Monica Marioni is an Italian artist who has been researching the psychology and neuroses of the contemporary individual for years. Her aim is to make visible what is buried in the unconscious on a daily basis, placing the observer in the position of a psychoanalytic interpreter of themselves and society. Using this approach, she has long investigated and depicted hesitations, shortcomings, abilities and inabilities, ways and means of compromise, and the acceptance or non-acceptance of life's risks and responsibilities. She was born in Conegliano Veneto (TV) in 1972. She traveled extensively from childhood, visiting many countries and even remote sites, following her mother. Her degree in statistical sciences and the years spent within a large industrial group were crucial to her education, as was her experience at an art school, which lasted only two years. She has a strong connection with materials, which translates into the dense materiality of her works, initially abstract, later increasingly figurative. Marioni considers different artistic media like different brushes, each suited to conveying one nuance or another. Monica Marioni made art her profession following a pivotal encounter with Antonina Zaru, a gallery owner and patron, already a friend and accomplice of internationally renowned artists such as Nam June Paik, Luca Pignatelli, Giovanni Frangi, Velasco, and Salvatore Garau. She was the first to recognize the artist's potential, encouraging her to take her first steps, starting in Naples with a group show at Palazzo Crispi. In recent years, she has confronted the public with her nightmares (IO SONO - 2012), dreams (NINFE - 2011; REBUS - 2014), needs and desires (FAME! 2015). And deeper, vis-à-vis our own anxieties and inadequacies in the face of society (LE UMANE PAURE - 2017), up to the sometimes destructive vortex of interpersonal relationships (#LASCIAMIANDARE - 2022), particularly in relation to the difficult situations of women (LIBERA - 2024). Each project is unique in technique and subject matter, in a synesthetic perspective that identifies a specific brush for each theme, be it painting, performance, video, or installation. In her work, the artist examines our relationship with the nude, weight, numbers and the need for control associated with them, voyeurism, exhibitionism, and everything else that identifies us, even though we are not accustomed to looking them directly in the face, as the artist epiphanically forces us to do. In love with her country, she now lives and works in Milan, where she has organized her work in the MOMA factory, and continues an institutional exhibition path, strictly on a national scale.