Art is an enquiry on the world, and the artist is its special envoy in reality. Art massages the atrophied muscle of collective sensitivity. Art is a catastrophic disruption in the equilibrium of interpersonal communication. Paradoxically it is the ability of relating and playing between catastrophe and communication, and Minya handles both these aspects with balance.
Through rupture and linguistic catastrophe she creates personal images starting from her observation of the world and its realities. And at the other end, through form, she communicates the favourable outcome of this catastrophic act. This time, the catastrophic act was the search for excellences within the social reality surrounding the artist and her audience; excellences on the moral and social planes, in terms of economic and political achievement, figures who through their behaviour have been capable of adding value to their country’s identity; in this case, Italy. Rhetoric of old tells us that Italy is a country of poets, warriors and sailors. The range of characters chosen by the artist is well documented by their personal stories and, I should add, by their aptitude to be transfigured into icons. This catastrophic intervention on language is successful because the artist uses an absolutely personal technique. She effectively brings to surface with pixels and manual ability the figures, the representation, the transposition of recognizable characters from life to the work of art. Their familiarity is such thanks to their passage through a linguistic grill. A formal, original system that shows us how art which comes forth from moral impetuosity is in itself a question, holding an adequate and accurate linguistic answer. This figuration produces a gallery, a sample of existing, behavioural, professional excellences who provide a behavioural model through the contemplation the public has towards them, thus contributing, while motionless, through this new iconography, to develop and massage the atrophied muscle of collective sensitivity. This collectively organized social endeavour hence produces new processes of knowledge creation. In our case, the awareness of new ways of producing images, of painting, while on the other hand, the capability of creating, illustrating the history of our country.

critic by Andrea Romoli Barberini

A visual "narrative" in an exquisitely aniconic key which, in denying all referentiality of the image, allows signs to generate and organise themselves freely in order to reconstitute — almost as though it were a laboratory experience — the embryonic phase of language. It is within this sophisticated contradiction, which formally incorporates certain components of informal culture only to deny them through the programmatic nature of the research's objectives, that the central core of Minya's most recent pictorial experience resides.
A "narrative", a narration, as has been said, whose syntax must be sought both within the work and outside of it - in the connection, at times unsuspected, that binds one piece to another in a relationship of cause and effect, and which, as the artist has repeatedly affirmed, tends to restore to the gaze a kind of history of communication, reworked and, in a certain sense, relived in the dialectic between sign and matter that is intrinsic to painting.
Looking back at the recent past of this artist, one can also trace a significant correction of course - almost a repentance - which does not contradict the coherence of her pictorial corpus but rather enhances its rigour, as though wishing to push the starting point of this complex reconnaissance even further back in time.
The reference is to that nonetheless captivating series of works in which figural fragments could be distinguished - reminiscent of prehistoric cave paintings - discreetly embedded in the supports as a kind of chronological clue, of indisputable evocative power, offered to the observer.
Fragments of referential forms, iconic temptations, entirely absent from the most recent works - yet without consequence for the artist's "recognisability", which remains effectively entrusted to the archaic atmosphere that emanates, in these pieces as in those of the past, from a thick and porous matter furrowed by marks of varying register. A visceral gestural quality that scratches the surfaces with varying energy is joined by calligraphic arabesques and regular material modulations, obtained with elementary moulds in the manner of certain prehistoric solutions.
The supports, thus organised in their seductive networks of signs and in the redundancy of a matter composed of earths and pigments, present themselves as veritable pictorial palimpsests - stratifications of different and overlapping surfaces, identifiable through their very discontinuities, the furrows, the cavities, the reliefs that refer to different epochs and eras. These are the sedimentations of a communicational instinct which, in its magmatic phase, precedes the codification of signs.
A painting to be interpreted, therefore, as a kind of metalinguistic experience that seems to wish to travel upstream along the great river of language - beginning from the complexity of its delta, represented by our present, in order to reach its source, and with it the zero degree of communication.
The necessity of making signs from different epochs coexist and interact within the same work has for some time led the artist to use transparent materials in place of traditional canvases.
Minya, through the use and two-sided reading of these new supports, exalts the idea of temporal succession and superimposition of the sign - from past to present, from matter used for representation to the here and now of living, present reality, and vice versa - thereby granting the work the possibility of a contamination that is dynamic and never stable, thanks to a transparency that absorbs the actions and situations of the surrounding world.
Far beyond the traditional concept of painting, these works - as demonstrated by the experimentations conducted by the artist in places of everyday life (beaches, historical monuments) - now seek a direct relationship with reality, understood not as a representational possibility, but as an occasion for appropriation, sharing, and contamination. A painting that now, consciously - without denying, and indeed by radicalising its disciplinary identity - seeks a direct and simultaneous relationship with the seductive becoming of the world's irrepressible performance, in the uncontrollable complexity of its signs.

Video report documenting Minya's first solo exhibition in New York. The exhibition presented approximately 30 paintings at the Monkdogz Urban Art Gallery in the vibrant Chelsea district of Manhattan.

Following the exhibition at the gallery chosen hosts extend their role: collectors become selectors of the 30-days long exhibition of artworks offered by Jedlitschka Gallery.
The collectors have the opportunity to choose one out of seven artworks by museum artist Minya to host it in their home for 30 days.