PHOTOGRAPHIC_DRIPPING - 3D virtual exhibition by virtual 9m2 gallery


Wed, 01/13/2021 to Sun, 01/31/2021

curated by:

Self-taught, Katia approached photography at a young age. Her professional career kicked off in 1994, meeting already then with success and approval from the public. She went on to teach photography and, in 2007, she and her husband founded the MAKRO photo studio, specializing in reports as well as in weddings and other events.

Simultaneously with her professional activity, Katia began to explore alternative artistic pathways, something which led her to abstract photography. The Visiografika project was shown for the first time in 2011, although the research at the root of its creation dates back some time.

The Visiografika works are now exhibited in various galleries both in Switzerland and abroad and they are on display in Morcote’s 9m2 gallery, owned by the artist.

Katia carefully chooses her supports, all-important where it comes to emphasizing light and colour in her work. Best-quality recycled paper alternates with materic works, original works and reproductions on plexiglass, crystal and also on cardboard and recycled paper (hand-made by the artist).

Her photography research often ties in with cultural and charity projects. Katia is involved in environmental projects that have brought her various accolades, such as the faigirarelacultura award (in three consecutive years from 2014 to 2016). In 2016, she won – with flying colours – with the handicrafts game “Energia & Risparmio”, which looks to sensitize participants toward energy-saving and to protect the planet’s resources.

All of the artist’s work can be seen and touched at the 9m2 gallery in Lugano or at

In 2018 she adds a new collection to her work: “Digital_Art”. She proposes the limited edition 7 + 1.

What the artist says about “gelli print” – a technique that she got to know and practice since 2019:
“It really took me some time to create these flower’s shapes. In fact I inspired myself with flowers and leaves found in the woods where I go to relax and meditate.
Then I prepared my own gelli plate with the special frame that gives me the round angles. I also studied the layout of the colors.
On each layer I use a botanical shape that I previously created. This technique allows me to create many monoprint monotype or gelli print with infinite combinations of colors and many smashing flower’s shapes”.

Katia also creates beautiful handmade jewelry using acrylic beads in many shapes and colors.

PHOTOGRAPHIC_DRIPPING: a pictorialism by Katia Mandelli Ghidini

The metamorphosis of photography: a process shared with that of painting, and although starting from divergent positions, the final approach is often the same.
Photography as a medium has increasingly developed technologically but by visually minimizing the input, photographers have often created outcomes analogous to more prestigious visual languages: identification with painting and graphics was termed as pictorialism. The exchange of experiences has ideologically determined painting sharing the aesthetic structure typical of photography.

Photographic pictorialism can be generated unconsciously. The photographic images of graffiti, the spectacular setting of cathedrals, etc, open further viewing spaces but by refusing to invent, will these images be evaluated as an overvaluation of the photographic language?

In the emotional charge of Katia Mandelli's thoughts, one immediately feels the allusive fascination of a close bond with painting. This place welcomes Kathia and she fuses with it intimately, yet with a long-sighted outlook. Her shots permeate the harmony and beauty of this immense creative space, the repetitions occur over a long time, yet when the closed suddenly opens again; a new cradle swings until a new pictorial alliance becomes adult. 

Foremost, the subjects depicted by Katia Mandelli have undergone constant dematerialization: the shapes disappear, and with impalpable light effects, the colours become a symbol. 

Then the formulas change, and in the most recent images taken by Katia (but only after having unspooled her line of thoughts for a long time), she now rediscovers the sense and physiognomy of Jackson Pollock's pictorial space. Convergences? Certainly, a conceptual orientation, whilst this reclaiming serves to express a charge of still incandescent energy inherent to a beauty that transcends reality, to transform and dye it with unexpected colours, akin to a process of photosynthesis.
In these photographs by Katia Mandelli, the robust figure of trees is often recognisable; through abstract expressionism, it converts and takes on an emotional dimension that reality often does not assign to us. The size of the tree is transformed, with its carnal body we reach a balance (form and colour - the void and matter) from which a thousand forms of vitality emerge, upon which a fascinating vision is born.

Photography remains immortal, despite the fact that its linguistic line par excellence is not marked. The lexicon is fluid as a precious lymph and refers to an infinite vocabulary. Katia Mandelli knows how to compose sentences and texts, seductively involving and amazing us.
Katia is surrounded by photography.

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