collages. “Archon” represents a woman with an animal's head who, with an intense and hypnotic gaze, looks straight at us, transmitting all her strength and authority. As with all Masaki's works, this collage is a profound reflection on the reality that surrounds us: in the midst of a chaotic world situation, the role of nations, organizations and traditions is in fact being questioned anew. There are those who have lost their faith in the world and believe only in a god of their own creation. They worship and love their idols and feel closer to them than to their family and friends. Knowing that their faith is false, they cling to it and continue to love it, and eventually it will materialize into an idol and give them a soul. It may be said that this is one of the forms of human evolution. “Forgotten Sky” represents a human face of a little girl whose eyes, however, we do not see: in fact they are covered by a dense cloud that flies in front of her, preventing us from seeing her face totally. This work also intends to make us reflect on the fact that today’s children can only read the emotions of others through a mask. They try to communicate based on what they feel when they look into the eyes of the other person, and the feeling that comes from the other person's entire body. This work was created with the hope that we will soon be able to see the smiling faces of children under a blue sky, knowing that the blue sky is probably already a memory. "Narcissism" represents the human suffering that is hidden in love relationships: the other person is in fact a mirror of oneself and the feelings that we have for others are the feelings that they have for us, and we unconsciously and sensitively sense them. Loving others is therefore a variant of self-love and in order to love others, we must first love ourselves and forgive ourselves for our inability to love. This involves human suffering, and the suffering that lies behind this fierce desire is the gift that has been given to all beings. "Reclining Buddha" represents two human faces that mix to create only one, with silver details that pierce its features. For last, “Uriel” was created as a prayer for a world of tranquility to come to people. The world is about to be reborn, changing its shape drastically, and in this violent swell, various cultures, commerce, distribution, and many irreplaceable lives have been lost. What we can feel from this work is sorrow, prayer, compassion, and hope.

Art Curator Matilde Della Pina


Masaki Hirokawa

Archon


Masaki Hirokawa

Forgotten Sky


Masaki Hirokawa

Narcissism


Masaki Hirokawa

Reclining Buddha


Masaki Hirokawa

Uriel


Massimiliano Sciuccati "In art, as in love, instinct is enough." (Anatole France)

The woman is at the center of the artistic poetics of Massimiliano Sciuccati, an eclectic artist, capable of giving life to works of art with an expressionist flavor, populated by female figures with a truly powerful expressive charge. What is striking is, at first glance, the vastness of the colors used, their strength in concretizing the artist's thought: each color aims to outline a portion of the female figure, exalting it, while at the same time trying to make explicit the personal message of the artist. Thanks to a skilful use of energetic colors, Sciuccati's works transcend reality to focus attention on an inner world populated by emotions and torments. These precise emotions are not studied at the table, as each work is the result of the artist's creative moment, who indulges in creations that follow instinct rather than reasoning. A pictorial philosophy centered on the representation of a personal vision of the world within which the woman assumes the role of revealing the truth.

Art Curator Federica Schneck


Massimiliano Sciuccati

Devil in my venus


Mia Hager

The young German artist, Mia Hager, demonstrates full mastery of pictorial art both conceptually and practically. Her art is not simply abstract, but it is part of that pure abstractism to which Vasilij Kandinskij gradually came in the course of his life and which consists of the total abolition of the recognizability of external objects. Mia Hager makes art free, not a copy of something external, but pure, wild painting. She visualizes with geometric shapes, lines and colors the complex of feelings that agitates within her, acting psychologically on the unconscious of the spectator through his eye. In the work under examination, “Untitled”, she chooses to use different shades of red and green that balance each other to perfection since red is synonymous with burning, and green, instead, invites to calm. But what most demonstrates the artist’s ability is the use of different materials and her way - wonderfully tactile in the "drops" represented centrally - to spread them. Around these "drops", the red expands like a halo and then slides down without a predetermined path. This sinuous and unpredictable movement gives the work that necessary touch of tension capable of making the entire composition alive and dynamic. “I like to believe that art can be a sanctuary for both, the creator and the beholder.” says the artist, and in fact one of the beautiful characteristics of art, which Mia Hager has perfectly understood, is precisely that of being able to estrange people: in the works of the German artist, art is understood as a safe place, a place to escape from the stress of everyday life. Anyone who stops to observe the works of Mia Hager can find relief in them, regardless of their origin, cultural background and age: her art is enchants anyone.

Art Curator Francesca Catarinicchia


Mia Hager

Untitled


Michael J Stokely "Life is a huge canvas: pour all the colours you can on it" (Danny Kaye)

Michael's entire artistic work, the protagonists are the colours that come to life and move within the space and sometimes emerge from it invading the surrounding space. In fact, the artist's works are extremely vivid and lively. Michael has the ability to surprise, he is able to create works that collide with the soul of the one who observes them. The viewer is totally captured by the splashes of colour, by the movements they create, by the lines that like scratches are thrown on the works, decisive lines that end their path outside the works. Michael's artistic work is changeable, sometimes the splashes of colour are still and motionless, nothing and no one would be able to move them, other times they seem in constant motion, they break through the boundaries of the work and seem to run towards infinity space. Somehow the observer is called to fantasize and fly beyond borders, taking a journey into dreams and imagination. All the entire artistic work of Michael is of great visual impact, a true concentration of sensations mixed with colors and thoughts, the viewer's attention is reminiscent of the colours that sometimes meet and collide, with completely different shades and other times they seem to accompany each other, as if they were taking each other gently by the hand. If colour is the main element of the works, in the same way a co-protagonist is emotion, in fact every work transmits emotions, each one different from the other. Michael's work is certainly abstract, there are no shapes, figures or signs that recall contingent reality, the works appear almost otherworldly, they are intangible, they have a unique aura. The observer in front of Michael's work is pervaded by unique feelings and sensations, the artist gives us a real sensory experience, in fact the viewer can discover beauty, emotions, dormant or forgotten memories and dreams. Michael is able to make the viewer go on a journey, which begins in his works and ends in the observer's heart, passing through the discovery of oneself, in fact the entire artistic work of Michael is a real journey. Michael's works are a true concentrate of energy and possess a strong evocative power, ethereal works that have the ability to illuminate the space and soul of the observer.

Art Curator Vanessa Viti


Michael J Stokely

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Michael J Stokely

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Michael J Stokely

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Michael J Stokely

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Michael J Stokely

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Michael the Colorist The Artist is one who is sensitive to what others do not see (Michael the Colorist)

Michael the Colorist at the international exhibition "I" the world revolves around me, hosted by the international art gallery M.A.D.S. still delights us with his works, still showing a wonderful and unique sensitivity. Four different works show the versatility of the painter. Starting from the explosion of colors and shapes of #ArtSale and Magenta in gabbia to get to more introspective works, always hinged on the wise use of color and material, but in a completely different way. Notte di burrasca is a very personal vision of a rainy night, it is also about the difficult moments of life and it is inspired by Il Vecchio e il mare. White..is light.. is a work in which non-color communicates even more than color. A white that screams to the observer. Still, #ArtSale outlines the passage of time to the present day. New concepts such as "hashtags", which are depopulated on social networks and new terminologies master daily life, always in a stronger way.


Michael the Colorist

On an intimate and suffered background, decisive strokes appear, brushstrokes linked to a thought, to a maturation and as in the titles of a newspaper, a poster or a billboard, a word, a text appears. The interweaving of these combinations together with the concept of history marks life in general, the passage of time up to the present day and everything that conditions current life. Magenta in gabbia and Notte di burrasca have as their characterizing element the use of pylons, belonging to the artist's own and unique communication. The work, in fact, outlines the story that marked life, that built and formed the author's conscience. Through an informal painting, on a study always in search of materials and on an intimate and suffered background, decisive strokes appear, brushstrokes linked to a thought, to a maturation. The intertwining of these combinations externalizes the author's emotional and psychological sensations. The bold brushstrokes of White.. is light.. become a combination to express the emotional and psychological feelings of the author. White is the maximum expression of light and becomes the prince and protagonist of the work.

Art Curator Mara Cipriano


Michael the Colorist

#ArtSale


Michael the Colorist

Magenta in gabbia


Michael the Colorist

Notte di burrasca


Michael the Colorist

White.. is light..


Milush “Have no fear of perfection - you'll never reach it.” (Salvador Dali)

The artworks by Milush, a contemporary Israeli artist, derive from an artistic research that involves not only painting but also typography. The viewer, being constantly stimulated, has here the opportunity to immerse himself in visions, where words and colours together form ever new meanings. In the painting "I am NOT perfect", exhibited at M.A.D.S. Art Gallery on the occasion of the exhibition "I" The world revolves around ME, the artist deepens the concept of perfection. Made with spatula strokes, with the intention of leaving a trace of each passage, grey and blacks are abruptly mixed, giving a strong feeling of movement. A huge bright red "X" stands out in the centre of the painting, cutting it into four areas, while at the top, the word "perfect" - whose "ec" has been replaced with an "x" - is shown a little smudged and crooked. The second part of the word has now become 'fxt', an abbreviation used in written texts, meaning 'fix it'. It is interesting how the artist plays with words in relation to imperfections, which should be fixed and adjusted. Milush makes a personal reflection and wants to lead the observer to think about himself, in a historical era where the search for perfection seems to have become obsessive. According to which canons should something or someone be perfect? The constant judgement we are subjected to every day through the online network and social media has led the artist to ask herself questions. This work is intended to encourage us to reflect on the fact that nothing and no one is perfect and that our uniqueness derives precisely from this awareness. The artist, in her desire to let her true beauty emerge, opposes a reductive and superficial vision, literally putting an "x" on it.

Art Curator Francesca Brunello


Milush

I am NOT perfect


Minori Japanese Calligraphy. An ancient universe that finds its roots in distant China and arrived in Japan in the sixth century. An art carrier of universal values such as beauty, simplicity and the connection between mind and body. Associated with Buddhist practices, Japanese calligraphy goes beyond the simple concept of writing a word. The secret behind shodo is the union of mind and soul, the ability to write with the heart, without which nothing would mean anything. Constant practice is the key to penetrate the world of calligraphy, so much so that according to Buddhism, shodo is a fundamental element of the path to enlightenment. Minori's is a contemporary calligraphy, more commonly defined as Bokusho that, compared to traditional calligraphy, allows those who practice it a more intense and pronounced self-expression. Emotions and sensations are transformed into dots and lines and each process is unique: the brush leaves no room for error or uncertainty and the lines drawn are impromptu and nonreproducible. The black ink used, Sumi, is the founding part and creative tool of the artist's work which, together with the paper, contributes to the creation of expressive and perfectly balanced compositions. In Minori's work, feelings are sublimated through the stroke of ink. Overwhelming disturbances, worries, desire for freedom and messages of hope are condensed into a vision of peculiar simplicity. They are compositions characterized by a timeless beauty, within which the sign is as dignifiedly important as the space of white paper. Without space there could be no brushstroke, without brushstroke a composition could not exist. Distant from the western concept of Horror vacui, Japanese calligraphic art appreciates emptiness, searches for non-form and the negation of the self and Mu - nothingness, nothingness - is propaedeutic and fundamental in the search for representation. And so it is that "The line runs, the heart runs", "One Breath.one stroke" and "Cuddle Up" a few representative elements and an atonal chromatic range invite us to observe the wonder of gesture and ink, of its most watered down parts, of its most solid and compact parts. We observe calmly, breathing, trying to perceive the energetic aura that these works preserve within themselves. Born from Minori's gestural expressiveness, the above-mentioned works preserve inside them, in their stains, in their dragged ink, all the expressive strength that Minori has infused inside them. Let's breathe and make our space travel from the deepest black to the whitest white. Let's breathe and enjoy the wonder of a white space that intersects with the black element. We savor the perfect balance between emptiness and fullness, between black and white. We are aware of and rediscover the value of emptiness, not as an element of absence, but as an element in itself, an integral and fundamental part of the composition. Minori's art is all here, in the expressive power of the arm and of the brush, in the chromatic strength of the black ink that stands out on the canvas, in welcoming the white with awareness. Let us abandon ourselves to the vision of a splendidly meditative art.

Art Curator Lisa Galletti


Minori

The line runs, the heart runs


Minori

One Breath.One Stroke


Minori

Cuddle Up


Miyu Ai Art as the ability to create new worlds, new realities that illuminate our gaze. The narrative capacity of the artistic experience presents a literally infinite potential. Any place can be represented through color, any thought can take shape through the gesture of the hand on the support. And so it is that Miyu, in her works, transports us into new worlds, accompanying us, step by step, on our journey. Art, in fact, has the ability to create the impossible, to make tangible the thoughts of those who create, to transmit feelings from one person to another. In this sense, artistic expression is the most universal language that we can know, learn and understand. The technique, the color, the supports used are innumerable and countless are the creative inspiration that lead to the representation of the work. The construction of new universes, the creation of new worlds and new realities finds in art a wonderful and efficient means of communication. "The blue world" is the beginning of our journey. The air is crisp, fresh on our skin and envelops our limbs. The viewpoint from above is a favorable position to admire the landscape unfolding below us. What reveals itself to our eyes is an agitated and heterogeneous expanse of spots, streaks and flows that develop, touching all shades of blue. Dark spots, ultramarine blue, reminiscent of the shape of the cenotes, those large circular marine pits that dot the Caribbean seas. What will be hidden inside them? What secrets, what sensations can such an environment transmit? Is there life in these pools? We cannot know, after all, ours is a vision from above. The boundary of these cenotes is determined by streaks of lighter color, from the blue fades into white to silvery tips, the memory goes directly to the glaciers of the polar circles. The veins, the transparencies of color, the white that contrasts with the pure blue, all elements related to the icy and lonely landscape that characterizes the poles of our land. In "The Blue World" Miyu Ai has managed to create a new world by basically combining two types of marine environment that in nature would be at antipodes: the warm Caribbean sea and the icy and stormy Arctic sea. This is the strength of art, that of shaping worlds and making them tangible, going beyond the rules of nature and challenging reality. And this is how "The Purple World" and "The Brown World" come to life, endless expanses of hollows, reliefs, waves and shades that delight our eyes through a wonderful chromatic dance. The first one is all in shades of purple, the memory travels and goes to the aerial images of American canyons. The air is dry, warm, arid and shapes the color - and the rocks - molding them gently for millennia. The second instead, with its tones that turn from black to red and orange, transports us directly into the magma chamber of an active volcano. Inside the air, saturated with heavy gases, is almost unbreathable. Let's admire the wonder of this fiery world, let's travel with our minds and let's burn ourselves with those rivulets of orange pigment.

Art Curator Lisa Galletti


Miyu Ai

The Blue World


Miyu Ai

The Purple World


Miyu Ai

The Brown World


Mona Dörr “I try to apply colors like words that shape poems, like notes that shape music.” (Joan Miró)

Mona is an artist based in a town near the beautiful Lake Constance in Germany. The nature that surrounds her home and the breathtaking views of the sun rising and setting on the Lake are what mainly inspire her to create beautiful abstract paintings, which she describes as “powerful, straight and moody”. “I love living here at the Lake Constance”, says Mona, “but there is also a lot of fog. So it’s kind of love-hate relationship”. It is this love-hate relationship that the artist wants to show in her paintings, composed by an analytical and precise choice of colours. She tries to apply colours like notes that shape music as the surrealist artist Miró did, very methodical on the choice of the right colour for the feeling she wants to communicate. In the paintings “foggy forest”, “misty sunset” and “sea fog”, Mona powerfully expresses her love-hate relationship with her town through a brilliant use of colours. Thick brushstrokes of green, blue, red and black tones are the protagonist of the paintings where, as the artist explains, “green is for the forest, blue for the lake and red for the sunset, while the black reflects my hate part to my home”. The love and hate feelings destined to intertwine and co-exist are visually translated into these paintings where the green, blue and red tones intertwine with the black inevitably. The titles immediately bring us to different natural sceneries which we have seen at least once in our life: a forest in winter time where everything is foggy and cold, a beautiful sunset in spring where you can still breath the winter air, and the sea fog that surrounds you when the sun has still to rise. In Mona’s abstract paintings, the composition is made only by colours that become the visual melody capable of expressing and arousing emotions without the interference of any figuration, but solely with the evocative capacity of the means of expression.

Art Curator Martina Lattuca


Mona Dörr

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Mona Dörr

misty sunset


Mona Dörr

sea fog


Monika Machniewska “Art is a harmony parallel with nature.” (Paul Cezanne)

Delicacy and harmony emerge from the paintings by Monika Machniewska, an artist of Polish origin. Her artistic research is developed around the female figure and turns a particular eye towards the characteristic ancestral link with nature. The sensitivity of these portraits moves sinuously along the soft lines traced by external elements such as plants and leaves. Floral details contribute to tell the sensuality inherent in women, blending with intense and deep gazes. In the artwork entitled "Peace of mind", exhibited at M.A.D.S. Art Gallery on the occasion of the exhibition "I" The world revolves around ME, we immediately notice this interdependence. In the foreground, a bust of a woman is wrapped in large leaves. Her eyes are closed in contemplation of a moment of intense spirituality. A hand gently grasps the stem of one of the leaves, bringing it closer to her. The pastel colours help to convey a sense of harmony and freshness. Using a language closely linked to figurative expression, this work by Monika Machniewska speaks of the intimate relationship with nature that women have always had. In this case, Mother Nature shows herself in all her sensitivity, through a boundless and enchanting human beauty. An almost provocative beauty that blends with the sinuous curves of these large leaves, gradually leading the spectator into a temporal dimension marked by tranquillity and serenity.

Art Curator Francesca Brunello


Monika Machniewska

Peace of mind


Nada Vodopija "I found I could say things with color and shapes that I couldn’t say any other way things I had no words for." (Georgia O’Keeffe) Nada Vodopija is a versatile artist living in Serbia. The aptitude for art has been a component of her personality since childhood, and - after a long career also in other areas - it began to express itself fully in 2004, when Nada embarked on an academic career in painting and drawing. The experience at the Belgrade art school and Professor Jelovac Atelje gave her the opportunity to give free rein to some of the artist's most urgent aspirations, including that of reducing the distance between people of different countries, cultures and languages through the eloquent message of art. The silent and vibrant meanings conveyed by the painted canvas are seen as a universal language and accessible to anyone. In particular, Nada's works express an irrepressible optimism that it is very important to share, especially nowadays. In Fruits of Life - the work presented by the artist on the occasion of the exhibition "I - The world revolves around ME" - perfectly embodies the aspiration to genuine and positive feelings, which travel from the artist to the viewer passing from the material essence of the painting. The work consists of an elaborate collage of paper, newspaper sheets and magazines which, admiring it from afar, offers a representation of a basket full of fruit. The chromatic choice, rich in contrasts, emphasizes the shapes of the objects, immediately capturing the viewer's eye and inducing him to linger on every little detail. The luxuriant beauty of the fruits is a synonym of the positive contribution that each person realizes when he creates something with intense passion and dedication. The symbolism of the fruit in this case is used as a metaphor that indicates the freshness and joy of a spontaneous and deeply participated creative gesture, which extends its constructive power to the observer. With Fruits of Life Nada Vodopija has managed to convey her personal and unique vision in a direct and effective way, with a rare and enchanting expressive capacity.

Art Curator Chiara Rizzatti


Nada Vodopija

Fruits of Life


Nahoko Komatsu “Some painters transform the sun into a yellow spot, others transform a yellow spot into the sun”. (Pablo Picasso) The artist Nahoko Komatsu, based in London and in Tokyo has a particular style, she uses traditional oil painting to create contemporary art, she illustrates sceneries and figures that are filled with an unlimited sense of time and light, with a slow movement of growth. Her painting, in addition to being a mix of styles, are also a collection of traditions, the Japanese one, the land where she was born, and the English one. Thanks to this mixture of east and west, she is able to create shapes, designs, smells, moods and lights that stimulate all the senses and capture the visitor. In her magnificent work of hers, formed by two distinct canvases, she uses the shape of an infinite circle that encloses the forms of sun, earth, light, nature and space-time giving a sense of eternity. A space that does not end on the surface of the canvas but goes beyond, frees itself beyond the canvas and reaches the heart of the spectator. The sun radiates us, gives us strength and makes us feel a vibrant part of a world full of energy. Everything that exists in the world resonates with the sun (warm orange). But there are also white particles of life, in the right canvas, Nahoko represents with white the effects of the sun produced on nature, from which all things are connected. The scattered silver and white in the middle of the canvas represent light particles, the orange canvas is the color of light that human eye can visualize. Inside each circle on the orange canvas are many green leaves, that represent nature and the very important message for us to protect and preserve nature. This great work also represents a transposition of love for nature on the canvas, the artist has a great sensitivity in the creative act which translates into respect and reverence for nature. The painting reflects the respect we must have towards nature thanks to which everything in our world is life. Using the shape of an infinite circle, the elements of sun, light, earth, nature and space-time do not end up in the canvas but remain in eternity. For this reason, the two canvases complement each other and find their meaning, they have a profound meaning as singles but also together. The continuous process by which life is created is then expressed, a life that continues and must be preserved for our survival on earth. From these natural elements, Nahoko takes inspiration and fits into the space between light, earth and nature that give her the imagination and concentration to create her canvases and move her hand among the colors.

Art Curator Giulia Fontanesi


Nahoko Komatsu

Resonance Light, Space, Nature and Life energy


Nana Mohammedamin "To be an artist is to believe in life." (Henry Moore) Nana Mohammedamin is a versatile artist based in India. Her creative nature finds in painting with acrylic the privileged means to give body to the variegated universes that populate her imagination. The artist, in fact, moves with ease between different techniques and styles, continuously experimenting with new expressive methods that are best suited to represent the peculiarity of each momentary inspiration. The works presented on the occasion of the exhibition "I - The world revolves around ME" show Nana's ease to try new artistic ways, and not to become fossilized on a specific genre. For example, Aqua Paining is a striking example of fluid art, centered on shades of blue and white, suggesting the cool shades of the waves and their incessant swirling. From this swirling and chaotic ensemble, we move on to the mathematical rigor of Geometric Abstract Painting, an abstract work in which the warm tones of red and yellow dominate, with contrasting blue elements. The artist chooses a visually striking color range, emphasized by the play of lines created by the rectangles and squares. The attention paid to the choice of complementary colors is also visible in Dark Forest, a work that experiences a completely new generation compared to the other two paintings. In this case Nana moves in figurative art, representing a gloomy forest of dark trees, whose blue hues are emphasized by the orange notes of the leaves below and the fiery sky at the top of the work. The sinuous lines that make up the trunk of the trees accompany the observer's gaze to the solar disk, which focuses the pulsating center of the entire artwork. Nana Mohammedamin thus succeeds in making her own three different kinds of painting, but with the same stylistic mastery and compositional grace.

Art Curator Chiara Rizzatti


Nana Mohammedamin

Aqua painting


Nana Mohammedamin

Dark forest


Nana Mohammedamin

Geometric Abstract Painting


Nandan He

Nandan He is a multimedia artist whose work focuses mainly on interactive sculpture, mix media video / animation installation. Nandan He is again a guest at an exhibition organized by M.A.D.S. Art Gallery, on the occasion of "I-The World Revolves around Me", he exhibits "WALK", an extremely powerful work created in Charcoal on Wal and in Stop motion animation for 30 seconds in loop. For the first 10 seconds of the video we are faced with a claustrophobic image, the human being is locked up as in a box, time passes (we can interpret the growth of hair with the passage of time), up to a transformation: the individual stands up and walks until he becomes another thing until he becomes a different being resembling a whale that dives into the sea, metaphorizing the work we can give a lot of importance to the imagination that allows the mind to get out of the box in which the body is, a system of escape from everyday life and from what the world we live in imposes on us. The last ten seconds of the video have as their subject a door that opens onto a long corridor, which continues, until it reaches another door until one meets an individual at the end of the corridor, a dark, small figure who closes the door to his shoulders and everything goes out. We imagine ourselves as we go out of our mental boundaries and meet again, we know ourselves, initially intimidated by what we discover, small in ourselves. The atmosphere is gloomy but presents a glimmer of hope that reaches those who watch the video, which leaves anything but impassive, but on the contrary it carries with it for its entire duration.

Art Curator Martina Viesti


Nandan He

Walk


Natalia Khlivnenko Natalia Khlivnenko is a Ukrainian artist who takes part in international competitions and group exhibitions, receiving many awards. At “I: The world revolves around me” exhibition hosted by M.A.D.S. Art Gallery, Natalia presents three of her artworks. All of them are born when the artist wondered how to create a story that, looking at it from time to time, can always reveal new and unique details, so that they could be read square by square and each time find something new and wonder again and again… With such thoughts, this series was created. All dealing with religious themes, Natalia creates these paintings in soft and light tones, with a "dripping" technique that increases the effect of mystery but also of movement and depth, revealing a sense of sacredness through the flickering of color relationships, with many subtle nuances of light and shadow which increase the difficulty in distinguishing the real from the unreal. With her work, Natalia wants to create positive co-creation, mutual understanding between the author and the viewer. “Hear my prayer” is an Acrylic and Pastel on Cardboard that represents a religious scene. Represented are some silhouettes of people discerned as shadows of spiritual substances: on the left the Madonna is praying standing next to the ox, some vegetation is on the right and above, in the sky, Christ appears crucified from a spot of bright light. The whole is rendered through bluish colors and soft shades that increase the effect of mystery and preciousness of the scene which is presented as a fantasy fiction, taking its origins in prayer texts. The same expedient and technique is used even more in "Purification", the second work presented in the exhibition by Natalia. In this case there are no clear characters and the scene is indefinite at first glance: what stands out most is the dripped technique which on the one hand hides the clarity of the scene, but on the other hand allows some details to emerge visible only thanks to a careful observation of the picture. In fact, a veiled woman appears on the left, with her hands in an act of prayer, while on the opposite side a face emerges with a determined gaze looking at the scene on his left. The whole is immersed in a landscape composed of trees that emerge thickly thanks to the dripping painting technique adopted by the artist. Finally, "The visible is invisible, the real is unreal" is an Acrylic on canvas in which the subjects are decidedly sharper: on a background that tends from dark blue to gold, a series of figures, some veiled and others not, are represented in a building from which windows seem to shine through which a powerful light enters; on the right, an angel looks towards them. Once again Natalia manages to bring out the preciousness and mystery of the religious scenes she portrayed, returning them with almost dreamy images, like inaccessible visions given the sacredness of what they depict.

Art Curator Matilde Della Pina


Natalia Khlivnenko

Hear my prayer


Natalia Khlivnenko

Purification


Natalia Khlivnenko

The visible is invisible, the real is unreal


Nataša Gregorič Nabhas

The interaction between the artistic technique, the subject represented, and the artist’s feelings is the most important element that characterizes Nataša Gregorič Nabhas’ activity. Searching for the ‘perfect’ style, the artist has approached to the Impressionism, responding to the reaction of the medium used. The two paintings presented at M.A.D.S. Art Gallery during the current exhibition “I the world revolves around me”, perfectly show the ‘impression of impressionists’ – as herself describe her artistical results – that emphasizes the whole scenes. Both animated using shining colours, “Her Essence” and “You were born to be unique” – these are the titles of the paintings – have a female subject as main character, surrounded and depicted into a colourful background. The spontaneity with which the artist realizes her paintings, is visible through the spots of colours that fill up the clayboards, conferring to the female figures themselves a luminous appearance.


Nataša Gregorič Nabhas

The reaction of the medium used, the ink, animates the two pieces in a natural reaction that confers to the main subjects a deep essence and personality, according to the concept of the exhibition itself. The woman depicted in ‘Her Essence’, with her almost lost gaze, surrenders the viewer into another dimension that coincides with his unconscious, permitting an interpersonal communication between himself and the creator of the piece. “You were born to be unique” instead, shows a more confident lady with her gaze staring at the viewers symbolizing a sort of self-confidence that is, the representation of the title of the piece itself. Two different women, with two different approaches to life and to reality, but that has in common the possibility to face up to the nowadays society, being we: communicating with ourselves ‘to be unique’.

Art Curator Martina Stagi


Nataša Gregorič Nabhas

Essence


Nataša Gregorič Nabhas

You were born to be unique


Natha_outoftheblue “The ideas of each artwork sometime are guided through my intuition from the voice within”

The artworks presented at M.A.D.S. Art Gallery by Nathakorn, this is the artist’s name, is the reflection of a well thought artistic work. Starting from sketching the objects on issue paper, she then practices her drawing process on canvas, outdoor: the reflection of the sunlight giving shadow inspired her to find the subject perspective; the way “OUT OF THE BLUE” action that has inspired her most of the time. Natha_outoftheblue is, in fact, the artistic name with which this artist wants to be called, to reflect the viewers’ attention on the way she operates. The three paintings here exposed are different in their subjects but very similar in their technique and way of realization. All the paintings, in acrylic and gouache on canvas, have different and important meanings related to how to approach the world and so, the society itself. ‘Free your mind like the birds fly’, an expression of a large brush stroke, shows an indecisive and trapped woman, angry with her parents and the society that hurts her sometimes. Sadness within a sensation of freedom, given by the little birds’ presence, is what transpires looking at the painting that, despite what it represents, is colourful. Fear and hope are, on the contrary, the sensations transpiring from ‘Be Positive’, an expressive small-medium brush stroke painting, where a woman is diving into the deep sea, looking for her confidence. The small creatures that she meets during her voyage, confer a sort of curiosity and surprise in the lady, resulting in magnificent to her eyes. The structural monochrome background is here interrupted by the small spots of blue and red coming from the sea and the coral on the woman’s head. She blends in with the creatures to find her courage. The third painting is less emotional that the previous two. ‘Abudance’ is, in fact, a reflection’s painting on what ancient themes and elements can depict nowadays. The mountains and their landscape, within the creatures living in it, are in fact the main subjects of the piece. Depicted just as the artist sees and interprets them, they represent something important to human beings, refigured here with just simple lines giving birth to a woman and a man’s features. These three paintings are the representation of something important to the artist’s mind and feelings that is visible through the great attention she gives to the single elements composing the scenes.

Art Curator Martina Stagi


Natha_outoftheblue

Free your mind like the birds fly


Natha_outoftheblue

Be Positive


Natha_outoftheblue

Abundance


Nausica

Inspired by our lives and their evolution, Nausica’s artworks are the representation of a continuous self-discovery and exploration that is always in search for new possibilities. The three paintings exhibited at M.A.D.S. Art Gallery during the current exhibition ‘I the world revolves around me’ are part of a series of artworks with the same subject and main character: a spiral of human beings, as to represent the relationship to which the artist herself faces up every day. These acrylic on canvas paintings, show a well-defined dynamicity that, also at a first look bring the viewers to imagine and to follow the elements depicted in their constant evolution. The titles too, just a single word defining the act described in the scene, well define the exact moment represented. Numbered the paintings can be read as a sort of development of the relationship between the people refigured: ‘SOULMATES’ with its shiny colours focuses its attention on the interaction between the subjects living the scene. A sort of sentimental comprehension is what transpires looking at the panting, in which the main characters are part of the whole scene, almost confounded with the background. The same bond can be seen also in ‘THE ENCOUNTER’ the piece that clarify the connection between the subjects. The effect given by the yellow and almost gold spot that surrounds the subjects, can be interpreted as the act of the sentimental meeting that has linked them. In this case too, the dynamicity of the painting gives an important effect to the scene and its interpretation, corresponding to the artist’s objective to give voice to her life, always in becoming. ‘CASUAL CLASHES’ made up with the same hues of colours of the previous painting, is less chaotic, although it represents, as the title itself lets imagine, the moment of the clash. In this piece, the ‘collision’ can be interpreted just as a sentimental one, as explained by the way in which the subjects are refigured: so close between them, in a sort of many little spirals. According to the concept of the exhibition, Nausica has interpreted in a deep way her view on society and maybe on what she hopes one day it can become: a whole of people linked by the same ideals.

Art Curator Martina Stagi


Nausica

SOULMATES


Nausica

THE ENCOUNTER


Nausica

CASUAL CLASHES


Neisha Sullivan

An artist has the gift, more than anyone else, to look at the world around him and to really see it, to let himself be carried away, excited, involved. The gaze of an artist always seeks his next source of inspiration. The artist Neisha Sullivan confessed to us that her most powerful source of inspiration is nature. How to blame her? The nature that surrounds us is so beautiful, full of life and joy that it can only arouse strong emotions in each of us. Neisha then transports these emotions and the magic of the colors of nature into her canvases. She manages to transform the vitality in nature into the movement of her colors on the canvas. Looking at Neisha's abstract canvases we can see different natural landscapes. Neisha, through the movement that she infuses the colors, recreates the sinuous lines of nature, but above all the atmospheres that are breathed in those landscapes. Observing the work "Coastal Meditation" we seem to immerse ourselves in the waves of the sea. In the technique used by Neisha, the two streams of paint touch on the way to the canvas, so as to then merge onto the canvas, as the sea touches the beach with its waves. Two worlds, land and sea, meet and touch each other, and then merge into one along the coast. Getting lost in the fog: perhaps scary, but also fascinating. The fog creates a landscape that is spooky and magical at the same time. It awakens the desire in us to discover what it hides inside, what surprises it can hide. We don't want to get stuck in front of this wall, but we push ourselves to look at something else. And it is precisely this feeling that Neisha's work, entitled "Look beyond the haze", evokes in us. Finally, the colors explode on the “Vibrant valleys” canvas. Observing it, we can only imagine the boundless American rocky deserts, with the scorching sun reflecting on the stones and very few bodies of water. We seem to fly over them from above and admire the colors, but above all the sinuous lines of the mountains, which nature has managed to shape over millions of years. The lines of color carry us along the entire canvas, as in a twirling dance.

Art Curator Silvia Grassi


Neisha Sullivan

Coastal Meditation


Neisha Sullivan

Look Beyond The Haze


Neisha Sullivan

Vibrant Valleys


Nicholas P. Kozis

For the exhibition “I - The world revolves around me” at the M.A.D.S. Art Gallery, Nicholas P. Kozis exposes six works (“Color 3”, “Landscape”, “Pose 2”, “Super Bloom 7”, “Tempest 2”, “Tree 1”) with which he wishes to restore beauty pertaining to both feminine and natural up to its original and completely uncontaminated state. Through “Color 3”, “Landscape” and “Tree 1”, the artist brings out the disruptive forces of the natural environment. In the first artwork, he emphasizes the sea or the ocean during a storm: a great energy emanates from every point of the painting and an impetuous dynamism takes hold of the sea foam on the shoreline. The green color scheme is also used in “Landscape”, where Nicholas depicts a clearing with a river together with a waterfall on the background. The whole atmosphere seems to be enveloped in a light mist and a morning breeze, while beams of light penetrate the cloud cover. In “Tree 1”, instead, the artist brings this tree to life through an intense interweaving of lines which appears to be in constant movement, while its core is so bright that radiates every branch, leaf and flower present on it, helping everything to grow and evolve steadily. The harmonious use of color draws the viewer's attention: Nicholas focuses on creating a sense of depth and solidity through extremely delicate tonal variations, achieving a painterly balance.


Nicholas P. Kozis

Trying to capture the first impression of a particular moment, the artist creates images with different but still immense, silent and peaceful panoramas. As for the other three works on display, surreal, creative and almost fairy-tale elements emerge: for example, in “Super Bloom 7”, halfway between dream and magic, the purity of the young girl is emphasized, immersed in a forest still shrouded in winter ice. The fantastic dimension gives the canvas luminosity, vigor and vitality. In “Tempest 2”, the woman, whose face is partly covered by her raven black hair, is in a frontal position: her silhouette is set against the sea behind her. In this way, a link is created between the human and natural worlds, to the point of perceiving a sense of unity between the two dimensions. Finally, in “Pose 2”, Nicholas wishes to highlight the sensual body of the young woman: with its movement to the left, the so-called “serpentine” form typical of the sixteenth-century Mannerist movement is recalled. Other equally important details reminiscent of this artistic movement are the strong chiaroscuro and tonal play within the work and the accentuated dynamism.

Art Curator Alessia Perone


Nicholas P. Kozis

Color 3


Nicholas P. Kozis

Landscape


Nicholas P. Kozis

Pose 2


Nicholas P. Kozis

Super Bloom 7


Nicholas P. Kozis

Tempest 2


Nicholas P. Kozis

Tree 1


Nicolae Tonu

A journey into the interior of his soul and his imagination, this is what the young artist Nicolae Tonu wants to share with M.A.D.S. Art Gallery’s viewers. According to the concept of the current exhibition ‘I the world revolves around me’, the artist presents three paintings that must deal with the search for the self and the courage to share it with the society. His works tend to be figurative and surrealist, but the artist is constantly looking for new themes and styles. Very different between them, the three paintings have different subjects and main characters such as colours. ‘Caramel’ shows a woman in profile, thoughtful and resolute in her behavior. The decision to integrate the circular painting into a black square, highlights the importance that the artist himself wants to confer to the main character of the piece. ‘Caramel’ seems to not be only the title of the painting, but it also defines the colours of it, a sort of connection between what it is drawn and the way it is represented is clearly visible in this piece. Almost the same importance to this relation between the elements refigured and the title, can be seen in ‘Pensieri’, the red painting showing the interior of a brain. The little figure at the lowest part of the canvas, is the motor of the organ, who manages the situation, from the center. The ability of the artist can be seen in the drawing rendering that with a game of colours give life to the brain, almost in a 3D resolution. So different, but with a deep meaning too, is ‘Witch’. Represented not with a violet dress or with the classic features as the witches used to be described, Nicolae presents a woman, well adorned in her habits while conversing with her trusted raven. As a sort of theatrical scene, the painting is well defined in its details and colours. With an attentive look, we can notice that the black and big bird is holding something in its paws, a sort of message coming from the witch. We can read this scene, as the artist’s aim to share something with the viewers, the symbol of the message can be interpreted as a desire to reach the society and to share with it some important ideals.

Art Curator Martina Stagi


Nicolae Tonu

Caramel


Nicolae Tonu

Pensieri


Nicolae Tonu

Witch


Nikki Conigliaro

Nikki's art is an open window on one's emotions. A therapy to delve into her thoughts and bring out hidden feelings. it is a very personal art, a reflection of her habits and the environment that surrounds her. Her paintings always convey a feeling of calm, thanks to precision of the details that don't let strong emotions shire through. For Nikki, art must be pleasant and convey different sensations and emotions for each one. The artist is very inspired by the colors of nature. She loves to play with different palettes to express different emotions and feelings. Her cinematographic training leads her to transmit a narrative sense to her works, which everyone must interpret. The female face is the main subject of her works. Nikki creates an alter ego to express her emotions. She works on herself through this impersonal figure, which she then returns to the world. An art that evolved around the time of the pandemic and reflects her inquiry into her mental health and her inner thoughts. "Fragility" artwork is a testament to the emotions we are all experiencing in this period. The adjective "fragile" refers to a characteristic condition of something that breaks easily. For man, fragility can be dictated by existence, by the transience of life, or by physical fragility. The isolation we have had to face in recent years has made us all more fragile and the artist has been able to express it in the most refined way possible. She uses cold colors to express a sense of melancholy. she plays, with awareness and balance, with juxtapositions to create threedimensionality, in order to give character to the representation. But fragile things are also the most beautiful, as Professor Vittorio Andreoli recalls, like flowers or Murano glass. The artist surrounds the face with delicate roses, as a reminder that beauty must be found even in adversity. Her face is blindfolded, covered by the wings of a butterfly. The female face, in this case, does not represent a person but is the personification of fragility, and does not represent only the emotions of the artist, but also of the spectators.

Art Curator Lucrezia Perropane


Nikki Conigliaro

Fragility


Nina Quist Nina Quist is a Sweden artist who paints artworks that tell at the viewer who at them who she is. As the artist herself says her mostly figurative art evokes moods and atmospheres, aiming to capture the poetry found in sometimes fleeting everyday moments. She is often inspired by nature and the intensity of real life as it unfolds. Nina uses cold colours to paint landscapes from her land, “Winter Trees” talks about winter moments when the sky is white, and it is in contrast with the brown colour of the leafless trees. The stems of the trees are bare and thin, and the roots are immersed in the snow that lies on the ground, fresh snow that has fallen recently and is still soft. The white acrylic lying on the canvas and mixed with grey, and the light blue colours creates a particular effect, special ripples that add a fairy-tale touch to the picture. “The Manuscript” represents a completely different subject, a writer immersed in the darkness of the room while she’s smoking and observes thoughtful and curious the viewer, as if she had heard it and turned to know the source of the noise. The only source of light in the room is the window facing her body, the light that enters from there lights up her face and the manuscript on the ground. It’s cold outside and the writer has found shelter between thanks to the brown and blue blankets resting next to her. Her gaze is inquisitive, bold, and courageous and she looks without smiling at the side of the spectator: she is melancholic. Outside the window the sky is grey as that of the third painting by Nina “Grey Skies”. This is the representation of a tree -lined avenue without passers-by. The dark branches of the trees reflect on the almost completely icy riverbed that skirts the road and reflects the grey sky giving birth to its twin. Nina Quist uses painting to convey to us the warm love for her land, she tells us the poetry that she sees behind every detail that constitutes her home.

Art Curator Sara Giannini


Nina Quist

Winter Trees


Nina Quist

The Manuscript


Nina Quist

Grey Skies


Noor Us Saba Imam

In which way an artist is able to communicate to the other about his life and his emotions? The answer it’s very easy. Of course with color, shapes and the canvas. In addition, of course this is the technique used also by the artist Noor Us Saba Imam. Soon the words lose their meaning in the face of the power of a precise gesture on the canvas. If we consider the painting presented on the occasion of the international art exhibition “I” the world revolves around me, every shape that we see tells us about a piece of life of the artist. As she says: << I primarily used warm colors for this painting as it reminds of beautiful memories with family and friends. The use of dark colors is the obstacles that I have overcome during my life and become greater for. The use of different textures indicates my different moods I have gone through with respect to my memories.>>. The painting becomes an autobiographical account of the artist's life. Every moment is descripted by a particular form and colors. In this way the artist gives herself to the viewer, to free himself and understand more of his past and his entire life. << To me, this painting is ever changing as it chronicles my past, present, and future, as of my reflection of memories do not always stay the same.>>

Art Elisabetta Eliotropio


Noor Us Saba Imam

Reflection


Nour Assi “What is done with love is done well”. (Vincent Van Gogh)

The artist Nour Assi, who grew up between Beirut and Montreal was, from an early age, inspired by the works of Monet, Kandinsky, Van Gogh and other artists. Her pursuit and her perseverance had led to an ongoing research for combinations and motifs until she became a self-taught painter with great talent. She has always studied and understood light, color and movement, and she instinctively used them on the canvas to bring her imagination to life. Nour particularly loves oil painting because she can provide brightness and liveliness to her works but she also made experiments with different materials and processes, to bring her works to life. She uses bold contrasts, textures and colors to make the paintings stand out, she lets herself be carried away by emotions and instinct to always create something new. Nour's paintings are a mix of passion, emotions and dreams, conveyed by a clear and elegant brushstroke. In particular Poplistine refers us to the memory of Palestine, she reminds us that humans have a natural tendency to forget an event with the passage of time but that it is necessary to remember, think and reason about history. Thus a woman with blinded eyes, masked by flowers, we perceive the gaze, we feel the proud air, the confident bearing and the elegance that she releases. This woman becomes the spokesperson for many others, people able to recover, have the courage to remember past events, always with the pride of someone who has managed to overcome an obstacle or a difficult situation. Through the mix of strong colors and contrasting tones, the image stands out from the canvas and seems to reach the observer, she lays him bare in front of reality, she questions him. We are in fact bewitched by the beauty of this woman who embodies the story of a story in elegance.

Art Curator Giulia Fontanesi


Nour Assi

Poplistine


Oday Jano “The Moon is a friend for the lonesome to talk to.” (Carl Sandburg)

Between dream and reality, between heaven and ground. A character from behind in the shadows observes or heads towards high snow-capped mountains where a large and bright moon is always waiting for him: the true protagonist of the Oday Jano's artworks. Thanks to photographic manipulation, the artist communicates to the viewer a sense of emptiness and fullness at the same time, solitude and strength. In “Silence” the character sits on a high window from which he thoughtfully observes a horizon of clouds colored by the sunset that envelop the high mountain, then giving way to a shining moon. The moon becomes the focal point in “A fleeting glimpse”, a magnet for the protagonist surrounded by glimpses of the sea and clouds. On the sides of the liquid and gaseous floor on which the boy walks, two neon give the sensation of a door wide open on a dream that accompanies in a path ending only on the extreme tip of the mountain where that same attractive moon opens up a further sky of soft colored clouds. This recurring landscape turns out to be different in the artwork “When I was a child”. The character in the center of the work is this time surrounded by a burning fire. The smoke from the flames merges with the smoke from the bombs and the sand raised by the tanks in the foreground. In the center, right in the area below the fire, paratroopers launch themselves from fast floating planes. A starry sky and a weeping moon witness the pains of war.

Art Curator Marina Maggiore


Oday Jano

Silence


Oday Jano

A Fleeting Glimpse


Oday Jano

When I was a Child


Odhara “Each time a woman stands up for herself, without knowing it possibly, without claiming it, she stands up for all women.” (Maya Angelou)

Femininity, elegance, sinuosity and harmony. “Jaya”, work of the fantastic artist Odhara expresses all the energy that a woman hold and can transmit. Indeed, the artist lets herself be inspired by women to capture their essence on the canvas. Her illustrations lend character and personality to the portraits, express femininity and decorum, conveying inspiration. The intense gaze, the delicate pose, the vibrant hair and the sensual mouth represent the elegance and essence of women. As such, we can identify ourselves with this figure who reminds us of our strength, our vulnerability and the incessant desire to affirm our personality. Every girl want to become a strong woman because strong women speak for themselves and others, admire and support other women, are feminist and bloodthirsty. Every feature is expressed by Odhara's works, her representations tell us of women who draw strength from those they admire and manage to uplift themselves and others. They have no problem fighting for what they believe in. They realize that the past is over and that the present moment is the only thing that matters. They believe that the present creates the future they want, they focus on the moment and work hard to stick to their goals. Strong women, the women of Odhara, are dreamers who are always looking for the next big challenge to be fulfilled and want to leave a trace on the world, their trace.

Art Curator Giulia Fontanesi


Odhara

Jaya


Odilia Iaccarino “Art is eternal for it reveals the inner landscape which is the soul of man.” (Martha Graham)

The artworks by Odilia Iaccarino, a contemporary artist of Mexican origin, are magnificent journeys to places of an unrecognizable shape, enveloped in mists of intense shades. Patches of colour flow onto her canvases and between one veil and another they soften or accentuate their strength, giving the painting a particular visual rhythm. Influenced by the American Abstract Expressionist movement and in particular by Grace Hartigan and Helen Frankenthaler, her artistic research is based on the need to narrate and investigate herself in relation to her surroundings. In the work entitled "Kaimana", exhibited at M.A.D.S. Art Gallery on the occasion of the exhibition "I" The world revolves around ME, dynamic brushstrokes stretch out into space and, together with dense strokes of colour, tell of the power of the ocean. In fact, Kaimana is a compound word (kai and mana) meaning precisely the "power of the ocean". The constant presence of water in Odilia Iaccarino's life has led the artist to deepen herself through this element, using every sensation to shape her art. The ocean, so powerful and immense, becomes a mirror that forms every detail and every emotion, creating new visions. Fine lines describe evanescent silhouettes that seem to float in space. Small biomorphic shapes act as collectors of more complex and intricate feelings and sensations. All this contributes to revealing an inner landscape, allowing the observer to enter into deep empathy with the artist, who undresses before his eyes.

Art Curator Francesca Brunello


Odilia Iaccarino

Kaimana


Olivier Petit-Helle

The French artist Olivier Petit-Helle expresses his own identity through the creation of artworks that are the result of experimentation with different types of materials and light. The artist loves to play with the texture, the impasto, strong colours, and movement. The light is a very important component of his work because it allows to see the work in different ways. His works change depending on the point from which the viewer looks at them and depending on the type of ambient light to which it is subjected. Through the creation of "Pentraĵo Kvindek kvin (No 55)","Kvadrato Dek unu (No 11)" and "Kvadrato Dek (No 10)" the artist tries to strike the soul of the viewer and to wake emotions and feelings. His intriguing and mysterious works arouse a sensation of curiosity and wake the desire to explore every detail to discover colours, textures, and games of shadows. He wants to guide the viewer who looks at his works in an inner journey. The artist experiments and studies different techniques guided by the pure, living, and true passion for creation. Olivier Petit-Helle expresses his own sense of self and determines himself as creator. He puts himself above any boundary, be it stylistic or technical, following the word "dare" and making painting the expression of his true essence.

Art Curator Sara Giannini


Olivier Petit-Helle

Pentraĵo Kvindek kvin (N 55)


Olivier Petit-Helle

Kvadrato Dek (N 10)


Olivier Petit-Helle

Kvadrato Dek unu (N 11)


Oriana Armand Oriana Armand is a Venezuelan artist who experienced firsthand the difficulties of the totalitarian regimes from which she escaped and reunited with her family in Miami, where she focuses her art by expressing the mixed feelings of the women behind their dreams. Currently, Armand has won the New York International Fine Art Competition 2021, with two art pieces and one of them, “Despertando de un sueño Andaluz’’, is the one chosen for the exhibition “I – The world revolves around me”, hosted by M.A.D.S. Art Gallery. The artwork is part of a collection of paintings which depict women with different realities, fighting for their dreams. The work exhibited as a whole appears to be made up, in a colorful way, of warm and dreamy colors in contrast with the moment in which the subject is captured. The protagonist, in fact, looks directly into the eyes of the observer who is captured by her vulnerable and penetrating gaze. The woman is caught a moment after her awakening in the real world. She shares her pain, confusion and denial, which allows the viewers to go into the art piece and feel what they observe. The woman's gaze gives a melancholy and helpless feeling, like the sensation of a dream that has now become distant. Oriana Armand's technique can be located in an abstract figurative expressionism, and the chromatic tones chosen by the artist are inspired by Matisse. Some brushstrokes are precise, like the flowers on the dress, while others are more random. We can see some shades of blue color tapped on the canvas, in contrast with the uniformity of the background, with warm red tones, and the subject. These cobalt traits emphasize the exact moment of the woman's awakening. It is a moment still on the border between a world made up of encounters with beloved people and who no longer exist, and the real one. It is the moment of the threshold of dreams and reality.

Art Curator Angela Papa


Oriana Armand

Despertando de un sueño Andaluz


Orna L. Brock Orna L. Brock is an Israeli visual artist who combines her photographic and graphic skills. Once again she exhibited at the M.A.D.S. Art Gallery one of her works "Untitled" from the series "The Hieroglyphics of light series". In this series the artist plays with the lights and their effect due to the motion of the camera during long exposure shooting. Orna claims to perform a sort of dance while taking these shots. The lights of the landscapes blend together, lengthen, creating a sensational effect. This work is different from those previously exhibited by the artist, it is in fact composed of three photographs superimposed with each other through an effect of transparency. What is evident are some flowers, in particular the focal point is a red rose placed in the center. The flowers and the lights create a magical effect but behind this work hides a further mystery: if you observe it with care and you move away from it a bit, the eye will perceive the presence of a Greek amphora depicting the Homers. The artist explains with these words the reason for this choice: “When I am gazing at the landscape it seems to me as a sort of Arcadia, that is pastoral & harmonious scenery, which is disturbed by the strings & scratches of light, which are not only illuminating the landscape, but also are the emblematical conceptual element in the composition. The landscape described might be seen as a kind of an illusionary Scenery. Like a rapid glance into the heights of the Olympus, or the Homer’s “Iliad & Odyssey” mythology.” Orna’s work is therefore a set of natural elements in contrast with human artifacts: light on the one hand, which represents modernity, and the amphora on the other which represents the greatness of our society during Ancient Greece.

Art Curator Giorgia Massari


Orna L. Brock

Untitled (The Hieroglyphics of light series)


Paccan

Gestures often communicate much more than words. We often remember much more a color or a surface that we touched with our fingers because in that precise moment it communicated an emotion, a sensation, which was engraved in the soul. This is the true power of works of art. In fact, artists, with their art, have in their hands the most powerful means of communication that exists, because it cannot be misunderstood like words, it cannot be manipulated by anyone: it is simply left free to transmit the emotions that have been to it. infused to the observer, who will then take them and make them his own. They will be unique to everyone. In the works of the artist Paccan we find all these ingredients: the energy of the colors, the energy and strength of the gesture on the canvas, the movement, the materiality. In this way, the artist comes into direct contact with the work, dialogues with it, confronts and expresses himself through it. The viewer then manages to grasp all this, even at a first glance. All this energy explodes in a powerful way in the work presented here, entitled " - TAITEN". The very choice of colors and the contrast that is created between them are an element that allows you to be drawn into the work. Yes, because those who observe this work are literally overwhelmed by the movement created inside and out and by the energy it emanates.

諦天

Art Curator Silvia Grassi


Paccan

諦天 - TAITEN


Paris Sergiou

Paris Sergiou exposes “I - The world revolves around me” at the M.A.D.S. Art Gallery: as well as reminding us of the title of the exhibition, the artist wishes to pay homage to everything that surrounds him, every mood, emotion and perception. As can be noticed, the theme of lines is fundamental: they overlap and materialize from every corner of the canvas. By following the principles of geometry, each segment overlaps the other, crossing the entire painting vertically and horizontally. All this dynamism succeeds in expressing not only Paris' feelings, but also those of the viewer, who finds himself/herself immersed in the labyrinth of lines. The abstract, minimalist figurative language adopted by the artist recalls certain works from the early 20th century, such as those of Vasilij Kandinskij. Paris emphasizes the relationship between the different undulations and the color, engaging the viewer's attention. His painting evokes immaterial atmospheres, managing to go beyond three-dimensionality, shaping a tonalism no longer linked to the naturalistic depiction of elements. In this way, there is a great strength that comes not only from the lines but from each shade representing a particular segment. Therefore, blue, red, purple, black and other shades blend and alternate as if in a dynamic and continuous sequence. Everything emanates a luminous energy that is amplified especially towards the center of the work. The simultaneous vibrations give rise to a reality that shakes the viewer's soul and frees his/her moods. The audience is captivated by the immensity of this composition, as well as by the geometry of the image and the homogeneity of each line and color, which induce the human mind to embark on a spiritual journey through Paris' art.

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

Art Curator Alessia Perone


Paris Sergiou

I - The world revolves around me


Pascale Doumeng "Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep." (Scott Adams) Pascale Doumeng is a whimsical and talented French artist living in Bali. The most appreciable trait at the base of her artistic creations concerns a firm will not to adapt to a standard or a predefined trend. And in fact, approaching a work by Pascale Doumeng means shaking off the preconceptions about what today is considered artistically "valid" or deserving. The artist herself shuns any label of belonging to a specific school or style, to summarize in the space of the canvas that freedom of expression and independence that art should always convey. The work External circumstances, presented for the exhibition "I - The world revolves around me", fits perfectly into this logic, with a visually fascinating and unconventional representation. The ambition for originality is also perceived by the choice of materials that create the composition, including powders, varnishes, waxes and pastes, as well as by the style of painting itself, which moves away from a canonical brushstroke to embrace painting techniques used by the builders. The artist, therefore, works on the large wooden support the colors in an unpredictable way, choosing daring and unusual combinations that create a real "texture". From this colorful and frenetic background, the refined contours of a female figure emerge, outlined in an extraordinary purity of lines, in stark contrast to the swirling colors of the wooden panel. The viewer's attention falls rapt on the features of the face, from the big eyes to the lips parted in a smile, focusing more and more on the emotional contribution generated rather than on the technical and stylistic implications. The essentiality of the depiction of the figure seems to be an invitation from the artist to abandon oneself to a sentimentally participated contemplation, and to be surprised by the joyful pleasure of giving vent to a personal interpretation, without any conditioning by a predetermined exegesis. The extraordinary combination of daring technical elements, therefore, is only the starting point for reaching a complexity of meaning that reasons on the very nature of art. Pascale Doumeng's noblest goal is to shy away from explanations about her works, and to point out her own unique individuality in a communicative and universal art, which transcends logic and the inadequate language of words.

Art Curator Chiara Rizzatti


Pascale Doumeng

External circumstances


Paul Hartel

Paul Hartel is an extremely dynamic and flexible artist, his greatest artistic expression is rooted in abstract expressionism and neo-expressionist styles. Hartel works mainly by drawing and painting with the use of oil colors, acrylics, oil pastels and charcoal. The artist is again a guest at an exhibition organized by M.A.D.S. Art Gallery, on the occasion of "I - The World Revolves around me" he exhibits three works that bring to mind the works of De Kooning and Wool, among others, colors, instead make the mind fly directly to Pop Art. The goal Hartel's last is to get straight to the heart of the viewer, retracing the poetics of Leopardi's Child, the artist paints leaving as the protagonist his inner child who he believes is present in each of us. Paul Hartel paints and creates in an impulsive, instinctive and spontaneous way and we see this from the drafting of the color and the stroke with which the artist paints. Lines and shapes are what give real life to the work and Hartel, aware of this truth, gives great importance to experimenting with new lines, new features and new forms. The works of art on display recall the primitive act of drawing, the one that belongs to children, simple but immediate figures, vivid colors apparently not coherent but useful to express the artist's interiority, in the same way in which they are chosen by children. The immediacy of the works on display is what makes them powerful and extremely engaging.

Art Curator Martina Viesti


Paul Hartel

Dreams of Hers


Paul Hartel

First Eye


Paul Hartel

The Riddening


Perpétua Santos Silva "Art is the expression of the profoundest thoughts in the simplest way." (Albert Einstein) Perpétua Santos Silva is a self-taught artist residing in Portugal. Although she pursues a career as a sociologist, the love for art has been part of her interests since childhood, up to the point of expressing itself in the last years in the form of magnificent paintings of fluid art. Perpétua conceives the moment of artistic creation as a constructive and liberating therapy, in which the most positive and uplifting feelings can emerge in total freedom, and easing the weight of worries. In this sense, the unexpected shapes of the color that flows on the canvas contribute to making each artist's work a unique and unrepeatable combination just like the sensations and inspirations that move the creative flair. But not only. Perpétua proposes her own personal interpretation and submits it to the observer, projecting the work on a higher and deeper level, which sinks its reasons into the sociological vocation of the artist. In Step Back to See Better the artist reflects on today's frenzy, which often proceeds too fast to dwell on the emotional needs of people, increasingly alone in their modern life. Yet the external stimuli are present, and are just waiting to be adequately contemplated, just like the creatures that populate the painting, among which the figure of a little dog in the upper part seems to stand out. From the dark tints of black and blue, powerful beams of blue, red and orange emerge that pierce the darkness of a darkened consciousness to reveal something new. A different point of view. This is a concept underlying the artist's production, and is also found in Colorful Chaos, whose title lingers on the meaning of chaos, inspired by the concept of the butterfly effect. The artist reinterprets this assumption in a more positive perspective, considering chaos as an opportunity to create something different and extraordinary, and thus taking maximum advantage even in the trembling uncertainty of the contemporary world. This is how art becomes magistra, an example to follow and an exhortation to listen to. Unleash your Wings and Be Yourself also offers an equally profound meaning, and is configured as a sort of modern carpe diem, an invitation to break away from the faded - and monochromatic - monotony of everyday life to hover proudly showing one's uniqueness.

Art Curator Chiara Rizzatti


Perpétua Santos Silva

Colorful Chaos


Perpétua Santos Silva

Step Back to See Better


Perpétua Santos Silva

Unleash your Wings and Be Yourself


Q-LINK The methodological practice of slowness and meticulousness are the basis of the technique of collage. The term derives from the French coller, meaning to glue, and consists of producing works on different supports, with materials such as all types of paper, from wrapping paper to sheets of newspaper, tissue, wallpaper, etc., but also fabrics, wood, metal, various fragments, stamps, banknotes, matches, plastics, containers, cigarette packs, used tickets and photographs. This possible multitude of materials is, in fact, glued but sometimes, in the case of more voluminous exhibits, fixed differently. The process gives body to compositions of various kinds and unplugged, to use a term dear to musicians that makes the concept perfectly clear. The rendering of the final image can be both figurative and abstract. The genesis of collage has distant origins: with the invention of paper in China, the technique of collage was soon linked to it, wise and meticulous, proverbially connected to the oriental world. However, it remained something more rare until around the 10th century, when calligraphers used to glue their poems on polymorphous surfaces, especially in Japan. We have to wait until the 13th century in Europe to see this method flourish again, differently declined: enriched with gold leaf, united in paintings and then, around the 15th and 16th centuries, in Gothic cathedrals, in icons and with the introduction of hard stones and gems used in sacred images and coats of arms. This was an interpretation of collage in a freer and fuller sense. It was precisely the protagonists of visual experimentation who, at the beginning of the twentieth century, took up collage again, inserting it into their own expressive language: Braque and Picasso, the Futurists, Dada, Bauhaus, the Constructivists and the Russian Avant-gardes, Max Ernst, Hannah Höch. The experimentation implemented by Q-LINK grafts directly into the twentieth-century matrix of collage, taking cues and building new ones. "Dependence" is an agglomeration of heterogeneous images of various kinds glued together to form a new image of complete meaning. The print of an engraving of a female profile is the incipit, the starting point from which to begin our journey. Her tongue is unbalanced outwards and behind it lies a chromatic and differentiated universe that is revealed to our eyes. Images of pink roses in full bloom, letters on a squared sheet, cuttings of cards and sheets all contribute to the creation of the interiority of the face depicted. We find ourselves exactly inside the woman's head: we can swim among her thoughts, observe how much they correspond to each glued piece of paper, understand what her desires, her fears and her needs are. Collage in this sense, is mimesis of something that in reality is impossible to decipher. Although Q-LINK takes up twentieth-century styles, the novelty lies in the sense of the use of collage and in the purpose of the same to tell not something that already exists in the world, but something purely imaginary. "Dependence" as a journey inside the human being protagonist of the work.

Art Curator Lisa Galletti


Q-LINK

Dependence


Qionghui Zou On the occasion of the first International Art Exhibition of 2022 entitled "I" The world revolves around ME, the M.A.D.S. project born in Milan but digitally (and today also virtually -Metaverse-) extended to all over the world, presents Qionghui Zou. She is a Chinese artist, now also a professor at the Academy of Fine Arts and a member of the Association of Chinese Artists. Qionghui's artistic repertoire varies from oil paintings to mixed techniques and installations, up to the latest approach to digital and interactive multimedia. The selection of three works that you decide to present at our exhibition are entitled "Dreaming Butterfly series 001" and "Transformation Into Butterfly series 017/021". These are three mixed media works, in which the main subjects come from the animal world. The discontinuous brushstrokes, evocative and rich in colour, recall the American artistic movement after the Second World War, called "Abstract Expressionism". It possesses an image of rebellion, anarchism, and along with numerous other characteristics, it becomes the first American artistic phenomenon with the cards in the rules to influence the rest of the world. The reinterpretation of this artistic technique, although this time, in oriental key, is always a combination of the emotional and self-expressive intensity of the German expressionists with the anti-figurative aesthetics of the European schools of abstraction. In addition, however, cicadas and butterflies respectively symbolize the rebirth of life and the world of the soul, which were used as a symbol of life and visual vocabulary in the creation of her works. Her series are the continuous sublimation of creation and the corresponding realm of life. "Qionghui Zou broke the line between easel painting and off-easel art, realistic art and abstract art, and in the end, she formed the original oriental abstract expressionism and her works show the charm and unique characteristics of the Oriental art."

Art Curator Carola Antonioli


Qionghui Zou

Dreaming Butterfly series 001


Qionghui Zou

Transformation Into Butterfly series 017


Qionghui Zou

Transformation Into Butterfly series 021


Rachrubenhart

Rachrubenhart is an artist who puts all of himself into his art. For him, art is a means of express what he cannot say in words. Art has always been an expression of the artist's interiority, of his deepest emotions, of his struggles. It represents the need to tell a story, to create something that is understood and shared. The artist, creating a work of art, detaches himself from himself, coming into contact with his own unconscious, allowing the elaboration of his own past. With each creation he knows a part of himself, his past and his present. He's not afraid to show the most vulnerable part of him. His is a constant struggle with his psyche, against an invisible disease that doesn't want to give up. In his work he doesn't hesitate to insert his body as well. Matter and skin merge giving life to very engaging works that capture the viewer thanks to the strength of feelings. "Sourire" is a work that fully embodies the artist's struggle with himself. The canvas is the representation of his mind, when psychological problems take over.


Rachrubenhart

The work resembles a deep crack that forms after the earthquake. The green expanse, which represents the mind, crumbles, revealing the black background. The artist plays with various materials: clay and acrylic to give three-dimensionality, giving more depth to the background. Like a deep abyss in which one is afraid of drowning. The artist struggles with the fear that his sick mind will take over, a hold that can no longer be hidden by a smile. The inner struggle is not only about the mind but also the body. In the work "Évidé" we find the superimposition of two canvases. The first is torn and leaves the second canvas uncovered. They depict the artist's armor, now destroyed by the blows, which leaves his wounded body uncovered. The artist 's ability to overcome the artistic canons, beyond the mere painted canvas, makes the work more alive and transports the viewer to sufferings and sensations that he has never experienced before.

Art Curator Lucrezia Perropane


Rachrubenhart

Sourire


Rachrubenhart

Évidé


RainbowJAM.art

How many shapes and colors can we use to talk about ourselves? And how much to talk about the world around us? These could be the questions beyond the composition made for the international art exhibition “I” the world about us'' by the artistic project RainbowJAM. In fact the ends that have contributed to create this artwork are four, those from two artists. This means that the tale created by the painting is the story of two persons that together with the shapes and the colors on the canvas, want to create a story. The results seem to be a texture where every detail wants to communicate us about these two artists. The color fills every space of the canvas, the vision becomes more complex and detailed as if each formal choice corresponds to an exact intention of the artist. This kind of process seems to talk about a desire to communicate. As if there was something that pressed from the inside to escape and explode on the canvas. This idea also reminds me of the technique used for the composition. As they say, the artists have used a lot of means and the hands to create the artworks. This tells us about a desire for expression. As if to say, I have been silent for a long time now it is time to talk. Like after a lot of apnea you have an excessive need for oxygen. The oxygen that gives life is the art and all the colors put on the canvas. That is the way the title says the painting becomes a window to infinity.

Art Elisabetta Eliotropio


RainbowJAM.art

Window to Infinity


Ric Conn

Ric Conn is an American artist who creates works of art as an expression of the world and society in which we live. For Conn, art is the highest form of expression and is the fundamental tool for recounting and denouncing controversial issues such as social inequalities, empowerment and psychological conditions. Conn's artistic production can be considered a real psychological art, a story of the social, cultural and human cross-section without sweetness. The greatest influence for the artist is expressionism. At the exhibition organized by M.A.D.S. Art Gallery, "I - The World Revolves around Me" exhibits five works whose central theme is the psychological dimension of the human being. "Manic Depression" is a very crude and extremely powerful work, as the artist explains, the work refers to Bipolar Disorder: depression is represented by the girl lying down with her eyes open, but dull, while the manic state is represented by same girl behind her with a hallucinated look, as a background only black. Conn expresses this disturbance with great skill and allows the viewer to understand, in a simple way, the effects. "Metamorphosis" tells the change, the inevitable modification of oneself, due to growth, life and the decisions we make, Conn leaves the girl's face intentionally unfinished to make us understand how slow the process is before we can see the results real. It is evident that the central theme of Conn's works is the woman, which he considers the protagonist, he places her at the center of his works of art as a celebration, he tells their difficulties as in "Ferris wheel "and" Spider web ", but also their strength, decision and security as in "Reunion".

Art Curator Martina Viesti


Ric Conn

Ferris wheel


Ric Conn

Manic Depression


Ric Conn

Metamorphosis


Ric Conn

Reunion


Ric Conn

Spider web


Risa Shimauchi "Art enables us to find ourselves and lose at the same time." (Thomas Merton)

Risa Shimauchi is a young and talented Japanese artist who is able to create amazing, innovative and contemporary artworks, reinterpreting and making traditional elements her own. Risa uses an extremely refined and difficult technique, pointillism. It is the use of colour through the juxtaposition of contrasting and juxtaposed chromatic dots in such a way as to bring out a design and contours. The colours enhance and complement each other. Seurat, theoriser of this technique, broke away from the Impressionists and moved closer to scientific theories and studies on the potential of light and pigments. With patience and precision, Risa brought together Western tradition (by taking up the pointillism technique) and Eastern tradition (through the subject). Elegance and refinement are typical elements that have characterised Japanese art, as are architectural and environmental subjects. The gesture is fundamental, as is the search for light and contrasts. The effect Risa achieves is beautiful, surprising and elegant. The architecture slowly emerges from the background, the perspective is right and everything is proportionate and balanced. Behind this artwork is a careful study of composition and structure. The result is magnificent. While the background is a darker, brownish hue, the pagoda emerges in brighter, lighter colours turning to yellow. The artist's research is by no means obvious, but rather original and laborious. Several elements come into play in the painting process that leads to the creation of such a work of art. Risa proves to be a bold, patient, precise and meticulous artist. The dots are tiny, juxtaposed against each other and enhance each other. All the elements together create a harmonious and exciting result. Risa creates a meeting point between East and West, using colour and art, universal symbols, as the key to interpretation. To this mix of cultures, she adds her knowledge of technique and the history of art and architecture, combined with wonderful artistic gestures and a skilful use of the brush and shapes.

Art Curator Ilaria Falchetti


Risa Shimauchi

Toji Pagoda


Roel G Cabulang “You must have chaos within you to give birth to a dancing star.” (Friedrich Nietzsche)

The artworks by Roel G Cabulang, a contemporary artist of Filipino origin, are immediately linked to an artistic expressiveness influenced by an abstract language. His profound sensitivity leads him towards introspective research, where art becomes a place for self-reflection and a moment of intimacy, in which the sound of painting reconciles listening to oneself. In the triptych presented at M.A.D.S. Art Gallery on the occasion of the exhibition "I" The world revolves around ME, intense whites and blacks, in the form of sinuous bands, extend over the canvases, communicating a visual dynamism that is as energetic as it is gentle. These canvases, part of the "Internal Monologue" project, are true emotional journeys in which the painting becomes a meditative tool. A spasmodic need to give meaning and order to one's sensations. The visual result is reminiscent of the scraps left by a pencil after it has been sharpened, opening up the observer to a vision of softly curved circles whose texture brings to mind wood. In fact, some of these paintings look like photographs of sectioned tree trunks, whose rings are nothing more than a fabric marked by changes. Indelible traces of a past that the artist has lived, now memorized on his canvases. Trunks of a life whose emotions now look back at us wrapped in the absence of colour, hinting at the difficulties of a complicated past. Roel G Cabulang's art is like a diary of experiences recorded with constancy, in search of a connection with the observer, to remind him how important it is to listen to oneself and one's inner voices.

Art Curator Francesca Brunello


Roel G Cabulang

Internal Monologue (#2)


Roel G Cabulang

Internal Monologue (#3)


Roel G Cabulang

Internal Monologue (#4)


Rosana Friederichs

Three memories are presented, three characters portrayed by an aware, private and sultry woman. A woman whose strength led her to never die and remain as a collective memory, able to live whenever life reminds us to be brave. Do not be afraid or ashamed of your power. You are meant to be seen. Rosana Friederichs presents “Marilyn Monroe I”, “Marilyn Monroe II” and “Marilyn Monroe III” for the “I, The world revolves around ME” Art exhibition at M.A.D.S. Art gallery. “I've never fooled anyone. I've let people fool themselves. They didn't bother to find out who and what I was. Instead they would invent a character for me. I wouldn't argue with them. They were obviously loving somebody I wasn't.” Marilyn Monroe, is a story of not being scared of bold decisions. Three portraits are presented to humanize sadness and power at the same time. The artist depicts a woman with decisive strokes as a calligraphy presenting her story. Each stroke is a tear of sadness and happiness. Rosana Friederichs chooses Marilyn’s memories as the words of her story surrounded by color strokes to remind us of the stillness of life. Three portraits carry the responsibility to portray her private life, her private love and her private smile. Private portraits of Rosana by Marilyn.

Art Curator Karla Peralta Málaga


Rosana Friederichs

Marilyn Monroe I


Rosana Friederichs

Marilyn Monroe II


Rosana Friederichs

Marilyn Monroe III


Rosemary Burn

Rosemary Burn is a figurative artist living in the United Kingdom. During her career she has exhibited in Italy, Germany, the United States and the United Kingdom. The work of art "Looking down", exhibited by Burn, guest for the first time at an exhibition organized by M.A.D.S. Art Gallery on the occasion of "I - The World Revolves around me", recalls a clear influence from impressionism, in particular from Mary Cassatt's work "Woman with a pearl necklace on a stage". The atmosphere is sweet, simple and clear, the absence of real contours is extremely reminiscent of painting en plain air, but above all the dignity of the common day brings back to that artistic philosophy of the Impressionist artists. "Looking down" tells a still moment in time, an instant that is immortalized by the artist thanks to her pictorial ability, the atmosphere that is created is enigmatic, the brushstrokes are fluid and give an almost velvety effect to the work, the lights and the shadows provide that three-dimensional vision that makes the work alive and full of pathos. The absence of a figurative background allows the girl subject of the work to be observed in every small detail, brushstroke, line. The artist empathizes with the subjects she represents, this allows her to be extremely communicative, internalizes a state of mind, the reason for an action, an attitude, she understands them and making them her own is able to transmit them in a clear way to those who are lucky enough to observe her works.

Art Curator Martina Viesti


Rosemary Burn

Looking down


Ryan Walters "Art does not reproduce what is visible, but makes visible what is not always visible." (Paul Klee)

Emotional exploration is what Ryan Walters aspires to as he begins to generate a work of art. Always vigilant not to be overwhelmed by the sensations and emotions that surround him, at the base of Ryan Walters artistic poetics coexists the desire to question and analyze the personal emotions connected to his own life and position in the world. The canvas, used as a neutral space, welcomes the extravagant and dreamlike representations of the artist, designed to entice the observer to embark on an introspective journey. The interiority of the artist and the observer approach and confront each other, almost as if it were a dance, generating a precise connection which, for the artist, translates into representations on the verge of reality.

Art Curator Federica Schneck


Ryan Walters

The Pale Blue Dot Moves


Sabine Ducarn “I often use blue because it creates a poetic distance from real life, a bridge to the imaginary.” (Sabine Ducarn)

On the occasion of the first International Art Exhibition of 2022 entitled "I" The world revolves around ME, the M.A.D.S. project born in Milan but digitally (and today also virtually -Metaverse-) extended to all over the world, presents Sabine Ducarn. Particularly interested in nature and animals, the main feature of her artistic concept revolves around the monochrome of the blue colour, through which she identifies most of her works. The history of blue as a pigment to create works of art has very ancient origins: we find it in the Egyptians made with lapis lazuli and used to paint the most precious jewels and in medieval paintings as a pigment and as a royal colour. Blue is one of the colours of the spectrum perceivable by the human eye, classified as a "cold colour", the colour of the sky, of the night, of the sea, the artists have used this colour on their canvases in all its shades. Despite the refined 18th century oil painting technique that the artist learned at the prestigious Van der Kelen school in Brussels, this detail created a poetic distance from the reality, complexifying the artistic thought and psychological quality of the final product. The selection of the three works that she presents in the exhibition, each of which entitled "King Kong", "Le Plongeon (The Dive)" and "Tarzan", are oils on linen canvas. Initially, it was a jungle book project, which then began to take over and analyse Sabine's feelings and emotions, which she had been carrying within her for a long time. As she began the first painting, she realized the importance of what she was dealing with, namely that of forest animals, endangered species and the ecological situation that worsens day by day. Each of her works is a manifesto of attention, sensitivity, and responsibility, which should begin to be part of each of us.

Art Curator Carola Antonioli


Sabine Ducarn

King Kong


Sabine Ducarn

Le Plongeon (The Dive)


Sabine Ducarn

Tarzan


SallieOart “Life isn’t about finding yourself. Life is about creating yourself.” (George Bernard Shaw)

Having the courage to change direction, take the risk of living a new adventure. Art thus entered the life of Sallie, a contemporary artist based in Maryland. At a time when reality was putting her to the test, she felt the need to escape and this she managed to do thanks to painting. For her, art means salvation, selfexpression, freedom. Her abstract works are the mirror of every facet of her personality, of the thoughts that crowd her mind, of the emotions that make her feel invincible. “Manifestation” was created in 2021 with mixed media technique - charcoal, acrylics, pencils, markers on canvas. The main colors of the work are black and white: opposite colors with opposite meanings. Light and dark, purity and vice, joy and pain. Broad brush strokes and thin strokes alternate creating an interesting effect. For the artist, this painting has a profound meaning: overcoming limits, going beyond the conventions that keep us chained, accepting oneself on every side. "Manifestation" wants to be an invitation for viewers not to be afraid to show themselves for what they are, to change when they understand that the path they have taken does not lead to a right destination for us. The famous Irish writer George Bernard Shaw states that life is not about finding oneself, but about creating oneself. Through her works Sallie spurs viewers to set out on a journey within themselves in search of the true essence.

Art Curator Camilla Gilardi


SallieOart

Manifestation


Sana Banouri

Sana Banouri uses art and especially painting as a means to express both the nature that surrounds us with all its varieties of perfumes, colors and textures, and what she really feels. In her works, therefore, feelings and nature blend together, giving birth to abstract creations that touch the viewer in depth, arousing curiosity and admiration in him. Her works are characterized by a rather flat use of color, laid out without following a preparatory drawing, but still in a well-reasoned way. The outlines are almost never marked and the compositions assume a gestural aspect: it is the hand and the eye of the painter, more than a well-defined project, to guide her work. Sana Banouri tries to fully understand and reproduce what surround us, therefore the forms that we can see in her works are reasoned research on how to best make the "essence" of the chosen subjects. Compared to the other two works under examination, "Challenger Deep" has light and blurry brushstrokes that let glimpse the canvas below. Here, Sana Banouri chooses to use the three primary colors (red, blue and yellow) and combines them with black, the color that contains all the other colors, thus creating a game of contrasts between warm and cool tones of great scenic effect. From the deepest point in the ocean, we pass to the sky with "Orionid Meteor". Here yellow, a color that evokes excitement and dynamism, steals the scene from the other colors, jumping more to the eyes of the viewers. The elements present on the surface of the canvas form an articulated structure in which the "star" seems to be in the foreground while the rest become the background. In "Let The Wind Caress Me", finally, oblique, curves and broken lines dance together with the colors, and different textures creating rhythms now calm, now nervous, so perfectly managing to make the absolute freedom of the wind. The Canadian artist has found in abstract art and mixed acrylic technique her expressive medium, having fully understood the power of color and showing that she is fully capable of using the infinite potential of abstract art.

Art Curator Francesca Catarinicchia


Sana Banouri

Challenger Deep


Sana Banouri

Let The Wind Caress Me


Sana Banouri

Orionid Meteor


Sandra Stavenor

The art of Sandra Stavenor, a Swedish artist, finds inspiration in the lands of Arvidsjaur Lapland, a town in northern Sweden, located in the county of Norrbotten, where her family resides. Her paintings celebrate her place of origin, capturing the beauty of the landscape and her sweet memories of her childhood made of long winter walks and raspberry picking in the summer with her grandmother. Man has always sought contact with nature, attracted by her beauty. Art arises from the need to create a bond with it, capturing the sensations that emerge when looking at a sunset or sunrise. The most beautiful works of art were born from the observation of nature. We learned to love nature by observing Monet's water lily paintings, Renoir's landscapes, Van Gogh's starry night. In Sandra's "Northern Lanpland" the landscape is transformed, it is no longer something concrete and physical, but something of abstract and decomposed. We are facing a winter landscape, we realize it from the use of neutral colors such as white, brown, dark blue. The artist manages to represent the tranquility and calm of a cold day, when everyone is sheltered in their own homes. Everything is still and peaceful. From the ripples of the canvas we can perceive the mountains rising above the fog. In the artist's brushstrokes, in the way she places the colors on the canvas, intimate emotions are hidden, which go beyond the idea of ​the beauty of nature. In Sandra Stavenor's landscapes we perceive the emotions for her memories and the love for a land that is the home of her family. Contemplating nature helps to express these feelings. In this case it is easy to ask whether it is art that brings man closer to nature or whether nature brings man closer to art.

Art Curator Lucrezia Perropane


Sandra Stavenor

Northern Lanpland


Sara Tohme “He stepped down, avoiding any long look at her as one avoids long looks at the sun, but seeing her as one sees the sun, without looking.” (Leo Tolstoy)

Lebanese artist Sara Tohme paints pieces of everyone around her. She paints faces and she craves faces. She wonders about the origin of a face, about its existence as such and unique. A face as a separated element that stands alone from the body and its earthly context to fluctuate in the intensity of the flat bright solid colors of the background like a bare theater stage. Looks of dramatic expressiveness, full pastel colors that pierce the two-dimensional surface of the image to perform their work of intrusion.


Sara Tohme

A spectator public of everyone’s life that enforce itself as protagonist through the author’s hands and creative imagination, at the same time in this body of works can be seen an intrusive gaze of the artist who does not accept the usual habit of lowering her eyes in front of the other but tries to capture the story by transforming it into an aesthetic tale for her own use and consumption. The artist's works restore history and dignity to the faces met on the street every day. In Tohme’s choices of titles we find Look at us as outset, a direct message from the portrayed subjects, a declaration of intent by the artist: let's look at ourselves. Not only are these paintings enlightened by great aesthetic strength and easy to enjoy, but we are faced with the magic that occurs in front of the work of art: multiple points of view coexist and force the viewer to bring out his own instinct and his own natural predisposition to trust. The question that comes to mind is: will I keep the look?

Art Curator Erika Gravante


Sara Tohme

Look at us, we're together at last


Sara Tohme

We are all struggling under the stars


Sara Tohme

Trying to fit into a vase


Sara Tohme

Look at us, we're in love after all


Sari Annelie Larsson "Art is a line around your thoughts" (Gustav Klimt)

Sari Annelie Larsson is a painter born in Finland and living in Sweden. Her art is inspired by the calm and the happiness that painting gives to her. At the “‘I’ The world revolves around me” exhibition hosted by M.A.D.S. Art Gallery, Annelie presents two works. The first one, named “Together Forever”, is an acrylic painting with silver leaf metal. This work is a true explosion of light: thanks to the prevalence of the gold colour, the viewer is hit by all the light of the painting. It’s a hymn to joy and the title of the work encourages us to remain united, an union suggested by the lock at the centre of the composition.


Sari Annelie Larsson

The second artwork in the exhibition is named “The Light of Love”. It shows us a woman from behind with nice long hair in a braid. This painting is full of harmony and joy and the inspiration to Gustav Klimt’s work is clear: the prevalence of gold thanks to the use of gold flakes gives great brightness to the scene. On the body of the woman falls a golden rain, as in the “Danae” of Klimt, from which transpires the same serenity and peace. The artist’s sensibility gives us a harmonious world that is a mirror of the artist’s inner self which is a source of her creative expression.

Art Curator Federica Acciarino


Sari Annelie Larsson

Together Forever


Sari Annelie Larsson

The Light of Love


Shannon & Knappy Fogle

“Attracted to the blank canvas, with no restrictions' '; “Whether it be Painting, Photography, Digital Art, or a combination of all 3, she is driven to push the limits of her Artwork”. These are two sentences that define the artworks and the artistic techniques of – respectively – Knappy and Shannon Fogle, two artists who, for the current exhibition ‘I the world revolves around me’ have decided to join their abilities and to share their collaboration, in all aspects of the word. At M.A.D.S. Art Gallery, Shannon and Knappy present their respective paintings, showing their own artistic skills reaching, finally, a unique piece. ‘Beauty and Chaos’ realized by Shannon (Byers) is part of a series of five paintings, a digital art painting, created from a photo and its different transparencies. The main character is the Beauty represented by the female body on the right side of the scene while fighting against the Chaos and all its strength. This piece is a sort of representation of the present society, in which Beauty symbolizes the single individuals and the Chaos the society, with its rules guiding their lives. The chaotic and frenetic background is well defined in its details and multitude of elements that well define the idea of disorder. With this painting, the artist shows her personality, her feelings and emotions inviting the viewers to approach her art. A different style is the one used by Knappy Fogle in ‘The whisper’, a piece in which the demons that live the artist’s mind are represented through the female form. Defined in this contours and colours, the scene shows two subjects that, in this case too can be considered as the personification of the society (the demoniacal one) and the single individual, the young and pure lady - dressed in pink – almost subjugated. The use of an undefined background is something strategic that the artist uses to focus the viewers’ attention on what he wants to express. Both the artists have taken part in the creation of a Unique painting showing the collaboration of different approaches to artistic techniques. ‘Heart and Bones’ is in its whole the final scene of what they have transmitted with their previous paintings: two different people, intertwining, both bringing value, creativity and love, come together as one.

Art Curator Martina Stagi


Shannon & Knappy Fogle

The Whisper


Shannon & Knappy Fogle

Beauty and Chaos


Shannon & Knappy Fogle

Heart and Bones


Sharn Bassi

Canadian artist Sharn Bassi, known for her abstract works, presents at M.A.D.S. Art Gallery two works entitled "Callul" and "Unobstructed". Both are made of acrylic on canvas and offer the public two types of sensations. The first one examined is "Callul" which the artist describes with these words: “It is an exploration of the artists own internal traumas, moments of clarity, and moments of darkness through the healing journey.” These dark sensations are perceptible by the colors: black, purple, green and blue - all cold colors - join the white, mixing and changing. They are stretched by the artist on the canvas through vertical brushstrokes. The charge of the gesture is evident. Sharn Bassi imprinted on the canvas her emotions, in a certain sense she placed herself in the current of Abstract Expressionists who gave particular importance to the force of the gesture rather than to the subject. The contrast that is created between the darker and lighter parts allows us to glimpse the presence of contrasting emotions, a dualism between good and evil. Sharn Bassi then launches a message of hope: following every trauma there is an opportunity for growth and rebirth.


Sharn Bassi

The second work is more lively in terms of color. "Unobstructed" starts from this question that the artist asks herself and her audience: “What awaits you when you remove the obstructions that you've always allowed to block your view?”. It refers to the feeling that you feel when everything that prevented you from seeing disappears, the feeling of when you change your point of view and you acquire previously unknown truths. The canvas is in fact more dynamic than the previous one, the brushstrokes are softer, a lot of color is left to flow naturally. The palette used ranges from white to black and from magenta to ochre. The colors create a sweet harmony between them. One of Sharn’s great abilities is undoubtedly to create harmonic combinations, able to lull and transport spectators on an emotional journey.

Art Curator Giorgia Massari


Sharn Bassi

Callul


Sharn Bassi

Unobstructed


Shereen Nasr “I’m in love with nature, abstract paintings, and portraits. My Art Studio is where I feel at home. Whenever I start mixing my colours, adrenaline rushes and magic spreads inside and I feel passionate, peaceful, and free.” (Shereen Nasr)

Shereen Nasr is a self-taught Egyptian artist who manages to convey the passion and the influence of her Pharaonic heritage and Mediterranean nature. Her passion for art has always been alive, and it is constantly expressed in her works where the artist delights in using different media and techniques. In her style we can find the constant of transmitting images and representations with positive, lively and colorful vibes. For the exhibition "I - The world revolves around me", organized by M.A.D.S. Art Gallery, Shereen Nasr decides to exhibit her artwork entitled "Eternal dance" which fully embodies her artistic vein. Located on a dark background, a female figure emerges with vivacity of colors as the main subject of the work. The features of the woman, as well as the tissue of her colorful dress, give the painting dynamism and a sense of continuous movement, underlining the title of the artwork. Like a phoenix, the protagonist dances in the dark, as if she had emerged from difficult times and had regained her life in a frenzied dance. Without caring, the protagonist does not give her face to her observer, emphasizing the great determination and independence of the subject depicted. The chromatic features of the dress contrast strongly with the rest of the canvas, as if it is the real protagonist of the paintings. Actually, the dress looks almost as if the subject had created it herself by positive thoughts. If we immerse ourselves in grasping the features and chromatic gradations, we can immerse ourselves in a world of positive, lively feelings that give freshness and energy to the eyes of the beholder.

Art Curator Angela Papa


Shereen Nasr

Eternal Dance


Sho Yamagishi A calm painting. A chromatic palette that accents directly from the natural world. The color is soft, the line is defined and never broken. Like a serpentine stroke, the line wanders through the dove-colored backgrounds outlining the represented person each time. Looking at Sho Yamagishi's works, one has the impression of observing a low-contrast world, where every color mixes with the others according to a precise harmony. There is no stridor, just as there is no violence in the painting. There is no particularly incisive stroke and the chromatic material is well bonded to the support, without any particular reliefs or hollows. It is a gentle painting, placid and balanced. Yet why, when observing the artist's works, do we perceive a sense of restlessness? Watching those earthy colors blend to form the represented, we can sense within ourselves a hint of inner disorder. We can sense that such rounded, gentle shapes actually hide a dark side, something that is hard to decipher but jolts our souls. Like the placid surface of a body of water, these works show themselves to the viewer as extremely refined works, elegant in their modulation of tone. Yet, something urges us to look beneath the surface, to dip our heads beneath the water's surface to understand what and what worlds lie below the surface. Above a backdrop characterized by taupe tones a figure reclines at one corner of the representational space. The physiognomy and the position of the portrayed half-bust give us the idea of a tired individual, so sluggish as to half-close his eyes with a gentle movement. Head, nose, forehead, hands and gaze are clearly visible to the viewer. They, with their reddish color rendering, warm the grayness of the taupe backdrop and give the figure an inevitable sparkle of life. The sanguine nature of that color animates the skin of the represented individual, enclosing - like a wrapping - what is inside him, what he is thinking behind his eyes. And then there is nothingness. The face seems to be cut in half. A large black spot invests the represented nullifying any kind of light, any kind of vital force that the blood color emanates. The individual seems to be struggling, seems to want to escape from this black cavity. The large hands look for a foothold to escape the darkness. It does not want to be encompassed and become nothing, it does not want to be eaten by the void to cancel its existence. Yet, we try to understand the origin of this black space. This dark spot has the same physiognomy as the body of the man portrayed and, like a garment, it covers the man's neck, shoulders and chest. The black spot is part of him, the dark spot that he is repelling so much is actually originating from his most hidden interiority. He is the bearer of the darkness that, in In a Hollow, is revealed to the viewer. Sho Yamagishi produces works that tear apart the soul of the viewer and then put the pieces back together again.

Art Curator Lisa Galletti


Sho Yamagishi

Float


Sho Yamagishi

If I can fly


Sho Yamagishi

In a hollow


Shubhangi Singh Srivastava

The Indian artist Shubhangi Singh Srivastava defines herself as an expressionist artist and in fact she expresses, through painting, moods and emotions rather than objects and landscapes. She pays attention to introspection, to the way individual and collective sensitivity captures the world. In her works abstractionism and figurative mix and balance perfectly with each other, so that the colors arouse and transmit the emotions, while the subjects represented bring the spectators to reality, not making him lose himself inside the beauty of the canvases. “My focus, therefore, has always been in using a plethora of colours and blending them together to create a story of their own.” says the artist, aware of the power of art as an expressive medium. In both works we can admire lotus flowers: representation of purity and rebirth, they grow in muddy environments, but are not compromised by it; their beauty remains untouched.


Shubhangi Singh Srivastava

The artist places these flowers between green and purple "clouds" in "Connection", while golden brushstrokes stand out in the composition going to embellish the entire canvas. Even in "Light" we can admire golden brushstrokes, but, compared to the first work, they appear more delicate and, at the same time, more material. The light "sobs" on the canvas and the brushstrokes move before our eyes. In a rhythmic dance full of positivity, everything lights up and comes to life. Shubhangi Singh Srivastava demonstrates that she possesses both fantasy and technique: fantasy is linked to the ability to see the world through the eyes of a child, the technique is instead the result of study, awareness and knowledge. The union of fantasy and technique in Shubhangi Singh Srivastava gives life to deep and light works, wonderful and magical without any doubt.

Art Curator Francesca Catarinicchia


Shubhangi Singh Srivastava

Connection


Shubhangi Singh Srivastava

Light


Shuri Fujikura Chromatic deflagrations stand out in front of our eyes. Stains, drips, defined elements and spaces in which the tones are inextricably mixed, produce a composition that permeates the view of the observer, staining it irreparably. The canvas has lost most of its immaculate whiteness. Its texture, soaked in pigment, yields its white patina to the creative flair of the artist. Stain after stain, incrustation after incrustation, the work slowly takes shape and, as if dictated by an impetus impossible to stop, it moulds itself on the support forming an unprecedented imagery. Two-dimensionality yields to the power of color that creates lumps of chromatic material. The pigment, tired of being represented as a flat element, clumps on the canvas forming a jagged surface. And so it is that, looking carefully at the work, we can imagine touching it, skimming with our fingertips the soft serpentine lines, the rough reliefs, the dimples and the rises dictated by the material. The fingertips flow and at the same time images are outlined, almost archetypal figures that emerge from the sea of color that characterizes the represented. In "The Saviour" the silhouette of a skull is outlined in the center of the composition. The expressive power is enormous and its shape as well as the chromatic rendering make it the protagonist of the work. A skeleton with reddish and dirty tones welcomes two large eyeballs: it seems that they are about to explode at any moment. Concentric circles of blue, pink, green, red and purple form the irises of the protagonist of "The Saviour" and the chromatic explosion deflagrated by the eyeballs expands towards the representative space forming bubbles of color that resemble shock waves. The skull shouts, screams with all its strength while its eyes infuse the world with color. Below it, the outline of two hands. Violet and impeccably cared for, they frame the profile of the sinister protagonist giving the image a mysterious impression of solemnity and religiosity. Eyes like chromatic deflagrations and "Bug Girl" is no less so. The canvas is almost entirely occupied by two large eyes that stare at the viewer. Coming from a pop imagery reminiscent of anime and manga, these eyes appear in relief and lying on a chromatic sea formed by globiform elements. The face that houses these eyes is extremely ethereal and polished, a peculiarity that almost clashes with the multicolored globular hair and the big smile that reveals a large pink tongue. The Girl smiles at us. But it is an ambiguous smile, a laugh that conceals the identity of the portrayed figure, making her enigmatic and literally indecipherable. Shuri's universe is an explosion of color, a world where the pictorial matter is shaped and molded according to the artist's imagination. It is the pure image of the deflagration of creative illumination.

Art Curator Lisa Galletti


Shuri Fujikura

Collapse


Shuri Fujikura

The Saviour


Shuri Fujikura

Bug Girl


Sieglinde Van Damme

Sieglinde Van Damme is a multi-disciplinary artist, in her work regardless of the chosen media, she translates the constant process of defining and redefining visual realities. “Sometimes I forget what I was like originally” is a single channel video exposed in “I - The world revolves around ME” at M.A.D.S. Art Gallery. Using the concept of parallax, an apparent change in the position of an object as a consequence of a change in the position of the observer. During the vision of the work we are led to the discovery of the Self, not only of the artist but also ours. Emotions and feeling emerge, we try to hide them from the outside world but at the same time we want to expose our inner truth, which most of the time it is unknown even to ourselves, and the search for one to align to the other is the constant struggle, that never ends. There are thoughts, feelings, sensations that aren't always clear, the artists uses the eyes as her object of communication with the audience, one that it’s still and the other that moves around, faded, that it wants to predominate and go out to be free. In her creation she develops a path to someone's inner soul and have access to their constant fight of finding a balance with their subconscious. There’s no music or sound, this is a strategic choice as it creates a sense of embarrassment, providing a more powerful sensation to the pieces, because it can replicate also what happens in real life when we want or try to completely be honest with another person, sharing our deepest thoughts. While watching you are almost forced to remove the look from the screen, because footage can create an intimate sphere, that anyone could breach. Forcing to questioning about your own feeling and thoughts.

Art Curator Alessia Procopio


Sieglinde Van Damme

Sometimes I forget what I was like originally


Siegmund Angyal "If I could put it into words there would be no reason to paint it." (Edward Hopper)

The search for individual identity is strongly present in the history of art in the 20th century. The avantgardes that are created are true representatives of opposite and complementary personalities. Painting often finds winding roads in the soul of artists and becomes the maximum expression of what is hidden in the heart of each of them. For the artist it is much easier to discover the feelings and nuances of others than their own and the search for one's self becomes a real journey into the deepest abysses of one's awareness. In 1949 the painter and poet Gastone Biggi used for the first time the term "abstract realism" which tends to converge the two currents of realism and abstractionism in a single meaning, bringing to the surface for the first time a new aspect of painting. These two apparently opposite terms find a meeting point in Biggi's painting who, using the magic of abstractionism, demonstrates aspects of reality thanks to an almost fantastic facet. In this limbo we can find the style that Siegmund Angyal gives us in this triptych production of interior research. Looking into oneself becomes a challenge for Siegmund who uses his greatest talent for this profound research. The artist's unique style is evident in the bright colors he uses, but a new melancholy can be seen in the landscapes and in the sinuosity of the forms. His reality finds a meeting point in the abstract style of his art, taking the spectator with him and on a journey of self-discovery.

Art Curator Letizia Perrieri


Siegmund Angyal

Dualism


Siegmund Angyal

Stein


Siegmund Angyal

Swinging Moods


Simona Elia “The beauty of the world, which is so soon to perish, has two edges, one of laughter, one of anguish, cutting the heart asunder.” (Virginia Woolf) The artworks by Simona Elia, a contemporary Italian artist from Paestum, immediately open up to the observer's gaze, like intricate fusions of reality and virtuality. Strongly influenced by her surroundings, which are rich in history and important works dating back to the ancient Magna Graecia, the artist allows not only the contemporaneity of her time to flow through, but also the past, so intensely present in her everyday life. Her artistic research revolves around the passage of time and the consequent influence it has on the beauty of things. Her works are, therefore, characterized by a visual antithesis, showing an incessant alternation between analogue and digital. A constant analysis of the concept of beauty, in the duality between old and new, between the perfection of eternal classicism and the wearing decadence of time. In the three works exhibited at M.A.D.S. Art Gallery on the occasion of the exhibition "I" The world revolves around ME ("Fake News", "Smells Like Live Spirit", "The Clown"), there are several elements in common. The eyes, the asymmetry of the faces, the disconnected composition and the bright colours are all components used by the artist to narrate the implications of a society whose values have become blurred, leading to a consequent loss of identity. Appropriating an expressive language closely linked to Pop Art, Simona Elia leads the observer into a Pirandellian world made up of fascinating and twisted masks, pieces of a mirror of reality that reflect the existential anguish of the contemporary society.

Art Curator Francesca Brunello


Simona Elia

Fake News


Simona Elia

Smells Like Live Spirit


Simona Elia

The Clown


Simone Rosti “It seemed as if the streets were absorbed by the sky, and the night were all in the air.” (Charles Dickens) The entire artistic repertoire by Simone Rosti, a contemporary Italian artist, revolves around the concept of the street, which he portrays and narrates through a photographic language taken to the limit, to the point of almost complete abstraction of the subject. Indeed, in his works we encounter roads, paths and tunnels of which we do not recognise the surrounding environment, which is entirely enveloped in darkness. We can only see part of the path, which glows with its own light, creating surreal, psychedelic landscapes. Fluorescent lines stretch out before our eyes, accompanying us along a path suspended in the void. Simone Rosti's is a journey where time and space are deliberately altered, to lead the viewer to reflect on the meaning of life. The road becomes, as the artist himself says, "a symbolic place of transit, of transition, of passage, of thoughts, of dreams, of illusions, of tears, of loneliness, in suspension towards our mysteries". In the work entitled "BLOOD SPLATTERS" presented at M.A.D.S. Art Gallery on the occasion of the exhibition "I" The world revolves around ME, incandescent pebbles of a rough path precede us. Straight ahead, a road, as impervious as it is fascinating, invites us to take it. Wrapped in a fluorescent pink colour, it expresses a powerful energy, almost difficult to control. Simone Rosti's roads become intimate and personal places, to be travelled in one's own silence and spirituality. The artist invites us to observe the path in front of us, without being distracted, in order to follow it to the full, savoring every step.

Art Curator Francesca Brunello


Simone Rosti

BLOOD SPLATTERS


Sneha Koudki

Sneha Koudki is an Indian artist, currently residing in Canada. She learned to paint from an early age, but she didn't immediately embark on an artistic career. Her artistic journey begins after the death of her mother, a prolific artist, to connect and feel closer to her. She approach abstractionism, known for being a direct art capable of evoking the emotions and subjectivity of the artist. The word "Abstract" comes from the Latin "Abtrahere" which means to separate. The artist separates himself from the objective world, from shapes and images and lets himself be guided by colors to impress an emotion or a state of mind on the canvas. Sneha plays with colors to create soft abstract waves. her works feature a few colors per canvas, no more than three, skilfully combined with light gestures.


Sneha Koudki

Each painting is unique, using contrasts or shades to express a different mood. she mixes colors with intuition, letting herself be guided by emotions. The painting is rhythmic, almost cathartic and gives the viewer a feeling of calm. In her works we do not find the bright colors of India, but the soft colors of the colored mountains of Vinicunc, in Peru, or of the Rainbow Mountains in China. The use of soft colors, inspired by nature, accentuates the feeling of tranquility. The viewer's mind, lulled by abstract waves, calms down. Worries give way to hidden feelings and a journey towards true self-knowledge begins.

Art Curator Lucrezia Perropane


Sneha Koudki

Zephyr 1


Sneha Koudki

Zephyr 2


Sneha Koudki

Zephyr 3


Sneha Koudki

Zephyr 4


Sofya Danilova

Sofya Danilova is an artist who creates works through the digital manipulation of photographs. Danilova is again a guest at an exhibition organized by M.A.D.S. Art Gallery, on the occasion of "I - The World Revolves around Me". All the works that are part of Danilova's artistic production have the surrealistic manipulation of the subjects represented as their leitmotif, this has an alienating effect on the viewer. Surrealist photography has as its pillar the exaltation of the unconscious and randomness, in Danilova's works there are, in fact, proactive and liberating aspects of the unconscious and of the dream experience which, according to the surrealists, should be able to reveal the true nature of things. A great oxymoron is therefore created, as photography is the emblem of what is real, the objectivity of the world and of the moments, this combination creates unique works of art free from any interpretative constraint. The parallel worlds that Danilova creates draw from her own inner world, the artist creates by relying on her instinct, accompanied by her aesthetic taste. One of the recurring elements in the artist's works are apparently abandoned places, ruins that the artist transforms, thanks to her work, into real works of art. In other cases she uses abstract elements, not properly recognizable, to create and manipulate until reaching a result totally different from what the viewer could imagine. Imagination and curiosity allow the observer to enter into these works, observing every detail, every secret kept by every shape.

Art Curator Martina Viesti


Sofya Danilova

Contemplation


Sofya Danilova

ICU


Sofya Danilova

RGB RequestedGrantedBroken


Sofya Danilova

XXI world


Sofya Danilova

yggdrasil


Sofya Zhuravleva “For as long as I remember I have had the battle of Rational and Emotional minds. Through my art I am bringing in the peace between the two.” (Sofya Zhuravleva) On the occasion of the exhibition "I - The world revolves around me", held by M.A.D.S. Art Gallery, the Russian artist and architect Sofya Zhuravleva exhibits three artworks, one of which consists of two canvases. Over these pieces of art, she manages to convey not only her feelings and thoughts, but also to show off her artistic experience through the representations of pictorial abstract style’s techniques that differ from each other. Through the abstract style, the artist is able to give voice to her emotional mind and to explore her psyche. “Rose Glass Half Full #1” and “Rose Glass Half Full #2” have an abstract stylistic rendering similar to the other artwork entitled "Be a Kid While You Can". These three artworks differ in the chromatic tones and in the variety of the execution of the strokes. In "Be a Kid While You Can" we find much more lively and bright colors that recall the world of children, underlining the title of the work. We can find a variety of rendering techniques, consisting mostly of poured strokes, others more highlighted, some more brushstrokes thick and other ones very thin. The chromatic shades of the work differ from the other two of the "Rose Glass Half Full" series. In these two paintings we find a softer and more dreamy chromatic gradation. The title could suggest the image to be visualized through this abstract stylistic rendering: the various superimpositions of pink, cobalt and light-yellow brushstrokes could represent the perception of the gaze that sees through a half-full pink goblet. Also in these artworks, we find a vast variety of techniques and differentiated rendering of the strokes, obtained through mixed media, which contrast sharply with the minimal abstractionism of the artist's last work, entitled "The cherry on Top". The work shows a perfectly geometric and precise representation. There is attention to the contours and lines that are perfectly straight to seem like computer-made. Again, the title can serve as a key to the revelation of the illustration of the painting. Apparently, it seems to be a half-set table seen from above, in which, probably, the burgundy square on the central right side could just refer to the cherry, transporting us into a world of fantasy and pure abstraction.

Art Curator Angela Papa


Sofya Zhuravleva

Be a Kid While You Can


Sofya Zhuravleva

Rose Glass Half Full #1 - Rose Glass Half Full #2


Sofya Zhuravleva

The Cherry on Top


Sonya Lee Kintsugi is based on the belief that something broken is stronger and more beautiful because of its imperfections, the history attached to it, and its altered state (Jo Ann V. Glim) Reading emotions is not easy, since they make up a complex universe, where feelings often overlap and understanding how we feel is very difficult. We can be both sad and happy, laugh and cry at the same time. We can feel anger and frustration, but also revenge. Emotions are the focal point of Sonya Lee artistic universe, whose works are the result of the reflection about the moments existing between different feelings and their mutual contrast is the basic assumption in their creation. Expressing our emotions, not repress them, is what her artworks want to communicate: it is the final part of a process, which leads us to the serene acceptance of our inner world. “Expressing our emotion helps heal, resolve, and repairs because all emotions are beautiful”. These words provide us with the key of reading to understand Sonya’s artistic language: art thus becomes a therapeutic tool that allow us to investigate not only our subconscious, but also to seize more concretely its imperfection. The theme of the imperfect takes form in the artist’s works through the reinterpretation of Kintsugi, the Japanese technique invented by oriental potters to fix the broken cups used in tea ceremony, highlighting the damages whit gold dust. In Dare I, a delicate pattern composed of gold marks is displayed on the canvas to simulate the breaks - it is the imperfection, which is elaborated to create something unique and rich in beauty. All the composition is made through digital drawing and the marvelous female face emerges from the background, standing out on the swirl of colors, so realized almost to reflect the whirlwind of emotions that assails our subconscious every day. This is, therefore, what the artist loves doing, losing herself in a visual world investigating emotions and then emerging to admire the result of her introspective journey. In this way, the artist lays bare her inner world daring to show it to all of us without censorship or constraints.

Art Curator Alessia Domenichini


Sonya Lee

Dare I


Sorin Park

Abstract art is a free art that crumbles all artistic canons, going beyond the form and the concrete. Sorin Park harnesses the power of this art to represent the Invisible. The idea of ​representing what cannot be seen is characteristic of all modern art, born also thanks to the theories of Freud and Jung. The concept of the unconscious opens up new perspectives on what is unknown. In his works, Sorin relies on the representation of cells to depict the nature of human beings. She portrays what we cannot see but we know it exists. Human beings are made up of billions of cells, each with its own function. Each person is different and has a different number of cells according to age, weight and height, this will allow the artist to experiment and create always different works. No two works will be alike. Sorin is capable of representing what no one has ever seen with the naked eye, a very small cell, and transforming it into something surprising. The viewer is transported inside a microscope, the cells are alive, vibrate, communicate with each other and create interactions. The artist paints energetically but does not let herself be carried away by emotion. Everything is done according to a well-structured design. One has the impression of looking at a painting from life. Inspired by the images of cells under the microscope, the artist uses few colors. This allows the viewer to focus attention on the true protagonist of the painting. He can observe cells that unite and evolve, a rapresentation of human evolution. Sorin is not satisfied with painting the invisible, she paints life.

Art Curator Lucrezia Perropane


Sorin Park

Infinity


Sorin Park

Stargaze


Sorin Park

The Proust effect


Stefania Giannilivigni

On the occasion of the international art exhibition “I” th world revolves around me, the artist Stefania Gannilivigni presents the artwork titled ‘nucleo decentrato’. The composition is created around a vortex of colors and lines that seem to turn around a center that is the focal part of the painting. The way they are composed of the different shapes don’t want to talk about a perfect center, in which to put an order, but this game of shape wants to communicate to the viewer about the disharmony and the imbalance. This idea reminds us of a way to intend the reality and the world around us. As if the artist wants to tell us about a different perspective from which to see the world. The artwork is a pretext for the observer from the other side of the canvas, to change the point of view to see the things that surround us. The natural inclination of the people is always to put an order in the things of life. With this painting, we have the opportunity to learn another way to live. Maybe with a ‘decentralized core’ as the title says. The intention of the artist is to express us about a moment of life << when your core, the innermost part of you, is decentralized and gives space to new perspectives causing disturbances, but which harmonize and create a wonderful balance>>. This means that in order to put order we must move from the center, find the imbalance and in the unbridled gesture find the freedom that leads us to ourselves, to our core and to the harmony of the things.

Art Elisabetta Eliotropio


Stefania Giannilivigni

Nucleo decentrato


Steffi Rodigas

Steffi Rodigas is a German artist, whose artistic expressionfinds maximum benefit in the influence that comes to her from nature and its beauty. Rodigas is a guest for the first time at an exhibition organized by M.A.D.S. Art Gallery, on the occasion of "I - The World Revolves around Me" in which she exhibits "Climate Apocalypse" which brings to mind reminiscences of the myth of Atlas, a clear reference to the myth can be had if one also takes into consideration the Atlante Farnese, a 2nd century statue preserved in the National Archaeological Museum of Naples. The clear interpretation of the work sees man as the architect of the destiny of the world (the young man who holds the world in his hands), responsible for the destruction of the forests, the melting of the ice. But the work is also observable from a different point of view, in fact it is possible to consider the young man who supports the world as those who are not the cause of natural disasters, but rather, those who are first affected by them and those that try to lift the world on their shoulders. The work turns out to be a mix between sculpture and painting, the union of these two forms of art creates something totally new and impacting, the evocative and emotional power that comes from it can only overwhelm those who find themselves observing it. Emblematic strength is provided, then, by the color, which recalls the use made by the Fauves. Extremely bright and bright chromatic tones, a clear example of expressionist-Fauve chromatism.

Art Curator Martina Viesti


Steffi Rodigas

Climate Apocalypse


Steve Bauer Steve Bauer is a German freelance artist and illustrator. His figurative works represent, with a critical brush, the typical phenomena of our day and the emotions that they entail. The artist has the urge to bring out an unfiltered reality, bringing important values and concepts to the awareness of the observer. The work chosen for the exhibition "I - The world revolves around me", held by M.A.D.S. Art Gallery, is the triptych entitled "Fields of melan'kohl '". The title is a linguistic play of words, where "kohl" is the German word for cabbage, while the phonetic reproduction of the title indicates, precisely, fields of melancholy. The chromatic tones chosen, oil paintings and acrylics, range from shades of gray, to white and black with reflections of blue tones. The colors are distinct from each other within the limits of the contours of the figures. The people, which passively walk in the front part of the painting, are traced with an orange color, the only trait that gives visibility to their presence, otherwise disguised in the environment. The atmosphere depicted is dark, whose only source of light is a lonely moon suspended in the air. The background frame represents a modern reality consumed by the alienation of the industrial works, the pollution, the invisibility that the mass entails. Furthermore, the cabbages, referred to the German word kohl, are represented in the central support of the triptych, extended over an infinite field, as a clear allegorical representation of the human figure to that of cabbages. The artist, through his work of "painted theme collages", manages to convey to the eyes of the beholder a feeling of anguish and melancholy which is the background to industrialized society.

Art Curator Angela Papa


Steve Bauer

Fields of melan'kohl'


Steve Summers "Irony is a declaration of dignity. It is the affirmation of the superiority of the human being over what happens to him." (Romain Gary)

Steve Summers, an eclectic and ironic artist, forges a first bond with music that will bring him closer, over time, to art. 2021 is the turning point for Steve, who has dived into the depths of his artistic self, generating a series of works of art with the aim of making explicit the current constraints of modern society. The ironic and satirical tone is what is striking about his artistic production, a completely innovative and very personal way of expression, which aims at a universal understanding. The artist's goal, through the creation of works of art with a contemporary flavor and in line with modern symbolism, is to investigate the perceptions of the world around us, a world defined by the artist himself as a true fiction.

Art Curator Federica Schneck


Steve Summers

Covid Cowboy


Steve Summers

Man Made Death Machine


Steve Summers

Skeleton Dance #1


Suha Badri

From the twentieth century an evolution of art can be observed. No longer focused only on the cult of beauty, but also on the narration and denunciation of socio-political evolutions, conflicts and changes in society. Nowadays there are many artist who use art as a civil commitment, to highlight world problems. Suha Badri is a social artist who uses abstract art to explore human social nature. In "Crossing culture; colors of flags" the artist analyzes human interactions and relationships between individuals of different socio-cultural conditions. In the social sciences, integration is defined by the socialization capacity of each individual and his inclusiveness towards different cultural identities, without discrimination. The values ​of tolerance, empathy and care come first. Suha Bradi portrays this great world of integration, imagining all the colors of the flags of the world, which come together, merge, to form a single entity. The artist uses the whole range of colors, primary and secondary, to recreate the different cultures that interact with each other. The colors are placed on the canvas in a circular way, to underline the continuous evolution of the integration, which never ends, is always in continuous movement. The brushstrokes are firm, the artist skilfully combines the colors. it is a painting that conveys joy, with its bright colors, which places the viewer in front of the beauty of diversity, in a world where integration is not always the first choice.

Art Curator Lucrezia Perropane


Suha Badri

Crossing culture; colors of flags


Sukey C.

On the occasion of the first International Art Exhibition of 2022 entitled "I" The world revolves around ME, the M.A.D.S. project born in Milan but digitally (and today also virtually -Metaverse-) extended to all over the world, presents Sukey Camacho, in art Sukey C. This is her second participation in our events, as she joined us in “Sacrifice” last month with two incredible works of her art. This time, the artist selects three works made with permanent markers, acrylic paint, or mixed media, on paper or canvas, entitled "The conquest","The five oceans" and "You are always in my thoughts". The shades of blue and purple prevail, with red, yellow, and green details. Primary and secondary colours, complementary to each other. With the second work, the artist broke away from the celebratory representation of mysterious faces and characters with interesting physiognomies, to seriously address a theme of fundamental importance. The five oceans are personified with eyes, noses, and mouths. The intention is probably precisely to bring the observer closer to and sensitize the subject in question and therefore to water, environmental protection, and respect for nature. In general, what fascinates the most about her technique and her art-concept are not only the colours, the communicative impacts or the deep messages addressed, but as much as the fact that each shape gives life to not a single element, but to infinities: if you follow the thick and black controls, you arrive at the same time to the creation of the nose, but also to that of the mouth, of the detail of the skin and hair. It is a single branch that takes on movement and creates every single facet that makes up the representation and the final impact, of sensational stenographic power.

Art Curator Carola Antonioli


Sukey C.

The Conquest


Sukey C.

The Five Oceans


Sukey C.

You Are Always in My Thoughts


Svein Ivar Ulrichsen "True artists are almost the only men who do their work for the pleasure of doing it" (Aguste Rodin)

The artist Svein possesses the great ability to express himself freely through his artistic work. His works of art are an expression of thoughts, ideas and feelings that have the purpose, in some way, to raise doubts and make the observer reflect. Svein with his works gives us a moment of reflection on life and on the world, on the existence of man on earth and on his soul. Svein's works are full of spirituality and sometimes of mysticism, they put us in contact with an otherworldly world, Svein manages to overcome the boundaries that exist between us and the infinite. The artist creates works in harmony, in them there is great balance and they are dynamic, the dynamism makes them alive and leave the viewer with bated breath. In front of the works of Svein Ivar, the viewer is pervaded by an imaginary wind, the rustle of emotions and the passion that the artist possesses in producing art. A wind that creeps between the colors and figures of the works, escapes from them and pervades the soul of the observer.


Svein Ivar Ulrichsen

Svein is able not only to tell stories and make us imagine them, but also to convey strong emotions, the artist has the great gift of empathy with the surrounding world, he is also perfectly capable of telling the sensations he experiences. Svein's works often have light human figures as protagonists, it almost seems that the artist represents their souls that move freely at times, and at other times they are linked to each other. Svein is able to tell about human bonds, the feelings that keep one another united and that make man a special being. Svein's works are of intense aesthetic and moral value, the artist as always surprises us with his sensitive soul and great artistic skills. The artist Svein allows us to get in touch with his world and his soul, the viewer from now on is able to perceive his own feelings and those of the artist. Svein's works become a bridge between us and his feelings, between our souls and his, everything becomes magic and joy, his works of art are a real gift for those who observe them.

Art Curator Vanessa Viti


Svein Ivar Ulrichsen

Heartfeeling


Svein Ivar Ulrichsen

Humility


Svein Ivar Ulrichsen

Lifeline


Svein Ivar Ulrichsen

Lust


Svein Ivar Ulrichsen

The big sorrow (version 1)


Svein Ivar Ulrichsen

Unfaithful


Syl Sevonne "The colour is the keyboard, the eyes are the hammer, the soul is a piano with many strings. The artist is the hand that plays, touching one key or the other, to cause vibrations in the soul" (Vasilij Kandinskij )

Syl Sevonne's artistic work is a concentrate of colours that move within the work and give it dynamism. Colours and shades come into contact and contrast with each other, but create a perfect balance. Signs and lines that run and meet in a single center. The artist lets herself be guided by her personal instinct and by the sincere creativity that is in her soul. Syl, through her artistic work, expresses herself and her soul, thus managing to bring out her emotions. Syl Sevonne's art appears as a great intersection in which colors, shades, lights and shadows converge. In fact, even the observer makes a journey, the gaze is captured and follows those paths created by the colors and lines, in a continuous succession and alternation of sensations and emotions. Syl Sevonne's work is characterized by geometric shapes but which have no correspondence with the real world and with nature, in fact Syl Sevonne's work is purely abstract. The artist's is an abstractionism that finds fulfillment in geometry, the artist creates a strongly balanced and proportionate work and also possesses a certain musicality. The lines that Syl Sevonne creates bring to mind the strings of a piano from which gentle sounds rise to lift the soul of the observer. Syl Sevonne's work is imbued with feeling and passion, it is evident that the artist follows the inspiration and listens to her spirit. Syl Sevonne's work is the encounter between emotions and sensations, it is a journey that the artist and the observer undertake together in the discovery of themselves and their soul.

Art Curator Vanessa Viti


Syl Sevonne

Dodecagon


Sylvie Dinh "Going to the moon is not that far away. The farthest journey is the one within ourselves." (Anaïs Nin)

Supported by a French painter, the artist Sylvie Dinh owes the recent birth of her artistic poetics to the strong and personal need for personal expression, introspection and analysis of one's self. Just like her, her painting is very spontaneous, intuitive and powerful, also thanks to the choice of a color palette with a strong visual impact. The fast and dynamic gestures give the work a strong expressive charge, linked to the artist's interiority and his desire to be free, thanks to art, and to rediscover his own emotions, whether they are positive or negative. Prime energies, expressions of past times and recalling of memories are what Sylvie Dinh tries to bring back to the canvas, trying to grasp the truth that lies behind everything.

Art Curator Federica Schneck


Sylvie Dinh

CAFFEINE


Tadashi Nishida

Tadashi Nishida is a Japanese professional artist. Reworking images taken with his phone, he creates his artworks by adjusting color tone, lightness, darkness, etc. from what is already there, confronting the phenomena born from the dirt and scratches created by nature. At “I: The world revolves around me”, Tadashi presents three of his works. In shades of yellow and orange, ”Construction" represents a huge building immersed in a natural landscape seen from above. Looking closer in detail, however, we understand that in reality the image is reworked: several different parts are in fact enlarged and then juxtaposed creating an estranging and dystopian effect. As the artist says, each person has his or her own image of the work and the breadth of the image is inversely proportional to the perception of a limited form (the one in memory): the more blurred the shape, the more the image expands. This title is the image that Tadashi received from this work. "Silence" instead depicts doors ajar, also in this case reworked and distorted according to the artist's will. The purple and dark colors of which they are made up exponentially increase the effect of estrangement and mystery of the image, increased even more by the two ajar doors that allow us to glimpse a world unknown to us. Lastly, in "Underground city" the artist, as he usually does, starts from a natural image in front of him and reworks it to the maximum, drawing new images and details. In this case the scene is once again a natural landscape, a glimpse of total abandonment in which leaves and weeds overwhelmingly invade everything they find. Through the reworking, various creatures emerge from dark space, allowing the viewer to see the image from an ever new and unique point of view, as well as for all of Tadashi's wonderful works.

Art Curator Matilde Della Pina


Tadashi Nishida

Construction


Tadashi Nishida

Silence


Tadashi Nishida

Underground city


Thiago Ezidio de Oliveira My works are a way of expressing nature as a whole, especially the relationships we establish between us (Thiago Ezidio de Oliveira)

Thiago Ezidio de Oliveira at the international exhibition "I" the world revolves around me, hosted by the international art gallery M.A.D.S. shows his work Yanomami. He says "Art for me is not simply aesthetics or a set of material things, it is aspects of value. rooted in the core of being that are expressed in different ways according to the social context in which we live. My works are a way of expressing nature as a whole, especially the relationships we establish between us". Yanomami presents a primitivism of form reminiscent of Gauguin's painting, specifically the work Where do we come from? Who are we? Where do we go? The artist presents a social and cultural reality, that of the indigenous Yanomami peoples. A population that inhabits the states of Amazonas and Roraima, as well as part of Venezuela. Thiago Ezidio de Oliveira's art is social denunciation, the artist states "Since 1980, it has been fighting illegal mining, an activity that continues to grow and is responsible for the contamination of rivers and natural resources in Yanomami Lands. Environmental degradation is an extremely important factor that must be taken into account, as they are precursors to the extinction of several species that make up the fauna and flora of the Brazilian region. In this sense, the main reasons related to a possible threat of extinction of jaguars in Brazil are mainly related to the frag-mentation of their habitat due to agricultural expansion, mining, implementation of hydroelectric plants, expansion of roads and illegal hunting. Therefore, an increasingly comprehensive national plan is needed with regard to the preservation of indigenous lands and the fauna and flora of Brazil and, mainly, dissemination to society as a whole."

Art Curator Mara Cipriano


Thiago Ezidio de Oliveira

Yanomami


Tiffany Coffel

The artist Tiffany Coffel is a particular artist capable of using a lot of technique and new artistic language to communicate with the art. She uses a lot of new mediums to create her work like digital tools. If we consider the paintings presented on the occasion of the international art exhibition “I” The world revolves around me, we can see the different way she used this technique to express her thoughts. Starting from the work titled ‘Endless thoughts’, we can see a female face that employs the whole space of the composition. She is represented with the eyes closed and the expression that communicates a relaxing state. This kind of expression expresses a feeling of serenity. The colors used with digital technique reminds the idea of the sky and the universe. The intention of the artist is to connect the mind and the free flow of thoughts of the young woman with the universe. As if this kind of connection could be a hyperbole to express the idea of the freedom of the mind. The second work presented titled ‘Self-reflection’, wants to represent the artist. As if she wants to affirm herself in a strong position. The figure represented seems to fix the observer and in this way seems to say:-I want to look at you too, because I’m here and I’m strong-. The third painting presents a different character. Tilted Turtle wisdom, it represents the image of a turtle swimming in the water. This simple representation presents an inner meaning relay meaningful for the observer. In fact as the artist says: - Life gets longer when you slow down. The sea turtle being ancient sends this message as he peacefully roams the sea-. So the will to represent with the digital language this particular animal is to make it an icastic figure capable of sending an exact message to the viewers. This means that in a very special way the artist Tiffany Coffel is able to use character and figures in her work to express messages very meaningful to the viewer, as it was her way to talk to him.

Art Elisabetta Eliotropio


Tiffany Coffel

Endless thoughts


Tiffany Coffel

Self reflection


Tiffany Coffel

Turtle wisdom


Tottorinos The river of oblivion flows slowly, placidly and incessantly. Perpetual is its motion, indefinite and smoky is the goal. The flow of memories is in continuous evolution. Second after second, moment after moment. What is the present if it can - at the same time consider itself the past? Reminiscences of some distant time fade before our eyes at an unprecedented speed, taking on the appearance - in our minds - of vivid moments of reality. The colors are bright, we can recognize smells and scents. The figures are crystal clear, still firmly anchored in everyday life. Yet, the passage of time is too busy creating new memories rather than animating old ones. And so it is that the vididid colors that inflamed our minds are transformed into feeble copies of what they were and the shapes, at first well defined, now present an uncertain and smoky physiognomy, faint outlines of a memory that is now nothing more than opaque fog. The river of oblivion flows slowly, placidly and incessantly and the memories and moments of life lived with it. Depleted of their salient features, impoverished of their vital sparks, the reminiscences of the life that was flowing impetuously in the flow of obscure forgetfulness. The elimination of memories is a physiological event typical of every living being. It is our mind the author of the river of oblivion and we cannot escape this process. Yet, there is something that could modify this inevitable act. It certainly cannot reverse and undo the nature of our mind, but it can help us sublimate the moments of our life that are now part of the past. The chromatic material is the instrument of action par excellence. The shapes and their position on the support make us forget for a moment the oblivion of memories, fixing on something real - the work - our still vivid memories. And this is how the triptych of Tottorinos was born. The series we are going to talk about is inspired by a particular moment of the day, a moment of well-deserved rest where the limbs relax and the mind empties. The title of the triptych can be translated in two poetically interesting ways: "Evening Rain" or "Evening Shower". What is interesting is how extremely intertwined these two translations are. The memory from which these works originate is in fact the still image of water drops on a window pane that the artist noticed after a shower at sunset. And so it is that these lush drops that characterize the works are transformed into two ambivalent elements. Are they raindrops or are they the drops on the shower glass? Is it a mix of memories? Or is it the meticulous recording of reality, of a rain-soaked sunset? The beauty of the triptych lies precisely in this mystery that drags in its title. There is, however, something that, in both cases, is persistent: the visualization of the world through a screen, glass to be precise. A glass that makes the wonderful shades of the sunset extremely labile and vaporous; a glass that, thanks to its function as a filter, distances us from the true vision of reality and transports us into the field of creative inspiration, where colors are more vivid and what we see is infused with wonder.

Art Curator Lisa Galletti


Tottorinos

Evening Shower I


Tottorinos

Evening Shower II


Tottorinos

Evening Shower III


Vaida Kacergiene “I took a moment to admire the glorious landscape around me, to take a look at where I had come from.” (Nelson Mandela)

Vaida Kacergiene exposes for the international exhibition “I - The world revolves around me” at the M.A.D.S. Art Gallery two exceptional paintings (“Magical Forest” and “My World”) where the scenery of the natural environment is the undisputed protagonist: an uncontaminated dimension through which the viewer can get into and completely relax his/her senses. In “Magical Forest”, Vaida emphasizes the beauty of nature using lively shades, where the green blends surprisingly well with the brown of the trunks and the blue of the background. Numerous colors emerge from this type of forest, highlighting the immense verticality of the vegetation. As if it was a close-up photogram, the artist creates a perpendicular weave where the straight lines running parallel to each other are translated into a highly decorative panel typical of the Art Deco. Each element of the forest does not escape from the sense of order that dominates the composition: the technical modulation of the undergrowth is very interesting, with its almost golden hue from bottom to top, giving the whole environment an intense luminosity.


Vaida Kacergiene

As in the works of the Impressionist painters or those of Gustav Klimt, this iridescent phenomenon is also accentuated by the color contrasts which spread evenly across the painted surface, which echo symmetrically in the canvas together with the golden reflections. The central tree in the foreground composed by the flowers is intended to create a stability of perception, while the ideal intersection between the vertical lines of the trunks and the horizontal lines of the ground give a certain dynamism to the painting. While in “My World”, Vaida wishes to emphasize the close, indissoluble family bond. Here, too, there is a contrast among the verticality of the woman and the child and the horizontality of the sea and the man. Moreover, the choice of nuances is compelling: shades such as blue, light blue and white are used in the water, the sky, the mother's dress, the daughter's dress and the father's dress as well. While the shadows given by the gradations of black can always be found in the waves of the sea, in the woman's hair, in the details of all the faces and in the man's trousers. And this is how each element joins one another, becoming crucial to the whole figurative composition. Finally, the little girl's bright red shoes stand out in the picture, emphasizing her light-heartedness and youthfulness.

“The family is the mirror in which God looks at himself and sees the two most beautiful miracles he did: giving life and giving love.” (Pope John Paul II)

Art Curator Alessia Perone


Vaida Kacergiene

Magical Forest


Vaida Kacergiene

My World


Valeri Cranston “To me colors are living beings, highly evolved individuals who integrate with us and with the whole world. Colors are the true inhabitants of space.” (Yves Klein) For the exhibition “I - The world revolves around me” at the M.A.D.S. Art Gallery, Valeri Cranston exposes three exceptional artworks (“Awaken”, “Coalesce”, “From The Ether”) through which thoughts, feelings and moods are mixed to create an explosion of light, colors and vitality. Everything represents happiness and light-heartedness: the artist succeeds in combining her stylistic research with chromatic research, up to the point of showing passions and disturbances, as well as feelings that best express the uniqueness of the shades selected for the creation of each painting. The overall dynamism, which is amplified from the outside towards the inside or vice versa, attracts the observer's attention, transporting him/her into his/her moods and into a serene and carefree place. Her style encompasses inventiveness and imagination, allowing the subconscious to interact and to give space to the unreal and the oneiric. This is how the visual experience becomes a crucial act, as the spreading of ink over the entire surface triggers optical-perceptual sensations. As in “Awaken”, where the luminous energy recreates a succession of waves are fully based at the heart of the work: these simultaneous vibrations give rise to a pure reality that shocks the viewer and frees him/her from all negativities. Instead, in “Coalesce” Valeri expresses her feelings through a suffused and ethereal atmosphere, where red darkens or lightens according to the movement of the whole composition. While in “From The Ether”, green and the other different shades which are linked to the typical plant and marine environment, instill serenity in the observer and are extremely relaxing and pleasing to the eye as well. In all these three artworks, purple combined with blue become fundamental to the creation of each epicenter: by representing mystery and magic, their connection becomes a symbol of spirituality, as well as stimulating the mind and creativity, while on an emotional level it soothes sadness. Therefore, the audience is enchanted by the immensity of such works and Valeri Cranston's technique: all this touches the deepest part of the human being, bringing peace to the senses.

“Colors, as shapes, follow the change of emotions.” (Pablo Picasso)

Art Curator Alessia Perone


Valeri Cranston

Awaken


Valeri Cranston

Coalesce


Valeri Cranston

From The Ether


Valérie Laguë-Plante “It’s not what you look at that matters, it’s what you see.” (Henry David Thoreau) Inspiration is around the corner: it can come from a person we see on the street, from a landscape that enraptures our heart, from the words of a song that doesn't come out of our heads. Valérie Laguë-Plante is a young contemporary artist based in St-Jean-sur-Richelieu (Qc) whose main works are portraits, abstract paintings, or a combination of the two. The American philosopher Henry David Thoreau wrote that what matters is not what you look at, but what you see. We must not stop at a first glance, but only by going deeper can we discover the true essence of what we have in front of us. A face with two large eyes, perfect features, and a surprised expression: this is a first description of the protagonist of "Maverik", a work created by the artist in 2021 with the acrylic on canvas technique. The painting plays on the contrast between white, black and shades of grey: this chromatic effect symbolizes the passing of time, the difference in cultures that populate the world and gives the work a melancholy and surreal atmosphere. What is behind that profound gaze? What does the girl want to tell us without saying a word, but simply by looking at us? Fear of showing herself to others, fear of others' judgment and of expressing one's point of view on reality. Around the face we see stylized buildings that make up a city in which its differences must coexist without colliding. Everyone can see the artist or a person they know or simply themselves in the protagonist. Art is wonderful because it is free and universal; there is no wrong interpretation, there are only different visions. Valérie invites us to get to know her magical inner world through her art: open your eyes and heart and let yourself be involved.

Art Curator Camilla Gilardi


Valérie Laguë-Plante

Maverick


Vanessa Wenwieser

The images produced by the artist are the visual translation of a very strong female point of view. Her subjects are precisely women, faces and half-lengths that break into the two-dimensional dimension and catch the eye. Art as well as life has always been directed by men, the male as the center of the world, not only the human being as a focus, see anthropocene studies, but man himself. Wenwieser overturns this historical vision and puts the female figure at the center of her reflection. A woman freed from oppressive social constructs and voluntarily reunited with nature, her strength resides in her being and thus merges with the landscape that surrounds her, exchanging energies and forces never seen before. Touching the subject of the anthropocene we can say it is the current geological epoch, in which the terrestrial environment, in all its physical, chemical and biological characteristics, is strongly conditioned on both a local and global scale by the effects of human action. We could also easily add an "M" and it would perhaps become more accurate (M)anthropocene, conditioned by man. It is also thanks to the work of indispensable artists such as Vanessa that the figure of woman moves away from the pure object of pleasure, contemplative or otherwise to return to having its own individual function not connected with the male one. The women of this author live, exist and show themselves in all their power. These prints can be seen as a contemporary ecofeminist manifesto.

"It is only her body that knows of these things, moving her, daily, hourly, back and forth, back and forth, before the bars of her cage.” (Susan Griffin) Art Curator Federica D'Avanzo


Vanessa Wenwieser

The Mind is wider than the sky


Vanessa Wenwieser

My dear lady


Vanessa Wenwieser

Garden of delight


Veronica Montesdeoca “Everybody sees the world differently and Art allows us to transmit our view with the rest, that is what makes art so beautiful to me. You can express yourself, there are no restrictions, no limits”. (Veronica Montesdeoca) Veronica Montesdeoca is an artist based in Frankfurt who works mainly with edited photography. She has been experimenting for ten years with all types of photography such as landscapes, portraits, architecture, and others, inviting the observers to join her emotional journey and challenge them to draw their conclusion. At the exhibition "I: The world revolves around me" hosted by M.A.D.S. Art Gallery, Veronica presents three of her self-portraits which, in line with the theme of the exhibition, constitute a journey in search of one's self and for this reason they can be read in succession following a path of growth and maturation. Starting from "Talking about In Vitro", the work was born at a delicate moment in Veronica's life, that is when she became aware of her impossibility of having children. In a moment of sadness, she created this intense and profound work that portrays herself semi-naked literally forced into a small and unsuitable space to house her body, which is therefore pushed to assume a forced and unnatural position. This particular expedient, augmented by the gray filter that the artist inserts in the photo, gives us the feeling of inadequacy and constriction of the woman, forced to undergo a condition that does not depend on her, naked in her fragility and total beauty. But as the title of the second work exhibited in the exhibition says, we all have to be "Holding on" because we have to enjoy every beautiful and positive aspect of life beyond everything: here then Veronica portrays herself from behind sitting on a light and floating cloud, elegantly dressed in an evening gown and white gloves, holding a balloon in the shape of a world, as if the world were her own. Above any negativity, problem or thought, this woman stands there, detached from everything, dreamy and hopeful, as suggested by the pastel and delicate tones that surround her. To finish this path of rebirth, in "Alzando Vuelo" the same girl previously depicted as sadder and more melancholic, now takes off towards the sky, transformed into a beautiful free and happy butterfly, with the sole aim of reaching the Sun. Life knows how to be wonderful in a thousand facets: the secret is to always look up.

Art Curator Matilde Della Pina


Veronica Montesdeoca

Alzando Vuelo


Veronica Montesdeoca

Holding On


Veronica Montesdeoca

Talking about In Vitro


Viviana Laperchia I paint, draw and photograph the tension between nature and cities (Viviana Laperchia)

The delicacy of the soul of Viviana Laperchia at the international exhibition "I" the world revolves around me, hosted by the international art gallery M.A.D.S. An artist whose style almost takes us back to that period of art history that everyone has loved and felt nostalgic for. She lies between Impressionism and Fauvism, with an eye always turned towards Romanticism. The latter emerges above all in Claire de Lune. The artist states "Reality sets in, awakened by the moonlight." We see a woman, with her back turned to an immense, dark landscape. The artist reproduces the atmosphere generated by the moonlight. The effect is a masterpiece of introspective reflection through contact with nature. In fact, the artist says "I paint, draw and photograph the tension between nature and cities, Northern lights and Southern sunsets, the Canadian wilderness and the Mediterranean shrubland. Through blurred contours and undefined strokes, I aim at evoking oneiric imagery where homeland and newland merge with my inner world". Last Harvest and Lavender are two works in the same vein, moving away from the figurative and towards the abstract, while maintaining a clear reference to reality, mainly through the choice of colours. Of Last Harvest, Viviana says "End of summer blown away by the wheat fields' wind" instead, "Lavender as in washing away. Lavender as in livid. Whatever Latin meaning heals your soul". The connection between nature and the human soul is very strong, almost as if nature had the power to look inside man.

Art Curator Mara Cipriano


Viviana Laperchia

Clair de Lune


Viviana Laperchia

Last Harvest


Viviana Laperchia

Lavender


Yana Venedchuk “Art is not what you see, but what you make others see.” (Edgar Degas)

Yana Venedchuk is a contemporary Belarusian artist, whose art is nourished by current issues in order to leave a mark and a testimony of what is happening to future generations. For her, art is a powerful means of communication that can in no way be controlled or limited, allowing a freedom of expression that is imbued with the artist's soul and therefore complete. Her works act as containers for emotions and personal interpretations of her surroundings. They are places where she can finally free herself from all social constraints, thus allowing her ideas to flow onto the canvas. Using an extremely contemporary figurative language, her subjects, wrapped in bright colours, tell of an alienated and twisted society. In the work entitled “Coronavirus. Don't fucking lie. 1 part”, the collage mixes with the gouache technique and the image, in some places, appears pixellated, with a strong reference to the digital world and the online network. A female figure with flowering branches instead of hair, stretches out her lips with the intention of giving a kiss to a bat, while raising a middle finger towards us. This piece deals with the subject of the Coronavirus, which has been so hauntingly debated in recent years. The web has been flooded with news and fake news, spreading horror and fear all over the world. Yana Venedchuk wants to break away completely from the common view according to which everything started because of a bat. Through this work, the artist wants to stand up for Mother Nature, who has been blamed for everything, giving a middle finger to a veiled system.

Art Curator Francesca Brunello


Yana Venedchuk

Coronavirus. Don't fucking lie. 1 part


Yasuhiro Ota We are attracted by the unknown. The interest in the unknown is an atavistic, in some ways primordial interest that has accompanied the entire history of mankind since the dawn of civilization. Curiosity has pushed man to stand on two limbs to look beyond the dry brushwood, the desire for knowledge has pushed humanity to understand the phenomena of the world. Without questions there are no answers and the human being needs firm responses. Man is in fact the only animal to ask questions about the surrounding environment and the phenomena of the world. His inquisitive nature has driven him to know the laws, the rules that underlie life on earth. The craving for knowledge is a process that will never end: there will always be something to know, some element to disprove, some other to validate and man likes it that way. This craving for knowledge can probably be traced back to the attachment that man has for the unknown. Man's relationship with the unknown is, in fact, a bivalent relationship: we are terrified of the unknown element, yet the unknown attracts and awakens our senses. Curiosity for the unknown is therefore attributable to the desire to know in order not to sink into the abyss of ignorance, or is it simply an atavistic interest that accompanies man since the beginning of civilization? Yasuhiro Ota with the series "The hidden face of the moon" offers us a real journey aimed at understanding what is beyond the known, beyond the factual and studied element. Like a silent and abstract entity, the artist insinuates himself and records events, sensations and impressions of a new world, never seen before. And that is how, through a dark and smoky shot our journey begins. "Prelude" is a curtain of veils that disorients us, fogging our vision and making it difficult to move forward. Yet, between the layers of veils, we manage to glimpse something, a glimmer in the darkness. That's where we must go to quench our curiosity. By fumbling and moving slowly we manage to reach the light and enter "Chaos". Labyrinthine space, tumultuous atmosphere. A myriad of needles, or maybe fibers, or maybe even filaments. The vision is so saturated with details that our senses are in turmoil. Space-time coordinates are cancelled, annihilated by the expressive force of this dark and whirling universe. We feel the fibers graze our limbs, we perceive their slow movement and listen to the constant silence peculiar to this place never visited before. All of a sudden, something recognizable unfolds before our eyes. The vision is no longer chaotic, now we can breathe, we can observe the details and enjoy what stands out before our eyes. In "Silence" the quintessential hidden face of the moon is preserved. The dark space gives way to a beam of light that illuminates a rough, jagged surface. The light beam cuts obliquely through the composition making the shot extremely dynamic. We perceive a sense of rediscovered calm: our senses have quieted down and now we can finally listen to the echo of silence.

Art Curator Lisa Galletti


Yasuhiro Ota

The hidden face of the moon - Prelude


Yasuhiro Ota

The hidden face of the moon - Chaos


Yasuhiro Ota

The hidden face of the moon - Silence


Yerom Castro Fritz "If I could say it in words there would be no reason to paint.” (Edward Hopper)

Yerom Castro Fritz is a Mexican artist who is currently working in the financial sector. Art and painting have always been his passion, and with more or less intensity, they have been a constant presence in his life like a loyal companion. “I cannot remember a moment where painting hasn’t been present in my life”, he says. Working with a variety of brushes, spatulas and sponges, Yerom creates paintings where abstract shapes, geometrical patterns and colours overlap and interlock each other by giving life to fascinating abstract sceneries. Here, to avoid that his rational and analytical nature interferes with his art, Yerom starts painting with a very clear idea in mind of what the work will look like, by allowing himself the freedom to paint and flow without limits and rational constraints. What is particular in his canvases is the lack of blank spaces: every spot has a detail, a colour, a motif, something that strikes the eye of the viewers. Everything seems to be placed in its right place and nothing is left by chance in Yerom’s ordered chaos of abstractism. Colours, shapes and patterns are balanced by creating a beautiful harmony and opposites complement each other by finding a sinuous symmetry. With a black background, the painting “What if I was all of that?” seems to be divided into four equal small abstract squares, each one having their own space, colours and personality as if they all belong to the artist and are shown together as one. While two opposing squares present more ‘logical’ and ‘recognisable’ abstract shapes with red and blues tones, the other two are more intricate: there, brownish colours alternate in unfamiliar and chaotic lines and shapes. Harmony, balance and symmetry are what characterise the ordered chaotic painting style of Yerom, who opens his world to whoever is looking at his art, inviting us to find and lose ourselves in it at the same time.

Art Curator Martina Lattuca


Yerom Castro Fritz

What if I was all of that?


Yoko Kitazaki “Only when the form has an effect on the soul can we understand and appreciate a work; and only through the form can we understand the content and appreciate a work”. (Wassily Kandinsky) Yoko Kitazaki, artist born in Kyoto, learned oil painting at a very young age. Inspired by the colors and layers of Monet's water lilies, she has always sought to express the changing light that alter the shape and perception of reality. Her art has recently evolved into abstract paintings characterized by the use of acrylics, always with an eye towards Monet's colors and dyeing design. The main theme of her production is based on the duality of the message "Seeing the whole phenomenon from the viewpoint of the mind", where our perception of the work must be referred to the totality of mind and emotions. Our perception does not stop only at the individual parts but must let go of the emotions and expectations we feel while admiring the set of smooth paints that generate a flow, a movement, a sheen of lumps and cracks. Our overall perception depends on the interaction of many factors, including our past experiences, the environment, thoughts, feelings and needs. We must therefore let our eyes go to the nuances of the picture and focus on what we feel, on our present experience. Yoko teaches us the importance of accepting the differences between us and joining us in a world marked by inclusion, in her paintings she creates a strong connection between what happens in society and the comparison with natural phenomena. The artist invites us to listen to what our heart tells us, to listen to the precious feelings that it is suggesting to us. We must therefore make an act of love, collect our feelings to give them to the people around us. Perhaps this is the greatest gift that Yoko is giving us: she gives us the vision of her works by revealing her feelings, in an act of continuous love, which must not stop but must in turn be reciprocated. Admiring her works, we can begin to travel into the world of spirits, formed by light and boundaries that take us to another space-time dimension. We take a moment in front of these works, formed of matter, colors and shapes but also to admire the total work, as a harmonious whole of light and space. We look within and try to savor beauty through the eyes of the heart.

Art Curator Giulia Fontanesi


Yoko Kitazaki

Vision to connect with the universe


Yoko Kitazaki

To the next stage


Yoko Kitazaki

Conversation with the ligths


Yoko Self-expression through art is an atavistic and millenary impulse. The representation of the soul and experiences is an action born before the great civilizations, prior to the development of human society. Art, in its meaning of expressing something through a tool or a pigment has always been part of the human experience. In those days, man had not yet invented the wheel, could not write - the alphabet did not yet exist - and did not live in houses. But art was there. To experience art is to experience life. Through the aesthetic experience, art puts our senses into action and touches some inner chords, allowing us to understand ourselves and the reality around us or to know new ones. Yoko's is a painting that springs directly from the heart, pigments that like the waves of a river in flood hurl themselves into the compositional space with all their unprecedented expressive power. Every day we are bombarded with sensations, worries, commitments and emotions. Any action that our body performs corresponds to a thought in our mind, to a decision in our heart. Our inner self is overloaded with emotions, our innermost self has never known a moment of respite. It rains, it pours in our inner self. Drops of water carrying commitments and worries that accumulate on each other, merge together and create an ocean of dark fears and perplexities. It doesn't stop raining, wave-like motions are created that shake the soul, whirlpools and currents originate, a symptom of some emotion more powerful than others, a sign of a balance that is about to give way. The rain is more and more incessant, the visibility is reduced to the palm of your hand. The last drop falls from the sky, as heavy as a boulder it merges with the ocean below it. The moment has come, the river has begun its inexorable overflow. The endless sea of worries, perplexities and uncertainties reveals itself, makes itself visible to the outside world. It is a liberating act, but it is also a necessary action. Treasure Chest, Fleeting Memory and Drops are all characterized by one element: round shapes: are these the drops that form the sea within Yoko's soul? Are these works the graphic transposition of the artist's soul? We don't know, only she knows. Yet these images speak to us, they converse with us through their shapes, at first ethereal, then solid and consistent; through backdrops that are at first midnight blue, then clear, creamy and consistent in their physiognomy. The heterogeneity that characterizes the environments in which these stains are inserted perfectly renders the complexity of the human soul. The stain can be pink, red, even white - like a tear -, always dressing itself in new realities and new possibilities. Yoko, with this triptych, transforms thoughts into real elements, making us participants in her creative enlightenment.

Art Curator Lisa Galletti


Yoko

- Treasure Chest


Yoko

“Shizuku" - Drops


Yoko

- Fleeting Memory


Yuina Yaguchi

Award-winning Japanese artist Yuina Yaguchi creates kinetic sculptural works and animations. Her work "the moon" has a magical existence, like a fast and musical flapping of fairy wings combined with a typical noir flavor of which the stop motion technique becomes the bearer. Tim Burton’s Corpse Bride can be a supreme example to that. A black humour that makes its own way directly to the hearts. Most of the time artists don’t really comment on their own work and that’s honest because in fact they do choose another language to express themselves rather than words. In Yaguchi’s case there’s no comment as well but we can have a deeper look into her creative soul through her own poetic words. To accompany the video she writes “when the moon lights upon the night, when I look through my telescope, there I spot the children of the moon. This is a story of that one night”. So we have a complete scenario of poetry. The video opens with a desolate landscape, a goofy dark character is doing his thing, a big moon over his head. Something with the moon is happening, something evil yet playful, freakish and joyful at the same time. The feeling is to be spying, maybe bothering something private. The story of that one night. These words are speaking to everyone, because all of us had that one night, a revelation, a drama, a sneaky fact happened and hidden. Yuina’s work speaks to the cautious dreamers, the ones who stare and by staring make the greatest discoveries of life.

Art Curator Federica D'Avanzo


Yuina Yaguchi

the moon


Yuki Matsuoka The collage technique offers the possibility of combining different images to obtain a single graphic capable of conveying multiple messages playing with the conceptual touch as the main tool. This technique is distinguished for having a "raw and critical" character, being the surrealist style the most used by all those who use it creating imaginary worlds and alternative realities. Initially, the reference to collage was made from a physical point of view because its creation intersected with the use of physical photographs. However, this involved the use of originals causing the loss of unique photographic material (assuming there was no negative). With the arrival of the digital age, collage evolved and the technique was able to take an entirely new turn. The arrival of the digital age could mean a step backwards in creativity and the very essence of the technique because of the absence of touching the material with one's own hands. This absence of the tangible part can be an advantage on one hand since we don't need to have a whole repertoire of magazines and graphic material to make any collage, now we simply need a digital work. And this is how Yuki Matsuoka's art takes shape. The amount of graphic material used is impressive and every element, even the smallest detail contributes to the creation of an extremely compelling narrative. The presence of a castle in the background of the work transports us to an ancient past, that of the Japanese shogunate. Beneath its peculiar slanted walls, a straight street opens up overlooking a typical Japanese neighborhood characterized by traditional houses and buildings. The sky is totally blue, with the exception of two-dimensional golden clouds looming overhead. The viewer's eye points straight to this straight road, glancing over the structure of the city's entrance gate. Yet, there is something that doesn't quite add up, something that makes the work extremely anachronistic. Yuki's world is studded with elements coming from different times and places, with details that can be traced back to diametrically opposed episodes of Japanese history. There is a reference to Japanese daily life of a few centuries ago, but there is also a reference to the Japanese pictorial tradition of Ukiyo-e. The antonym of "JUSTICE" is "ANOTHER JUSTICE", revives in its details the lustre of a past that was including, however, elements that have nothing to do with the past. And so it is that a monster with an evidently digital nature is trying to put out a fire in the foreground caused by an individual - often represented in Yuki's works - who shoots laser beams from his orbits. And so it is that among cherry blossoms carried by the wind and mythological beings hovering in the sky, we can spot a contemporary war helicopter to the right of the work. Yuki's work unites the past and the present by literally merging traditional art with the advent of digital art.

Art Curator Lisa Galletti


Yuki Matsuoka

The antonym of "JUSTICE" is "ANOTHER JUSTICE"


Zamuel Hube

With the artwork "Rope pulling at the Wind factory", the Finnish artist Zamuel Hube, brings us to the world he created several years ago and which continues to represent today: a world in which the wind is not something natural, but is manufactured by man in special factories through laughter, caring, and the courage to try and dare. The subject of the work is therefore wonderfully surrealist because we can admire a scene that strikes for its absurdity and that completely contradicts our certainties. Yet the skill of Zamuel Hube lies in the fact that he does not completely distort reality by leading it to be guided exclusively by irrationality, as Max Ernst and Joan Miró used to do, but instead leads the viewer through the canvas gradually, with elegance, so that he finds himself inside this invented world without realizing it. This elegance is also due to the pictorial style used by the artist: his brushstrokes are neither too flat, nor too material, but minute, balanced, light and ringing. Zamuel Hube is also sensitive to human presences in fact, even in the fluffy indeterminacy of the faces, we can still guess the physical effort the people represented in his artwork are making. The artist, however, gave the best of himself in the representation of water, made mobile by the many reflections that color it, and by the wind that can be perceived thanks to the presence of swollen sails. The latter have as background a violet sky that frames the entire composition so that a spring atmosphere reigns in the work. His painting is full of light and life; in particular, this painting expresses the vital momentum in the concatenation between people and objects, between air and water, between real and imagined. Zamuel Hube has created a work that is able to keep us hypnotized in front of it for hours, never satisfied with all its wonderful details.

Art Curator Francesca Catarinicchia


Zamuel Hube

Rope pulling at the Wind factory


Živilė Kasparavičiūtė “Art wasn’t supposed to look nice; it was supposed to make you feel something.” (Rainbow Rowell) Why are we moved to make art? Lithuanian acrylic painter Živilė Kasparavičiūtė uses art as a visual diary where she takes note of her feelings as an act of self-reflection and of all the emotions she observes in the people she encounters in her life. Her paintings immediately recall the 20th-century expressionism, where “bold, expressive colours and thick texture” are the main characteristics. Strong colours, spontaneous and dynamic brushstrokes and hues play, in fact, a significant role in Živilė’s painting process, where she often leaves space for themes that she does not pre-establish before starting to paint. The artist’s oeuvre is mainly composed of portraits that are neither idealised nor uglified; on the contrary, by avoiding anything that echoes grace and refinement, Živilė depicts what she believes to be the reality of feelings, sensations and emotions through altered and bright colours. “Inspired by the definite sources of strength – morning coffee and every sanity threatening life's prank” is how Živilė describes her painting “What Makes Me Stronger”. It is a portrait of the artist wearing a white and blue stripes t-shirt while holding a cup of coffee. The bright yellow of her long hair creates a bold contrast with the red of the background and the green of the plant at the side of the painting. Her big, brown eyes are turned towards a corner we cannot see and the coffee she is drinking allows her to start her day with the right strength. Here, Živilė’s expressionism is characterised by the direct manifestation, through colours and brushstrokes, of her feeling strong and ready to live her day. In her art, Živilė does not limit herself to watch the reality and to communicate emotions through colours and portraits, but also invites the viewers to add their layer of meaning to her paintings, to add their “set of internal data containing either deep personal turmoils or tranquil oasis” that “narrates stories of its own”.

Art Curator Martina Lattuca


Živilė Kasparavičiūtė

What Makes Me Stronger


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