MONICA MENCHELLA, (Latina, 1976 ) is architect and restorer. She has been exploring the art world, in all its different forms, for 20 years, and she has been painting…

Her art shows an unfaltering introspection, made of shapes and characters that are in touch with a deep humanity, as if they were looking for their own spiritual and social path. Through her technical skills she seeks to emphasize humanity while it’s searching for itself. The characters emerge gradually on the canvas, while colour is her artwork’s life form, its inseparable means of expression. On the whole, the research which is behind her painting is tough, but its path is rendered smoother by a strong emotional and passionate charge. The whirlwind of tones seems to question the observer, and her colours evoke magical visions, and it is this that turns her works into moments of pure emotion. For this artist, painting is the pure and simple act of deeply questioning the search for one’s true path, a path made of spirituality, emotions and strong feelings, in any case, an effect of both long past, and recent life experiences. Her chromatic textures and her lines are fundamental elements in proposing unceasing starting points for reflection. On the whole, a dynamic and self confident art, paintings that seem to be enveloped in a bubble of silences, far away from the heady flux of everyday life.


Monica Menchella’s passion for painting goes back to her childhood, and develops after attending a painting course with Carmelo Stuto, when Monica discovers the relationship between painting and drawing.

Monica is a whirlwind of ideas that first are expressed on sketches and drawings, where we can already see a creative frenzy that will then be expressed in her paintings. It’s in her painting phase that her original inspiration interacts with thoughtful analysis, her internal world and a more reasoned approach, a metamorphosis where the idea is developed while in the flow of painting. The artist constantly revises and transforms her original ideas, and unremittingly observes her work so as to capture the moment of finitude – an issue encountered by every artist is the problem of lack of finitude, the continuous questioning on the use of the form so as to convey the artist’s message.-

Her sketches are an integral part of her exploration and represent the first phase, which will subsequently be internalised and rationalised by the artist at the moment of production, when Monica selects what best expresses her message. Sketches and paintings, therefore,  both represent an integral element, a foundation of Monica’s art, sometimes merging together, sometimes independently, but always aiming at representing, with different means, the artist’s world and sharing it with her public.

Monica’s artistic universe has transitioned from a strictly figurative phase to an abstract one; actually, the artist achieves a synthesis between figurative and abstract art: figurative elements emerge from her fleshy and earthy brushstrokes that depict initially abstract scenarios. In her works we often meet ovoidal shapes and barely sketched feminine figures that hint to maternity, protection, help. Indeed, the need for protection and help, the tension between good and evil, constitute the message that Monica transmits through her art, highlighting its therapeutic power. Her message relies on the lines and shapes, while the colour is influenced by instinct and spirituality.

It is through a merging of technical earthliness and spiritual content that Monica highlights the close relationship between Art and Life; the latter emerges as characterised by “hard times” followed by a yearning of salvation; it’s interesting to notice how her “hard times” are represented by horizontal motifs and tangles of lines that, in their development towards the upper part of the painting, leave space to the emergence of vertical elements, which can be interpreted as pillars that offer a possibility of rising. The lines reflect this by changing from horizontal twisted lines and labyrinthine patterns into soft lines that seem to suggest having finally found one’s journey.

Laura Cianfarani



Ovoid shapes remind me of Modigliani : there’some connection, some influence ?

In reality “what ovoid shapes reminded me , at first glance , are balloons . Now, the balloons may have a relationship with the air, the volatility”, the lightness, the aspiration to something that belongs to a sphere “higher” or more’air . There’ in your paintings a relationship with this ?

Or the balloons may represent the world of the circus, clowns, which has to do with your real life and your course of clown and your aspirations to work with children in trouble’. Do you find that there is a direct relationship between this and your paintings?

The clowns are also the joy and pain together. The funny and ridiculous. What is the relationship with your paintings? To me, they bring an element of tenderness and recall childhood and entertainment given by the clowns, but there is’ something sad behind?

Elena Chisnall 





The painting of Monica Menchella is an act of instinct in which the primitive idea of form leaves space to color and material. The faceless figures, boundless spaces are anonymous and involuntary subjects of a painting thick, high, wide and generous from the stretch.

Never similar to itself over the years has interpreted their emotions dipping into raw reality and realizing veils of hope that bring his works never to fall into an abyss of banal figurative sadness and loneliness but to calm and serene reflections on life.

Ivan Paduano