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Articles and reviews

ARTEMICIA has appeared in various media for both individual works and collaborations. Below you can read the most recent articles regarding his work, and by scrolling down the page, you will find more related material.



Elisabetta Di Chio, or Artemicia, presents two watercolors that see two cats as protagonists, a subject that becomes the signature of her art, as the great love of her life. Elisabetta is a passionate lover of cats who are not only part of her existence  in the daily family, but are the backbone around which she gives voice to her painting. Cats caught in their home environment, in familiar and usual poses. Haughty, alert to the control from the top of a shelf that he must be able to dominate and control everything that  happens or is about to happen around him. Innocent in his gaze, like someone who has made a prank but pretends indifference in front of his human .  Or a cat that wakes up after one of his many daily naps. Elisabetta talks about her cats, as they really reveal themselves before the eyes, making sure that these works of hers can be compared to photographic shots that fix that precise moment, that instant, unique and unrepeatable, sharing with us, a glimpse of her family life. A proud, confident gaze, which becomes the translation of a sensual, sinuous and, at the same time, mysterious bearing. In ancient times as it happened for the cat, revered, in the Middle Ages and the Renaissance feared and for this the bearer of misfortune and instrument of evil by witches on their sabbaths. In those icy eyes that penetrate the observer's gaze, one can read the ambiguity of this animal, that ambivalence that has always led it to move between rational and irrational, between tangible and infinite, between earthly and otherworldly, attributing to it magical and thaumaturgical powers, as if it were an intermediary between what we are, imperfect and fragile beings, placed in our daily dimension and what is our most spiritual, metaphysical dimension, as if a hidden message was hidden in that gaze directed to us , addressed to us that we still cannot decipher.

Dr. Ombretta Frezza Critic and Historian of Art

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