Melanie Francesca is a promising contemporary artist. Her paintings have been exhibited across Europe and the Middle East in prestigious places such as the Cortina Gallery in Milan with a solo show and the group exhibition, Figuration Critique, that took her from the Grand Palais in Paris to the Tretjakov State Gallery of Contemporary Art in Moscow.
In Dubai and Abu-Dhabi her one-man exhibition in 2005 was held under the patronage of Sheik Nahayan Mabarak al Nahayan, the UAE Minister of Culture.
Still under the patronage of His Excellency Nahayan Mabarack al Nahayan will be held in november 2015 the solo exhibition THE BOX

M.F. is the result of a history that breathed the warm, silent atmosphere of cathedrals, the crystalline transparency of Greek temples, the solemn and autocratic fixity of the Egyptians. In short, the atmosphere of Europe drenched in the past, its museums and ancient works.
She has an exceptional sensitivity to portraits with a sinewy Nordic style almost like Dürer’s, especially with India inks where the stroke becomes the protagonist and stands out from the softness of the drawing, becoming an incisive and satisfied sign.
Her b/w stories reflect a love for the human body interpreted as an architectural construction in a prospective base of flat surfaces and volumes, and at the same time, that treads a dreamlike dimension, transfigured in a space between the ancestral and the surreal.
The human body disappeared from art when it became public property in photography and cinema. Often, contemporary art has dealt with technology, psychedelic effects, philosophy, politics and ecology. It took on themes considered important, forgetting the figure of man; thus demonizing figurative painting as a kitsch leftover from a vanished era.
Her commitment is this: probe those territories forgotten by conceptual and minimal art to discover the human territory and its maximum manifestation.
An artist who affirms believing in the mystery of the demiurge, in inspiration, in the birth of creative force.
“Technological man has grown cold in a kind of intellectual detachment that has made him forget the primordial perceptions that are the postulates of our being,” she declares. “Pleasure and pain, joy and sadness are filtered through the mind and paradoxically become rational perceptions. Art has become conscience of self, mature and attentive to all the contaminations of the media, but it has abandoned the unconscious, myths and the sleep of dreams. My recovery of nature and symbol takes place in this context. I want the abyss and mystery, the moon and the chthonic forces of the earth. I want the triumph of the human body in a naturalism that brings man back to a religious sense of life. I notice the contemporary nostalgia for instinct and nature and especially for the centrality of man who is besieged by today’s automatism.”
These personages are our projection. They are actors impersonating a role on the stage of a comic strip comedy that surprisingly resembles a cathartic Greek tragedy…