- Following 1.3K
- Followers 7.6K
- Engagement 1.08%
- Avg likes 35
- Avg comments 0
About Galleria Patricia Armocida
Galleria Patricia Armocida (@galleriapatriciaarmocida) is an Art Gallery creator on Instagram, also filed under Art & DIY. The account has 7,579 followers and 749 published posts. Recent posts average 35 likes and 0 comments, an engagement rate of 1.08%.
Galleria Patricia Armocida belongs to the nano tier, the band usually drawn between 1,000 and 10,000 followers. Galleria Patricia Armocida follows 1,285 accounts, so the audience is roughly 5.9 times the size of the list followed. Galleria Patricia Armocida is set up as an Instagram business account. Flinque files Galleria Patricia Armocida under Art Gallery, with Art & DIY as a secondary category.
The Instagram bio for Galleria Patricia Armocida runs to 8 words across 2 lines. The latest activity Flinque has on record for Galleria Patricia Armocida dates from May 2026.
Story Highlights
Unlocking shows the title and cover image of every story highlight this creator keeps pinned to the profile.
749 Posts
Of the 10 most recent posts shown for Galleria Patricia Armocida, 6 are carousels and 4 are single images. That mix leans toward carousels. Galleria Patricia Armocida has built a substantial archive of 749 posts. Against the audience, that is roughly 10 followers for each post published. Galleria Patricia Armocida also keeps 32 story highlights on the profile. All 10 carry captions, averaging 193 words each. The captions are written mainly in English. Words that recur across them include until, show, paper, group and longer. The captions tag #salvatoregarzillo, #galleriapatriciaarmocida and #milano.
In this picture Valentina Grilli “Casa di Luisa (Serie Soglie)”, 2024, Watercolor on Arches paper, 28 x 22 cm
Valentina Grilli (Milan, 1983; lives and works in Milan) develops a painting practice exploring intimacy and introspection, with a presence that continues to expand in Italian and European exhibitions. In 2025, her solo exhibition “Attese” opened at Museo di Arte Contemporanea (MAC,n), curated by Silvia Di Paolo, and she took part in exhibition projects in Paris and Italy. Recent group exhibitions include shows in Milan and in both institutional and independent spaces,
alongside participation in prizes and competitions such as Premio Mestre, Premio Arte, and the Arteam Cup. She won the Malamegi Prize in 2024, and in 2025 received third place at the Premio Mestre, along with an honorable mention at Premio Arte. In 2022, she held the solo exhibition “A
Celebration” at the Kartell Museum, dedicated to six significant anniversaries of the brand. Her work has also been featured in contemporary art exhibitions and curatorial projects exploring the representation of the body and identity, consolidating a practice that engages both personal narrative and collective experience.
In Valentina Grilli’s work, a suspended dimension emerges in which space becomes a stage for evanescent presences and traces of human passage.
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Valentina Grilli, “Origami, The Nest (Serie Archeologia Contemporanea)”, 2025, Watercolor on Arches paper (applied on canvas), 22 x 31 cm
Valentina Grilli, “Budello (Serie Archeologia Contemporanea)”, 2025, Watercolor on Arches paper, 35.5 x 44.5 cm
Valentina Grilli, “Budello (Serie Archeologia Contemporanea)”, 2025, Watercolor on Arches paper, 35.5 x 44.5 cm
Valentina Grilli, “Origami (Serie Archeologia Contemporanea)”, 2025, Watercolor on Arches paper (applied on canvas), 22 x 22 cm
Valentina Grilli “Soglia”, 2026, Watercolor on Arches paper (applied on canvas), 53 x 71 cm
Valentina Grilli “Eremo (La fiducia)”, 2025, Watercolor on Arches paper (applied on canvas), 85 x 67 cm
In this picture Lucia Jones “You?re, up”, 2026, Oil and acrylic on board, 12.7 x 17.8 cm
Lucia Jones (Wales, UK, 1992; lives and works in Cardiff) is an award-winning Welsh painter whose works explore female identity through the constructs of paint and film. Since graduating from Falmouth University, she has exhibited internationally in solo and group shows, including the BEEP Painting Prize in 2018 and 2024. She won the Wakelin Award in 2025, marking her first three acquisitions into a permanent public collection, and has been long-listed for major international prizes such as the John Moores Painting Prize in 2020 and the Jacksons Art Prize in 2022 and 2023. Recent exhibitions include Wakelin Award 2025: Lucia Jones, Glynn Vivian Art Gallery, UK, 2025; Chairish x Bergdorf Goodman, New York, USA, 2024; Spectacle, Irving Gallery,
UK, 2024; Through a Glass Darkly, Charlottesville, USA, 2023; A World of Her Own, Elysium Gallery, UK, 2023; and Paintings Made Recently in Wales, Bay Art, UK, 2022. Her works are part of public and private collections in Australia, Austria, Hong Kong, Mexico, UK, and the United States, confirming her recognition in the international art scene.
Through her work, Lucia Jones pursues an exploration of female identity and the social pressures
that shape how women are seen — by others, and by themselves. Her paintings navigate the
tension between constraint and self-determination, drawing on found imagery from cinema and art
history to place women in surroundings that mirror their inner worlds. Curtains, a recurring motif in
her paintings, suggest a tension between concealment and exposure, between what is revealed
and what remains hidden. The result is a reflection on the complexity of female identity and the
quiet resilience required to maintain authenticity and autonomy within these dynamics.
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Lucia Jones “Bear with… let me get my face on (after Hayez), 2024, Oil and acrylic on board, 12.7 x 17.8 cm
Lucia Jones “Behind the scenes”, 2023, Oil and acrylic on board, 15.2 x 20.3 cm
Lucia Jones “I woke up like this obviously”, 2024, Oil and acrylic on board, 30.5 x 30.5 cm
In this picture Zehui Xu “The world is just a soft, shadowy tenderness” 2024, Oil on canvas, 108 x 132 cm
“ I am a multidisciplinary artist based in Venice, whose practice centers on painting. I often experiment with
bleaching techniques on paper and make extensive use of ceramics.
In my research, I explore the subtle relationship between memory, absence, and inner space.
Through continuous layering and erasure, I create images that leave behind traces and atmospheres hovering
between presence and disappearance. Colors such as pink, blue, and violet drift across the surface of the
canvas like half-forgotten fragments of dreams, composing what I call an inner landscape — a space that
exists between personal memory and collective experience.
Methodologically, I am deeply inspired by Marcel Proust’ s theory of involuntary memory, as well as
Fernando Pessoa’ s explorations of selfhood.
Proust reminds me that the most profound truths emerge not from rational thought, but from unexpected
sensory triggers — a taste, a color, a fleeting image.
Pessoa’ s notion of multiple selves has shaped my reflections on identity and belonging. Each of my works
resembles a room in my heart: at once a mirror and a shelter, holding my search for home and inner
connection.
By both concealing and revealing figurative elements, my paintings attempt to capture this peculiar state of
memory — at once fragile and persistent, intimate and shareable.
For me, the act of painting is not only a form of recreation, but also a meditative practice — an introspection,
a dialogue with myself conveyed through personal memories.
Ultimately, my work is not confined to my own experience. It opens toward the viewer, inviting them into
an inner space where presence and absence intertwine.
In this dimension, my reminiscences gradually transform into collective resonance, and the paintings
become a site of both self-healing and shared experience.”
- Zehui Xu
Jeffrey Cheung (b. 1989) San Francisco Bay Area, lives and works in Oakland, California.
His bright figurative work explores human connections through joyous figures and vividly colored nudes that twist, embrace, and playfully interact. His work combines exaggerated forms, layered textures, and dynamic bodies, creating a sense of movement and vitality that draws the viewer into intimate, imaginative scenes. By blending humor, sensuality, and a tactile approach to materials, Cheung transforms everyday gestures and social encounters into visual narratives that examine freedom, identity, and community.
Cheung has shown in a variety of venues throughout the Bay Area including SFMOMA and Yerba Buena Center of the Arts; as well as Jack Hanley Gallery (New York); Jeffrey Deitch Projects (Los Angeles); and V1 Gallery (Copenhagen); and has work included in collections at the Smithsonian American Art Museum
He is also the founder of Unity Press & Skateboarding and There Skateboards.
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Jeffrey Cheung “Untitled”, 2026, Acrylic and mixed media on paper, 30.48 x 45.72 cm
Jeffrey Cheung “Untitled”, 2026, Acrylic and mixed media on paper, 30.48 x 45.72 cm
In this picture Monica Kim Garza “Camping (2-Person Tent)”, 2020-2025, oil on canvas, 143 x 178 x 5 cm
“ My artwork explores the human form as a motif, a dialogue between art history and the modern world, the intimate and the universal. I use the figure as a muse for shape, tracing back to the earliest depictions of humans in their purest form. Intrinsically being female, I empathize with this figure, allowing the mark-making of painting to voice mood and suspend time. I’m drawn to painting for its material memory—its accidents, textures, freedom, and permanence beyond the digital. I’m intrigued by the past and present; how through gestures, archetypes, and subjects like hiking and clothing, etc, each carry historical resonance alongside contemporary meaning. I move between immediacy and slow layering, play and patience, seeking continuity rather than rupture. I try to speak the language of paint—reminding us that even in our most modern selves, we remain bound to our pure form.
While my work is often categorized, for me it’s an instinctive practice — an ongoing conversation between paint, texture, and character. My work isn’t primarily about making overt statements, but about the act of painting itself: how pigment moves, how surface holds memory, and how the physicality of paint can express what digital images cannot.”
-Monica Kim Garza
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Monica Kim Garza “UPF shirt in yellow, with UPF hat, with hiking poles”, 2025, Acrylic, sequins, glitter on screen printed paper, 69.2 x 49.5 cm
Monica Kim Garza “Dayhiking with black dog in blue”, 2025, Acrylic, glitter, foam paper, sequin, yarn on screen printed paper, 76 x 55 cm
Monica Kim Garza, Jeffrey Cheung,Valentina Grilli, Lucia Jones, Simone Miccichè,
Danni Pantel and Zehui Xu.
April 9-May 22, 2026
Opening reception: Thursday,
April 9, 6:30 - 9:00 p.m.
“I Am No Longer” is a phrase made up of just four words, deliberately incomplete: an ellipsis that reveals a space of silence, marking a before and an after, a rupture and at the same time a
transformation. It is a threshold of narrative and identity that runs through the practices of the artists in this exhibition, inviting us to reflect on the processes of change in the self, on identities in flux, and on the tensions between memory, body, space and representation.
***
Featured paintings:
Monica Kim Garza, “Camping (2-Person Tent)”, 2020-2025, oil on canvas, cm 143 x 178 x 5
Jeffrey Cheung, “ Untitled”, 2026, acrylic on canvas, cm 92x122
Valentina Grilli, “ Origami, The Nest ( Serie Archeologia contemporanea), 2025, Watercolor on Arches paper mounted on board, cm 22x31
Lucia Jones, “You’re up”, 2026, Oil and Acrylic on board (Cradled), cm 20,3x25,4
Simone Micciché, “Corpo Tessuto _Messico”, 2025, Oil on canvas, cm 150x100
Danni Pantel, “Nothing out to get you”, 2021, acrylic on canvas, 180x145
Zehui Xu, “The Eye in the Glass”, 2025, oil on canvas, cm 160x120 ***
“Cartografie umane - Appunti di un cronista” Salvatore Garzillo’s solo show is on view until March 28, 2026
[…] Salvatore Garzillo, who goes by the pseudonym Salgar, was born and raised in Naples, where his artistic gaze and sensibility were formed. For over 15 years he has lived and worked in Milan, the daily setting for an attentive, engaged, never distracted observation. As a crime reporter for ANSA, he fills his waiting time by drawing on pages packed with notes from the cases he follows at crime scenes. The notebooks that accompany him to police stations, barracks, and crime sites thus become hybrid spaces, where journalistic annotations coexist with images. From this intimate archive “Human cartographies - notes of a chronicler” is born, in which the artist presents a selection of works created in recent years in his notebooks, which are not mere surfaces, but witnesses to a time (sometimes brief and dust-like), a passage, a lived experience.
All the artworks at the link in bio.
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Salvatore Garzillo, L’uomo che sapeva le cose, 2020
#salvatoregarzillo #galleriapatriciaarmocida #milano
“La casa”, 2023
Ink on paper, 14,8x10,5 cm
On view until
Tuesday to Saturday, 11:30a.m.-7p.m.
Thumbnails are unavailable for 10 of these 10 posts. Open a tile to view the post on Instagram.
Galleria Patricia Armocida's engagement
Galleria Patricia Armocida's engagement rate on Instagram is 1.08%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 93 followers. Recent posts average 35 likes and 0 comments, so every recorded reaction is a like.
Engagement rate
1.08%
- Avg likes
- 35
- Avg comments
- 0
- Interactions : followers
- 1 : 93
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Who is Galleria Patricia Armocida?
Galleria Patricia Armocida (@galleriapatriciaarmocida) is an Art Gallery creator on Instagram, also filed under Art & DIY. Galleria Patricia Armocida is set up as an Instagram business account. The Instagram bio for Galleria Patricia Armocida runs to 8 words across 2 lines.
How many followers does Galleria Patricia Armocida have?
Galleria Patricia Armocida has 7,579 followers on Instagram (7.6K). Galleria Patricia Armocida follows 1,285 accounts, so the audience is roughly 5.9 times the size of the list followed. Galleria Patricia Armocida has built a substantial archive of 749 posts.
What is Galleria Patricia Armocida's engagement rate?
Galleria Patricia Armocida's engagement rate on Instagram is 1.08%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 93 followers. Recent posts average 35 likes and 0 comments, so every recorded reaction is a like.
What does Galleria Patricia Armocida post about on Instagram?
Flinque files Galleria Patricia Armocida under Art Gallery, with Art & DIY as a secondary category. Of the 10 most recent posts shown for Galleria Patricia Armocida, 6 are carousels and 4 are single images. The 10 recent Instagram captions Flinque holds for Galleria Patricia Armocida repeatedly use the words until, show, paper, group and longer. Galleria Patricia Armocida's captions carry hashtags such as #salvatoregarzillo, #galleriapatriciaarmocida and #milano. Galleria Patricia Armocida writes those captions mainly in English. Galleria Patricia Armocida keeps 32 story highlights, which open with a free Flinque account.
How do I contact Galleria Patricia Armocida for a collaboration?
Galleria Patricia Armocida's contact details are not published on Flinque's public profile. The Instagram bio links to 1 external site, and a free Flinque account opens that link. The account is registered as an Instagram business account. Brands with a free Flinque account can shortlist Galleria Patricia Armocida and use Flinque's outreach tools wherever a contact route is on file.
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