Mikaya Petros was born in Milan, class of 1964, daughter of the surrealist painter Petros.
She trained in his father's atelier where he made four-handed photographic collages,
pictorial and material works. The meeting in the 70s with Andy Warhol was incisive.
It is in the production, post production and computer graphics house of her maternal
uncle, that the artist has worked since she was a girl in the creation of digital and video
contributions.
“Painting is for me like singing under the shower in a sunshine day” she says.
Her Art investigates, through digital experimentation, the surrealist matrix, giving life to a conceptual and formal research with a breath that deepens the boundary between Reality, Time and Symbolism.
The subjects of her works, created through a digital photographic language, live in a contemporary dream dimension. In her creativity process Symbolism and Time are investigated, broken down and reassembled in an innovative vision.
It's a mirror and parallel reflection of a world yet to be deciphered.
Her works are exhibited in Arte & Virtus, at Expo Fiera di Milano, at the Trieste Biennal, at the Michelangelo Prize Rome Expo and Archivio Mantova Museum, at the Arte Laguna World, at the Dante Alighieri Prize Borghese Palace in Floence and at Dante Academy in London. Her artwork „Clonable Identity“ is at Ca‘ Pesaro Museum in Venice.
Instagram #mikayart
Archivio Art Magazine of December 2020 and January 2021
Meeting Mikaya Petros is like being in a crossroads between the far North and
the deep South. It will be her Viking-Byzantine ancestry, which
develop into a slender and Nordic figure, it will be the Hellenic
matrix. Her Art, many oils on canvas or mixed techniques, but also
works on paper, photographs or multimedia works, have the advantage
of involving, from the first glance for that innovative and not
obvious way of distilling concentrates of vibrations. Thus the
decisive brushstrokes, never flat, but fleshy and vivid, which at
times seem to be able to leave the canvas in total autonomy, lead the
viewer to the painting to enter, through the main door, an unexplored
and new world. Mikaya knows how to investigate her time and represent
it by transfiguring it with impact into another dimension. They are
works of small and large dimensions, where the material seems to
dematerialize and recompose itself, where the lines break and resume
in unusual and intriguing paths. Observing her figures with
indecipherable and iridescent faces, in the center of the canvas, we
are magnetized by an energy, which reveals itself to our soul but
cannot be fully decipherable. A slightly curved back, giant mouths
whose lips barely parted, weigh on a slightly reclined nape. It is
the visual story of words that have never been spoken, of existential
auras, capable of bouncing in the mind like clumsy over thoughts,
finally evaporating in the ether, similar to memories just mentioned
and already destined for oblivion.
Her
conscious and polychromatic painting describes our digital_ robotic
era. It is in this futuristic place that the individual, infinitely
replicable in virtual clones, succumbs to the technology he has
created himself. The artist knows how to tell with emblematic tones
all the anguish and joys of our time, spurring us to reflect on
ourselves and on the destinies of this humanity. From abstract forms
figurative elements emerge, at the center of which it seems to be
able to accompany us by the hand. Her are arguments that describe the
everyday, transposing it into a parallel dimension, not purely of
pictorial representation, but exquisitely symbolic and surreal. Time
and space seem to expand in a reference between an inside and an
outside, between before and after, between satiety of thought and
hunger for idleness. It is no coincidence that one of the most
important and fascinating Italian museums, such as the Cà Pesaro in
Venice, wanted to pay homage to the inspiration of this Italian
painter, inserting it in its permanent collection.
