HOMEPAGE  |  About my Painting  |  Reviews and Exibitions  |  Digital Gallery  |  Contacts  

Rossana Bossaglia
From the catalogue for STUDIO D'ARS
Solo exhibition 'The Rose is no longer Sick"
Milan, 1997

he painting of Marisa Mezzadra, even when expressed through that form of art called ‘figurative’, which is linked to the mimesis of reality, has always been a visionary representation.
To prove this, we simply need to consider her palette which at times associates in a galvanic way, ever unsettling, different shades of colors, both in their chromaticity and palpability and at the same time, evanescence of her brush stroke.
Her palette exploits more and more the use of fluid colors and manages to obtain a brilliant effect in the final result. It is as if the complex and troubled image which the artist offers us, sliding from one form to another in a metaphorical continuum, were frozen under a vitreous coating. This to prove the fact that the artist knows which is the moment and the point where the vision defines itself and can therefore be transmitted, offered in such way to the viewer’s emotion which in its turn is complex and troubled.
Since each artist exploits his own cultural experience whenever his inner drives become signs, Marisa Mezzadra has taken large inspiration right from the beginning of her career as a painter, from British literature which forms her main educational background.
We can also say, as she herself consciously states, that British literature and poetry in particular, has always been her favourite ambit for her meditations and has stimulated her imagination, starting from her great passion for William Blake, who, not surprisingly, is a poet as well as a painter.
Her latest production still bears such world with specific reference to the visionary aspects of the English Romanticism, then to follow into the development of the Pre-Raphaelites especially the ones who evoke Shakespearian emotions within an ambiguous creativity, where one does not know whether art is conceived as a revelation of the evil or as a liberation of it. Down such path we reach the English poets of the 20th century, who are linked to their past by an unbreakable cultural chain.
Surely the theme of the rose, which is to say the theme of ephemeral and absolute beauty, is the perfect theme in such a research: in a painting which scans the areas of mystery and of the inexpressible and frees them from aphasia. While some works by Marisa keep that feature of a foamy and vague brush stroke which pursues the inexpressible, others of the same period, sublimate the theme in the really refined and extremely clear images of the rose, of the waterlily, and eventually transform them into allegorical images where iconographies proper of various cults, but essentially homogeneous in their rhythmic succession and in their intentional multi-ethnic feature, are placed in the painting with articulated rhythms.
A rather ambitious way of painting that of Marisa Mezzadra, which faces difficult and sophisticated themes and causes in the viewer a mixed of deep emotions, which are nevertheless perceivable even in a simple and direct way. Emotions which become a message imbued with hedonistic seductions. Within these fixed points of formal simplifications the symbol of pure beauty emerges and the rose, which is offered to the viewer as an aesthetic object , while maintaining the freshness of the natural ephemeral, appears untouched by decadence, no longer sick.

(Translated by Marco Baschiera)

Rossana Bossaglia
From the catalogue for Studio Pestalozzi
of Ludovico Calchi Novati
Solo exhibition 'The Spheres of Music'"
Milan, 2005

he message which Marisa Mezzadra has constantly communicated to us – I mean, since she started her career as a painter about thirty years ago – is essentially that of the synaesthesias, of the correspondences between the various forms of art. She uses painting to do that. However, right from the beginning it appears necessary to explain what she means with it: with a unique ability Marisa transforms her palette with colors which are intensively thick or transparent and fluid. Her bases are of various types: canvas, drawing paper, plastered board and so on. She develops her gentle communicative strength through the richness of a varied, crumbled, thickened, palette where we experience strong contrasts or fluid changes.
The range of her modulations does not only involve the painting technique, since at the very base of Marisa’s suggestions which are translated into expressive formulas, we find synaesthesia.
Marisa Mezzadra strongly feels the relationship between the various forms of art and manages to translate it into emotions. Such emotions are naturally linked to our senses, and are perceived at various intensities, to be then transmitted through sounds or colors, through the rhythm of sound or the visual impact of the sign whenever they reach that expressive form which can be called art.
This way of sensing the emotions finds its inspiration from various models: from the Far East to the Islamic world, from the poetry of the past to the Shakespearian suggestions. Shakespeare is a fundamental point of reference when it comes to this way of sensing the art, given the strong vitality present in the images transmitted by his verses.
All I have so far mentioned is also part of what Marisa Mezzadra has always sensed and has always tried to transmit in her art. Even her latest works, which are part of this exhibition, go along this artistic path. However, they do not repeat any previous formulas but project themselves towards new interpretations following the rhythmic image of the scores. We fall under the impression that she has tried to translate the visibility of music, of the structure of the score as if it perfectly corresponds to sound.
In dedicating the images to music, Marisa underlines their correspondences. It is not by chance that the poetical base is made up of the ‘Correspondances’ by Baudelaire: symbolism is not the contrary of the direct image of nature but it is its intellectual aspect, vivid testimony of the correspondence between art and knowledge.

(Translated by Marco Baschiera)

21st May 2005

“Imagine all the people living life in peace” (John Lennon)

Alberto Mattia Martini
Studio D’ARS, Milan

o imagine that one day all the people in the world will be living in peace is rather utopian even if it tallies with what a part of humanity wishes for.
A mysterious energy hovering in nature like spiritual expression which inexplicably gets fixed, captured and told in what we nowadays see as art.
Music can be seen as one of the many feathers of the wings which form such entity. It is its voice, the tremor which vibrates within its being and which produces poetical notes or screams of either sufferance or protest.
Yet, art can be expressed via several forms and means, and can even merge into a sole form, in an energetic genesis with no boundaries.
This is what is happening in a Milanese art gallery, Studio Pestalozzi, where until 15th May the works of the artist Marisa Mezzadra are exhibited. As Rossana Bossaglia says in the catalogue which accompanies the exhibition, Marisa expresses her research through synaesthesias, which is to say through various artistic manifestations.
The works exhibited find their origins in the music composed by Lennon, Debussy, Bellini, Beethoven, Mahler and many others, which have stimulated the sensitivity of our artist in amalgamating and translating such music into her paintings: the score seems to be both the figurative and imaginative space within which Marisa fantasises and creates the change from sound to visual tangibility of music. A research which has covered many years and first found its expression in poetry for then moving on into the ‘spheres of consciousness’, into the observation of man in relation to his surroundings and what makes him feel alive.
Marisa’s paintings present ample synthesis of her analyses and studies. They are pictorial manifestations which seem to dissolve their form within pure apparitions of colors, blots and figures which seem to be stroked by light, revealing their sensitive metamorphosis.
The reference to our psyche is rather clear. It is a hidden desire to discover the elements which form the human being: mind and body. The spreading of forms and colors narrates and reveals the poetical and at times imaginary path which can be laid within ourselves.

(Translated by Marco Baschiera) -

Studio Pestalozzi
Via Pestalozzi,6 - Milan
Marisa Mezzadra
Solo Exhibition - May 2005)


In the 70s: first collective exhibitions and a solo exhibition in Pavia
1983 - Solo exhibition - D'ARS Studio, CITIFIN Florence
1984 - Solo exhibition - Il Salotto Gallery, Como
1985 - Solo exhibition - D'ARS Studio, CITIFIN Milan
1985 - "Four Artists from Pavia", collective exhibition - 9 Colonne Gallery, Trento
1991 - "Bagaglio Culturale" (Cultural ‘Luggage’) , collective exhibition - D'ARS Studio, Milan
1992 - "Un Punto per Piero", homage to Piero della Francesca. Collective exhibition - Brera Academy, D'ARS Studio, Milan
1995 - “ ‘S’ as Guglielmo Marconi", collective exhibition - D'ARS Studio, Milan, and Scuola G. Marconi, New York
1996 - "Aria" (“Air”), collective exhibition of paintings and writings - D'ARS Studio, Milan, Scuola G.Marconi of New York; Frank De Bellis Collection, San Francisco
1997 - Solo exhibition at AREA Gallery, Turin. Introduction by Dario Salani
1997 - Solo exhibition organized by AREA Gallery at ‘ARTISSIMA’ Art Fair, Lingotto, Turin
1997 - "The Rose is sick no longer", solo exhibition - D'ARS Studio, Milan. Introduction to catalogue by Rossana Bossaglia
1998 - "Confronting Roses", collective exhibition - D'ARS Studio, Milan
1998 - "Great Paintings", collective exhibition - Forte Crest, D'ARS Studio, Milan
1998 - "Italian Artists in Innsbruck", collective exhibition - Bertrand Kass Gallery, Giacobbe Spazìo, Innsbruck
1999 - "Don Quijote de la Mancha", collective exhibition - D'ARS Studio, Milan
2000 - "Memories of a Century", collective exhibition - AREA Gallery, Turin
2000 - "Artists in Turin", collective exhibition organized by Rolando Giovannini's ART POINT BLACK (from Florence) at Palazzo Nervi, Turin
2000 - "1900 - 2000: a Century of Art in Pavìa", collective exhibition introduced by Rossana Bossaglia at Visconteo Castle, Pavia
2001 - "Present Trends in Italian Art", collective exhibition organized by the Italian Culture Institute at Givatayim Theater, Tel Aviv, and BeitAba Hushi Gallery, Haifa. Introduction by Rossana Bossaglia
2005 - “The Spheres of Music”, solo exhibition - Spazio Pestalozzi, Milan. Introduction to catalogue by Rossana Bossaglia.
2007- “ 13 x 17 – Padiglione Italia “ (13 x 17 - Italian Pavilion), a travelling collective exhibition (from Venice to Rome, to Palermo), from an idea upheld by Philippe Daverio
2009 - "1000 Artists at Palace" collective exhibition at Palazzo Arese Borromeo, Cesano Maderno (Milano) - 7 / 3 - 14 / 4 - 2009 - From an idea of Fiorenzo Barindelli; presentation and catalogue by Luciano Caramel.
2009 - Florence, 'Casa di Dante' (House of Dante) Gallery: "Credit Titles", collective exhibition organized by Rolando Giovannini (June 6-18).
2009 - Venice, San Vidal Art Center: "Art as a Mirror of Life", collective exhibition organized by Rolando Giovannini (July 25 - August 6)
2011 - "Torino 2011 - 150 Anni dell'Unità d'Italia" (Turin 2011 - 150 Years of Italian Unity), collective exhibition at Valentino Royal Castle, the Hall of Columns, 3 - 8/10. Curated by 'Italia Arte', Folco Gallery Cultural Association, Turin Polytechnic
2011 - "1000+1000+1000 - A project by Philippe Daverio", collective exhibition at Fava Palace, Bologna, 30/06 - 16/10.
2011 - A collective exhibition for "Cambiare la rotta" ONLUS, Spazio Pestalozzi, Milan, 23/11-10/12
2012 - "Eight artists' sights", collective exhibition at the Museum of Art and Science, Bonacossa Palace, Milano, organized by "Enciclopedia d'Arte Italiana", curated by Alberto Moioli, 06-18/11
2013 - "The Senses of Nature - From the infinitely small to the infinitely big", solo exhibition at Tornielli Palace, the Hall of Columns, Novara, curated by Vincenzo Scardigno, 14-29/09


Since may 2012 a collection of works by Marisa Mezzadra has been included, through invitation, in Saatchi Online gallery.

2008 - Marisamezzadra.com - Tutti i diritti riservati