Milena Nicosia's work began in the nineties and now emerges as a sign of artistic experimentation aimed at clipping the intimate evocation of the precariousness and individually through the series of works devoted to lingerie and use digital representation of feminine. But right from this first generation approach, which also deviates from a certain formalism technical staff to become research in cosmology, genetic footprint shows the intensity of painting with a high rate Condensing analytical and fantastic. The creative process is indeed through, within, and the picture becomes text, diagnostic score an existential journey that is universalized and collects the memory humoral, chemical, organic x-ray path in the reception, which is beyond: a survey of sound, of the sui generis' introspection. Today, Milena's interest extends to the observation that change color from deep existential referents chief concern crystallizing the objective correlative of feminine ambition and human thought on the management of a sense of "romantic" communicative invocation. Radiographs of Man Ray are the reference composition in which the young artist seeks to capture the fluctuations frequencial emotion: Plates in which the Proustian memory becomes sharper and is defined in the footsteps of light that will prevail in the act of expression.
binding are forms of genetic formulation of the image, and then in power in the filing that the plasma configuration anemic. The artist uses the effect of perceptual performance for the delineation of opportunities left out, moments of troubled childhood or stigmatized the riddles of everyday life that emerge as luminous ectoplasm in the dynamic fluidity of movement, fixity in the photo and negative warp Space limited. But probably what transpires is always on the border of the selection process of desire and power outlets on the unknown.
The dress that has turned its attention in its aesthetic implications and the historical essence of which coincides with the coordinates of life, is the stark indication of an event it is also the disappearance and death of the individual, that determine their presence in the residue, fossil, shroud, a path of bodily impulses and transcribed as a disturbing report that diagnose illness and pain but not limited to dissolve with the passing that bad, but to accept the value of that feeling is reflected in the nude (because without its model) suit, remains in rarefactions mental, or the power of a conceivable future, such as that performed a wedding dress. The sheer givenness of the spoils with which Milena headline many of his works, is not only an indication of being emptied, but also the verification of identity, what remains, but is not forgotten or obliterated by a consumer dictates the course: indeed is the housing and the recreational value of that sensitive evident in his iconic, but physical, evolutionary. For example, in the 23 relics of a dark black dress party is bathed in red, full of sand from a muted emotional appeal of a painful back that with excellent mimicry stains, imperfections pellicular diaphanous, luminous generate indentations nature, the ramifications, the efflorescence a slight counterpoint, a fifth infinitesimal.
From a text of prose creative artist wrote that the same as a declaration of poetics are drawn some interesting ideas in the vision of a double intoxication recast between the high ambition of philosophical inquiry, and the shrine of personal fixations: "I am analyzing pictorially the 'place' invisible body, "the Soul", not understood in the Catholic sense, but the heart of the heart, our intimacy absolute unity which is the whole, in the infinite time that is instant, on the inviolable us, in the alchemy that brings the humanity and humanity to ashes to ashes. Faure phobias and contemporary to diseases, viruses and infections that sour blood. "In heartfelt thanks, the configuration of a bicycle joins polymorphically the sole of a shoe that shines out of focus, envelopes, perhaps never sent, and the fabric Light, silky garment is fluctuating, fluctuation of the painting is the face of the stay as it is clearly the result of representation that contains the spirit of those institutions as they would not in the religious sphere, rather as the photographic impression of a mysterious energy intended archive of some occult investigator, a recording seismic soul. The garments are the issue, almost hollow, the container that hosts the possibility of unexploded, a female power of art to dwell on the detail essential, but above all the ability to be belly to release the essence and transparency, as the reverse male art, oil, sulfur of "fotoradiografie" John Manfredini.
The work is prefigured in the epic narrative of a human transformation performed by the uncertainty not only doubt about the value of the ancient existence and condition of general insecurity, but full of fear of insecurity in the instant, a technological dimension , concentrated in the medical and biological spasms daily which is the ash gravitational slide the ball. Ash is in fact the other anthropological theme that appointment plates apodictic ghostly vector of anxiety which is based on the contemporary tragic sense-that "niccianamente" is order and chaos, of events such as Ground Zero (the dust that rises after the collapse and in turn generates a metamorphic structure) or the wars for oil or even on the basis of contemporary physical theories that reveal the dark matter from the combustion of which is knowable and exhale mephitic powders that are concrete, metal, flesh, where there meet with the dust of the private, such as powder, slimming creams, talcum powder, dust that settles nell'alchemico oxymoron, is clotted and solidifies, tremble and crack concrescitivo dell'unicum archaeological and stratigraphic image of existence, to form a cosmos of the beyond, or ritual. The monochrome works behind the ritual of creating a tribal approach in which the artist placed horizontally on the support drops to the ground tracks of pure pigments derived from the ashes of life, asbestos, cocoa powder and mixed with an acrylic glue that keeps the surface in a state of moisture, (a technique almost "cool"). He strongly feels the love of the fourteenth century Italian painting, but also to the sixteenth century in which the mineral preparation, color magic, even in Leonardo, is the creative self and not just craftsmanship, rather sacredness that remains. The color is a semantic mechanism that expresses itself in a strong descriptive and analytical. Without returning to Multiforms of Rhotko but the color differentiation for practical Nicosia has a destiny: "The colors range from variations of gray, more or less pink or blue or amber or there is a strict and metaphysical synthesis of black and white. White is the absolute light as the absence of color, a symbol of terror that is the root of the world, death severe, dry, cold, caustic, burning like the frost. By contrast, black is the darkness and the tendency to not be provided from what he used the fire and abandoned, (the soot and coal). "Here, sometimes playing the double possibility of control and randomness, however, always carefully scrutinized: eco-action painting of Pollock and dance around the work being reformulated under the sign of a delicate exercise of salvation tenacious interior formal connotation. on a particular, the liquidity of the elements that landslides, slip, breath air from the lips of Milena acts to balance the pregnancy, to authenticate harmony. The practice manual is dematerialized in issuing vital and pulverized a coital practice. The painting is fading, and volatile liquid form, hovering over his attempts to grasp the extent and patterns cataloging absence, on which it falls, according to the verses of Andrea Temporelli, "the silent ashes of history." But the recording or disclosure is not regulated following a scan of the passage, each time dimension is void, because in the dream time, or the remembrance of the freezing process variable can triumph only by the sense of contemplation and firm suspension, which refers to the time of the art which is the opposite of what the death and corrosive of the hourglass of life. The impossibility of death for art here is minimization of what for example is the preservation of bodies dissected in formaldehyde by Damien Hirst, the rejection of that death occurs (provocative) cutting and spectators fixed Biological conservation status leads them to agree on a wry sense of immortality. The conservation jealous that inspires Milena is rather that of the boxes, the interior of a cosmogony, closures revealing, nude house of the human sense, private, minimal, precious. In the work box 24 and a butterfly embroidered petals of a rose, only elements colored in monochrome imagery pertaining to a female semiotics, in its turn task is essential. From the figures transparent, seductive in the first period where the thong, the bra was iridescent colors, warm followed tensions biography of the artist, now dissolve in cold, icy white and black, the absolute colors within which comprises the whole range of perceptions, which are not abandoning the feeling that originated them, as understood as a removal of the passions in Seneca, considering the maturity and light avoidance, not to mention the weight of history on which painting gives a phenomenology. Let's play! 2, is the work that best shows this acrobatic dance between the concerns and the horrors of the present time, saw, in the bottom is compared to the negative buoyancy which slows down the turnaround of the suit, because the game is knowing how to remember the enemy, or neon shades, perhaps fetuses, ultrasound of a pregnancy which are not welded in the will for implementation. Almost time to call in a Heideggerian sense, to revive, save or re-create the reality that underlies why the artistic instinct. Giuseppe Di Bella
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