Petros Mikaya

Milano, 1964

Mikaya Petros è nata a Milano, classe 1964, figlia del pittore surrealista Petros. Si è formata nell'atelier del padre dove realizzava collage fotografici a quattro mani, opere pittoriche e materiche. L'incontro negli anni '70 con Andy Warhol, Michele Cascella, Alecos Fassianos, Mimmo Rotella è stato incisivo. È nella casa di produzione, post-produzione e computer grafica dello zio materno che l'artista ha lavorato fin da ragazza alla creazione di contributi digitali e video. “Dipingere per me è come cantare sotto la doccia in una giornata di sole”, dice. La sua arte indaga, attraverso la sperimentazione digitale, la matrice surrealista, dando vita a una ricerca concettuale e formale con un respiro che approfondisce il confine tra Realtà, Tempo e Simbolismo. I soggetti delle sue opere, realizzati attraverso un linguaggio fotografico digitale, vivono in una dimensione onirica contemporanea. Nel suo processo creativo Realtà Virtuale e Spazi Temporali vengono indagati, scomposti e riassemblati in una visione neosurrealista. È questo lo specchio ed il riflesso parallelo di un mondo ancora tutto da decifrare

Le sue opere sono state esposte all'Expo Fiera di Milano, alla Biennale BID di Trieste 2021, al Premio Michelangelo Expo di Roma, all'Arte Laguna World dell’Arsenale, al Premio Dante Alighieri Palazzo Borghese di Firenze, alla Dante Academy di Londra 2021, all’ Enchanted Garden Exhibition in Belgio, al Luxemburg Prize, alla Tower House in UK, alla Fusion Art Gallery di Santa Fe in New Mexico, all’Hopper Art Prize, alla D31 Gallery in Uk, allo Studio Next di Kolkada in India e all’XI Esposición Internacional di Valencia in Spagna, al 5th Pasa Art Festival in Corea, alla Osten Biennale in Macedonia, al Big Screen Plaza e Found Work of Art di NYC in Usa, all’Art Lecture Platform, al Global Painting Conclave in Nuova Scozia Canada, al Bennet Prize, all’Art Facts ed International Painting Biennale di Amburgo 2022.

Sue opere nelle Collezioni Permanenti dell’Archivio Sartori di Mantova, del Museo Ca' Pesaro di Venezia, del Paesaggio di Como, del Cica in Corea, del Museo di Dover New Hampshire Usa, Marittimo di Bordeux in Francia e nella Fondazione Serpone di Roma.


Instagram: @mikayapetros #mikayart


Archivio Art Magazine di dicembre 2020 e gennaio 2021. Intsliquid intervista Maggio 2021. Copertina volume Emily Dickinson Liguori Editore. The ArtGuide 2022. Artisti italiani 2022 catalogo Sartori d’arte moderna e contemporanea. SaatchiArt 2022. Exibart 2022.


Mikaya Petros. Michela Papavassiliou

Mikaya Petros was born in Milan, class of 1964, daughter of the surrealist painter Petros. She trained in her father's atelier where he made four-handed photographic collages, pictorial and material works. The encounters from the 70s with Andy Warhol, Michele Cascella, Alecos Fassianos, Mimmo Rotella and many characters who have marked our time have been incisive for her training. “My DNA is surrealist in a abstract figurative soul,” she says. The subjects of her works breathe a dream dimension that absorbs all the contradictions and peculiarities of our era. Symbolism and Time are investigated, broken down and recomposed in a metamorphic vision, a reflection of a mirrored and parallel world. Her recent works at Expo Fiera di Milano 2020, at the Museo Archivio di Mantova 2021, at the Biennale Donna in Trieste, at the Arsenale in Venice. Laguna World, at the Michelangelo Expo Rome 2021 International Award at the Dante Alighieri Award at Palazzo Borghese in Florence and at the Dante Society in London. Five of her works has been included in the Permanent Collection of the Mantova Museum, Landscape Como's Museum, Ca 'Pesaro Museum in Venice, Cica Museu in Corea, Museo di Dover New Hampshire Usa, Marittimo of Bordeux in France and Fondazione Serpone of Rome.

Pursuant to the Privacy Law, the undersigned Michela Papavassiliou gives her consent to the processing of personal data.

Mikaya Petros Art a Vision between

Satiety of Thought and Hunger for Idleness.

Meeting Mikaya Petros is like being in a crossroads between the far North and the deep South. It will be her Viking-Byzantine ancestry, which develop into a slender and Nordic figure, it will be the Hellenic matrix. Her Art, many oils on canvas or mixed techniques, but also works on paper, photographs or multimedia works, have the advantage of involving, from the first glance for that innovative and not obvious way of distilling concentrates of vibrations. Thus the decisive brushstrokes, never flat, but fleshy and vivid, which at times seem to be able to leave the canvas in total autonomy, lead the viewer to the painting to enter, through the main door, an unexplored and new world. Mikaya knows how to investigate her time and represent it by transfiguring it with impact into another dimension. They are works of small and large dimensions, where the material seems to dematerialize and recompose itself, where the lines break and resume in unusual and intriguing paths. Observing her figures with indecipherable and iridescent faces, in the center of the canvas, we are magnetized by an energy, which reveals itself to our soul but cannot be fully decipherable. A slightly curved back, giant mouths whose lips barely parted, weigh on a slightly reclined nape. It is the visual story of words that have never been spoken, of existential auras, capable of bouncing in the mind like clumsy over thoughts, finally evaporating in the ether, similar to memories just mentioned and already destined for oblivion.

Her conscious and polychromatic painting describes our digital_robotic era. It is in this futuristic place that the individual, infinitely replicable in virtual clones, succumbs to the technology he has created himself. The artist knows how to tell with emblematic tones all the anguish and joys of our time, spurring us to reflect on ourselves and on the destinies of this humanity. From abstract forms figurative elements emerge, at the center of which it seems to be able to accompany us by the hand.

Her are arguments that describe the everyday, transposing it into a parallel dimension, not purely of pictorial representation, but exquisitely symbolic and surreal. Time and space seem to expand in a reference between an inside and an outside, between before and after, between satiety of thought and hunger for idleness. It is no coincidence that one of the most important and fascinating Italian museums, such as the Cà Pesaro in Venice, wanted to pay homage to the inspiration of this Italian painter, inserting it in its permanent collection.


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