Roma Arte in Nuvola
Overview
Sinead Breslin, Erin Sailing, 2024
E18
Andrea Festa is pleased to present, at Roma Arte in Nuvola 2025, a curated selection of fourteen international artists united by a distinctive approach to contemporary painting and visual research. The booth brings together works that traverse memory, psychology, landscape, ritual, and the shifting languages of the image.
Sinéad Breslin | Gao Xintong | Silvia Giordani | Yann Leto | Alexander Skats | SunJing | Lauryn (Red) Welch | Taedong Lee | Pedro Liñares | Leo Orta | Kottie Paloma | Bea Scaccia | Sebastián Hidalgo | József Csató
For this occasion, the gallery showcases paintings, drawings, and sculptures that reflect an in-depth engagement with the themes of inner and physical landscape, the body, mythologies, and the evolving nature of representation. The presentation unfolds as a journey through heterogeneous painterly vocabularies—from intimate figuration to gestural abstraction—exploring the thresholds between reality and imagination.
At the heart of the project are works by Sinéad Breslin, an Irish painter whose practice is represented in major public collections such as the San Antonio Museum of Art, Hudson Valley MOCA, the X Museum in Beijing, and the Alex Katz Foundation. Breslin transforms memory and folklore into psychologically charged scenes, depicting figures suspended between dream and identity—emotional traces that “remain long after the image fades.”
Alongside her, the works of Gao Xintong, shaped through his studies at the Academy of Fine Arts in Carrara, channel the Taoist spirit of qi, fusing dynamism and contemplation. Exhibitions in London, Beijing, and New York have established his meditative, non-narrative abstraction, where “the invisible rhythm between gesture and void” becomes visible.
Silvia Giordani, winner of the 2024 Contemporary Art Award of the Veneto Region and trained at the Venice Academy of Fine Arts, focuses on enigmatic landscapes devoid of human presence. Her suspended environments move between the real and the imagined, evoking atmospheres where “what is hidden becomes protagonist.”
Balancing irony, symbolism, and sociopolitical tension, the exuberant painting of Yann Leto—held in notable collections including Fondazione Benetton, Fundación DKV, the Parliament of La Rioja, MoMA San Francisco, and the Beth Rudin DeWoody Collection—combines references to art history, pop culture, and digital archives. For Leto, “reassembling visual fragments means revealing what we no longer see.”
The work of Alexander Skats, found in public collections such as Statens Konstråd, the Volvo Art Collection, and the SAS Art Collection, emerges from the manipulation of film stills, close-ups, and micro-details. With a precision that recalls the Old Masters, Skats examines the psychological power of the fragment, transforming hands, shadows, and surfaces into perceptual thresholds.
In SunJing’s practice, the roots of traditional gongbi painting meet a deep emotional introspection. Based in Beijing and represented in the Corridor Foundation, SunJing creates delicate figures and atmospheres that explore vulnerability, memory, and desire—capturing “emotions that have not yet found a name.”
Lauryn (Red) Welch, based in Brooklyn and included in the Green Family Foundation and Beth Rudin DeWoody Collection, works from an intimate ecology of plants, interiors, illness, and care. Their practice, which includes co-directing the award-winning film The Body is a House of Familiar Rooms (acquired by PBS), draws strength from a near-therapeutic attentiveness to everyday life.
Landscape as memory appears again in the work of Taedong Lee, a South Korean painter trained at Camberwell College of Arts in London. Lee transforms forests, rivers, and skies into “phantom places,” where dense impasto and subtle veils of paint retain the emotional imprint of recollection more than its visual form.
Visual stratification defines the work of Pedro Liñares, who lives between Lisbon and Rio de Janeiro. His recent solo exhibitions—Atlas (London), Reliquary (Porto), Herbarium (Lisbon)—highlight a method of addition, subtraction, and erasure, a process that he describes as “an archaeology of looking,” in which only the echo of an image survives.
The presentation continues with Leo Orta, a multidisciplinary artist trained at the Design Academy Eindhoven. Featured at fairs such as Frieze London and Design Miami/Basel, Orta approaches ecology, materiality, and subconscious structures through sculptures and installations that incorporate industrial and repurposed materials—imagining “new cycles of creation and belonging.”
Kottie Paloma, an American artist based in Vienna, brings to the fair a body of witty and incisive paintings held in collections such as the Tate Modern Library, MoMA, Harvard, Yale, and Stanford. His figures, oscillating between chaos and expressionism, act as “contemporary fossils” that probe the contradictions of human life.
Beatrice Scaccia, represented in the William Louis-Dreyfus Foundation and the Portland Museum of Art, explores the tension between beauty and unease. Trained at the Academy of Fine Arts in Rome and now based in New York, Scaccia constructs ornate, theatrical scenes in which feminine identity takes on unstable, masked, metamorphic forms.
The selection also includes the poetic work of Sebastián Hidalgo, whose paintings—held in the Beth Rudin DeWoody Collection—intertwine landscape, mythology, and ancestral memory. Natural, material, and symbolic elements coexist in environments that reinterpret Latin American cosmology as a space of transformation.
Closing the presentation is József Csató, a leading figure of the Hungarian contemporary scene, represented in the Museum Ludwig (Budapest). His paintings, balanced between figuration and abstraction, construct symbolic worlds filled with invented icons and archetypal geometries—maps of a private mythology.
Works
Installation Views
Press release
Andrea Festa is pleased to present, at Roma Arte in Nuvola 2025, a curated selection of fourteen international artists united by a distinctive approach to contemporary painting and visual research. The booth brings together works that traverse memory, psychology, landscape, ritual, and the shifting languages of the image.
Sinéad Breslin | Gao Xintong | Silvia Giordani | Yann Leto | Alexander Skats | SunJing | Lauryn (Red) Welch | Taedong Lee | Pedro Liñares | Leo Orta | Kottie Paloma | Bea Scaccia | Sebastián Hidalgo | József Csató
For this occasion, the gallery showcases paintings, drawings, and sculptures that reflect an in-depth engagement with the themes of inner and physical landscape, the body, mythologies, and the evolving nature of representation. The presentation unfolds as a journey through heterogeneous painterly vocabularies—from intimate figuration to gestural abstraction—exploring the thresholds between reality and imagination.
At the heart of the project are works by Sinéad Breslin, an Irish painter whose practice is represented in major public collections such as the San Antonio Museum of Art, Hudson Valley MOCA, the X Museum in Beijing, and the Alex Katz Foundation. Breslin transforms memory and folklore into psychologically charged scenes, depicting figures suspended between dream and identity—emotional traces that “remain long after the image fades.”
Alongside her, the works of Gao Xintong, shaped through his studies at the Academy of Fine Arts in Carrara, channel the Taoist spirit of qi, fusing dynamism and contemplation. Exhibitions in London, Beijing, and New York have established his meditative, non-narrative abstraction, where “the invisible rhythm between gesture and void” becomes visible.
Silvia Giordani, winner of the 2024 Contemporary Art Award of the Veneto Region and trained at the Venice Academy of Fine Arts, focuses on enigmatic landscapes devoid of human presence. Her suspended environments move between the real and the imagined, evoking atmospheres where “what is hidden becomes protagonist.”
Balancing irony, symbolism, and sociopolitical tension, the exuberant painting of Yann Leto—held in notable collections including Fondazione Benetton, Fundación DKV, the Parliament of La Rioja, MoMA San Francisco, and the Beth Rudin DeWoody Collection—combines references to art history, pop culture, and digital archives. For Leto, “reassembling visual fragments means revealing what we no longer see.”
The work of Alexander Skats, found in public collections such as Statens Konstråd, the Volvo Art Collection, and the SAS Art Collection, emerges from the manipulation of film stills, close-ups, and micro-details. With a precision that recalls the Old Masters, Skats examines the psychological power of the fragment, transforming hands, shadows, and surfaces into perceptual thresholds.
In SunJing’s practice, the roots of traditional gongbi painting meet a deep emotional introspection. Based in Beijing and represented in the Corridor Foundation, SunJing creates delicate figures and atmospheres that explore vulnerability, memory, and desire—capturing “emotions that have not yet found a name.”
Lauryn (Red) Welch, based in Brooklyn and included in the Green Family Foundation and Beth Rudin DeWoody Collection, works from an intimate ecology of plants, interiors, illness, and care. Their practice, which includes co-directing the award-winning film The Body is a House of Familiar Rooms (acquired by PBS), draws strength from a near-therapeutic attentiveness to everyday life.
Landscape as memory appears again in the work of Taedong Lee, a South Korean painter trained at Camberwell College of Arts in London. Lee transforms forests, rivers, and skies into “phantom places,” where dense impasto and subtle veils of paint retain the emotional imprint of recollection more than its visual form.
Visual stratification defines the work of Pedro Liñares, who lives between Lisbon and Rio de Janeiro. His recent solo exhibitions—Atlas (London), Reliquary (Porto), Herbarium (Lisbon)—highlight a method of addition, subtraction, and erasure, a process that he describes as “an archaeology of looking,” in which only the echo of an image survives.
The presentation continues with Leo Orta, a multidisciplinary artist trained at the Design Academy Eindhoven. Featured at fairs such as Frieze London and Design Miami/Basel, Orta approaches ecology, materiality, and subconscious structures through sculptures and installations that incorporate industrial and repurposed materials—imagining “new cycles of creation and belonging.”
Kottie Paloma, an American artist based in Vienna, brings to the fair a body of witty and incisive paintings held in collections such as the Tate Modern Library, MoMA, Harvard, Yale, and Stanford. His figures, oscillating between chaos and expressionism, act as “contemporary fossils” that probe the contradictions of human life.
Beatrice Scaccia, represented in the William Louis-Dreyfus Foundation and the Portland Museum of Art, explores the tension between beauty and unease. Trained at the Academy of Fine Arts in Rome and now based in New York, Scaccia constructs ornate, theatrical scenes in which feminine identity takes on unstable, masked, metamorphic forms.
The selection also includes the poetic work of Sebastián Hidalgo, whose paintings—held in the Beth Rudin DeWoody Collection—intertwine landscape, mythology, and ancestral memory. Natural, material, and symbolic elements coexist in environments that reinterpret Latin American cosmology as a space of transformation.
Closing the presentation is József Csató, a leading figure of the Hungarian contemporary scene, represented in the Museum Ludwig (Budapest). His paintings, balanced between figuration and abstraction, construct symbolic worlds filled with invented icons and archetypal geometries—maps of a private mythology.
Roma Arte in Nuvola 2025
21–23 november
Stand E18 — Andrea Festa
+39 339 176 4625 | andreafestafineart@gmail.com | andreafestafineart.com
21–23 november
Stand E18 — Andrea Festa
+39 339 176 4625 | andreafestafineart@gmail.com | andreafestafineart.com
