Women & Wheels
A series of 12 paintings pays tribute to women’s freedom from the dogmas and the doctrines of religion as imposed by the misogynous man. In each composition the presence of the bicycle becomes the allegory of freedom from a society incapable of denouncing the true culprits.
With the metaphor of ‘pushing against the misogynous wind’, this work summarizes women’s journey through time and places. While nudity show the uninhibited and liberated female, the image retains its emblematic significance through the bicycle as the ever present allegory for freedom.
With a foot on the rosary and with the head covering a cross on top of the mountain in the center of Montreal, the mother to be contemplates a tricycle representing freedom from religious doctrines for the upcoming generation.
With the symbolic presence of a trophy and the flowers, her blatant nudity demonstrates irreverence for an institution that controls the mind of many. Standing victorious she collects the glory that the church does not deserve.
Resting her legs and the bike on the cross, she faces a character who looks in another direction incapable of appreciating the beauty of her nature.
Confronting the customary practice of burning wives after the vanishing of their beauty and dowry, she stands in front of the temple known for glorifying the union of the two genders and she has the control of gas canister and matches.
Repairing the flat in a landscape without the presence of men, she is in charge of her own life and asserting her self-sufficiency.
Competent and autonomous, she is doing the final tuning ready to depart and leave traditions and religion far behind her.
BLESSED BY FREEDOM – 33” x 43”
After decapitating the statuette, she is now free to think with her own mind. The wheel, a circle with a dot in the center, representing the ancient symbol indicates her returning to her self-consciousness.
A brand of Italian bicycle components, Campagnolo’s front crown makes a mockery of the sanctified halo that has been used to elevate the role of the church.
The equivalent of the Japanese bicycle industry, the front crown substitutes any faith conceived to dupe women and celebrates their freedom.
A very small portion of the bicycle indicates the reduced freedom in a country most afflicted by the fanaticism of multiple religious represented by a stone of the Wailing Wall, the Dome of the Rock, the Torah, the Koran and the Bible. An olive branch stands as the only auspicious sign.
While the emblematic ‘Liberty’ stands as a reminder of an America idealized by many generations, the stolen bicycle alludes to the disappearance of freedom here symbolized by the missing of the Trade Center’s towers.
From the visitor's journal of the gallery exhibiting the series "Women & Wheels"
Vita Di Milano's
Paintings are the works of an artisan depicting fraudulent institutions and paying tribute to particular socio/humanistic values. While blatant realism clearly exposes each subject, it denounces the aberrations that deform human nature.
THE ORIGINAL SCENE
36” x 48” - 2010
Present in the subconscious of many who are told to believe that mating is a sin, as phonetically suggested in the title, the author legitimates the natural union by presenting a natural scene.
When the skill of the artisan is substituted by the extravagant and the peculiar, we may question witch subject is worth of our attention.
CONTEMPORARY ART
40” x 48” - 2007
In an art museum, where gratuitous forms are present, the adult studies abstract expressions while the unprejudiced mind of a child observes the canons of beauty expressed by the human figure.
LOVE & COMPANY
48” x 36” - 2009
In a setting that pays homage to one of Titian’s compositions, the product of carnal love is presented in a harmonious moment of expectation and tenderness.
BEFORE THE WALL
48” x 56” - 2007
A denunciation of the Olympic organization pandering to a regimen that stands on the ‘other side of the wall’.
THE REVOLUTION
46” x 58” - 2007
With the recall of Tiananmen Square the author condemns the adjudication of the Olympic games to an undeserving nation.
AFTER THE GAMES
15” x 19” - 2008
A reminder of when material interest can pay for all kind of games.
THE FRAUDULENT LUNCH
72” x 36” - 2007
An affirmative denunciation exposing a collection of processed food distributed by despicable industries.
SIGNS OF INDECENCY
34” x 48” - 2004
An apparent denigratory image of an obese woman is in reality alluding to the sign of a food corporation responsible for an unhealthy society.
Reflecting on the fragility
of youth and beauty.
A reliable companionship
replacing human relationships.
THE LAST FLOWER
10” x 12” - 2009
A tribute to a lost life.
THE RIGHTS OF NATURE
17” x 14” - 2007
A blatant accusation to those
who abuse the nature of
women with the traditional
practice of excision.
CHILDHOOD MEMORIES
18” x 14” - 2011
Incapsulated in the memories
of the author, the objects
come to life through
the hand of the artist.
THE ETERNAL QUESTION
16” x 13” - 2011
A composition reflecting
upon the origin of life.
THE FRUITS OF LABOUR
14” x 10’’ - 2011
A testimonial to the devotion
of the author in depicting reality.
Recalls of objects
from the author’s past.
THE MOUSE TRAP
11” x 10” - 2011
A clear allusion to
the trappings that nourish
the mind of the gullible.
THE BEAUTY OF MEMORY
36” x 40” - 2018
A tribute to the woman disfigured
by a husband acting according with
ancient misogynistic traditions.
A portrait of a widow surrounded
by elements of her past and present life.
The mother of the artist.
THE SEEDS OF LIFE
18’’ x 22” - 2019
Recognizing the contribution of the male gender in the process of human reproduction.
Vita Di Milano’s paintings are the works of an artisan depicting fraudulent institutions and paying tribute to particular values.