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Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Monsters, mythological creatures, geometric shapes, cosmic battles. The exhibition, curated by art historian Eva di Stefano, presents Antonio Di Paola, young artist from Palermo, who uses vivid, cheerful colors to combat the dark recesses of his mind. Many of the titles of the sixteen large-scale works, draw on the world of fantasy but even the most evil of those monsters is transformed by Di Paola through vibrant colours and a multitude of signs and patterns, evoking a sense of inner chaos. The fearsome characters, equipped with claws, pincers, sharp teeth, electric tails, spines, and swords, are the fruit of Antonio’s sensitivity and overflowing imagination, as he seeks to control them through form and colour. “The story comes at the end,” Antonio explains. “First, the general idea of the composition arises in my head. By drawing, I transfer the linear structure to the sheet of paper, which only later, with the addition of colour, comes to life, and then the battle begins. Colour is a weapon of attack and defense.” Antonio began drawing spontaneously at 17, while attending an accounting course. Now 24, his personal unease is mirrored in the anxiety of the so-called Generation Z of digital natives, fueled by the frenzy of video games and social media. His works are like mirrors that reflect the obsessions of his inner self, but they also evoke our fragility in the face of natural disasters, ongoing wars, and the epidemics of yesterday and today. “The Scorpion of Malice”, “Salvobedort, the Dark Hunter”, “Alien City”, and “King Fire” are just some of the titles of the works on display: dragons, witches, vampires, and warriors rise to tear away the veil of anxiety. The more you look at, the more you enter a visionary universe, an interior and mental journey of transformation through precarious architecture, totems, and visual worlds within which the eye becomes lost. “In the artist’s repertoire,” writes di Stefano in the critical essay in the catalog, “colours have their own symbolic value, and if blue is ice, red is fire, lava, the blood of the earth, while yellow is power, green is poison… The overall effect is playful, decorative, and at the same time disturbing. Even virtuosic, in the combined use of mixed techniques, including watercolor, acrylic, oil pastels, pigments, and ecoline.” Dec 24, 2025 - Jan 23, 2026: open only by appointment

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Courtesy of the artist and Galerie la Ferronnerie

Rens Lipsius presents his artworks along with the work of other artists in the thirteen Ideal Artist Houses he realized worldwide: the largest one, in New York, was sold in June 2012 as a total concept by the Raphaël De Niro group. Rens Lipsius’ Ideal Artist House n.7, at Herengracht 254 in Amsterdam, was presented to the public on the 8th December 2012. The concept of Ideal Artist House took off in Paris with his first studio there at Villa Riberolle and later on at Quai de Valmy when he offered his venue for an exhibition space, and it became known as Rens Lipsius’ Ideal Artist House: it is a radically new idea of space aimed at profiling the art and the artist, a space where art comes first and commerce is led to follow. According to “Humanism as Medium” from www.observatoire-art-contemporain.com, Rens Lipsius’ Ideal Artist House is inscribed within a humanist approach as a philosophical space which is at once mental and sensual, namely a reconstructed natural environment or an exemple of total art. This is why the viewer is invited to get a direct experience of the oeuvre by spending time within it, achieving intimacy with it and reaching the light of what is essential. "These houses are an attempt to extend the idea of living with art to an essential everyday need… I am hoping –perhaps arrogantly– to create such a need for a painting or a photograph that one never wants to be apart from it", Rens Lipsius said. "The impetus for these projects are my studios: from the very beginning they would become -let’s call them like that- clubs or institutes: in other words, places to be and exchange. Art is first about looking, then making and lastly about possessing, so traditional venues focusing on art and art trade should not be cast in stone either", he added. The first Ideal Artist House project was Lipsius’ former studio at Villa Riberolle in Paris. The largest to date at Bleecker Street in New York was sold in June 2012 as “a total concept”. The Amsterdam canal house was presented to the public on December 8, 2012 and a new one, no. 8 in Italy, is on the way and will be opened in 2025. Open to the public on Saturday and Sunday, 3-7 pm, from 18th October 2025 till 16th November 2025, except for 25-26 October 2025.

Courtesy of the artist and Galerie la Ferronnerie