Perhaps it is superfluous to say that for me Art is not only a primary need, it has always been my way of living, breathing and looking at things. My father, a surrealist painter, has certainly been my Master of Art and Life. I remember when I was just 4 years old, he would lift me in his arms to read the landscape pictorially with me. "There you put the whites, in those shadows you put the colors all together, because black does not exist being the mix of colors that inhabit your brush." This is a necessary premise to understand my painting and my propensity to stop on paper all the things that I have an urgent and unstoppable need to say, almost under dictation, almost as if I did not have the time to communicate everything. My relationship with paper also has deep roots because Petros had a printing press where some of the catalogs and posters that have made the history of part of our contemporary art were printed. Magritte, de Chirico, Andy Warhol, but the list could be long. With the remnants of printing, colored papers, long strips of scraps, I built the foundations of my artistic world, made not only of shapes, ideas, projects, but also and above all of spaces, lights and smells. The scent of raw paper, the consistency of Japanese paper against the light or in my hands, are inspirations that were difficult for me to decipher then, but certainly very clear today.
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Biography
Mikaya Petros was born in Milan, Italy, class of 1964, daughter of the surrealist painter Petros. She trained in her father's atelier where he made four-handed photo collages, pictorial and material works. Her encounter in the 1970s with Andy Warhol was incisive. It was in her maternal uncle's production, post-production and computer graphics house that the artist worked from a young age creating digital and video contributions. "Painting for me is like singing in the shower on a sunny day," she says. Through digital experimentation, her art investigates the Surrealist matrix, giving rise to conceptual and formal research with a breath that deepens the boundary between Reality, Time and Symbolism. The subjects of her works, realized through a digital photographic language, live in a contemporary dreamlike dimension. In her creative process Virtual Reality and Temporal Spaces are investigated, decomposed and reassembled in a neo-surrealist vision.
This is the mirror and parallel reflection of a world yet to be deciphered.
Her works have been exhibited at the Expo Fiera in Milan, the Biennale BID in Trieste 2021, the Michelangelo Expo Prize in Rome, Arte Laguna World at the Arsenale, the Dante Alighieri Palazzo Borghese Prize in Florence, the Dante Academy in London 2021, the Enchanted Garden Exhibition in Belgium, the Luxemburg Prize, the Tower House in the UK, the Fusion Art Gallery in Santa Fw in New Mexico, the Hopper Art Prize, at D31 Gallery in Uk, at Studio Next in Kolkada in India and XI Esposición Internacional in Valencia in Spain, at 5th Pasa Art Festival in Korea, at Osten Biennale in Macedonia, at Big Screen Plaza and Found Work of Art in NYC in USA, at Art Lecture Platform, at Global Painting Conclave in Nova Scotia Canada, at Bennet Prize, at Art Facts and International Painting Biennale in Hamburg 2022. His works in the Permanent Collections of Sartori Archive in Mantua, Ca' Pesaro Museum in Venice, Como Landscape, Cica in Korea, Dover Museum New Hampshire USA, Maritime of Bordeux in France and the Permanent Collection in the Serpone Foundation in Rome.
Instagram @mikayart
Publications: Archive Art Magazine December 2020 and January 2021. Intsliquid interview May 2021 . Cover volume Emily Dickinson Liguori Editore . The ArtGuide 2022 . Sartori Catalog 2022 . SaatchiArt 2022 . Exibart 2022