- 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 7,629 followers and 752 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 1,345 accounts, so the audience is roughly 5.7 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 September 2026.
Story Highlights
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752 Posts
Of the 10 most recent posts shown for Galleria Patricia Armocida, 9 are carousels and 1 is a video. That mix leans toward carousels. Galleria Patricia Armocida has built a substantial archive of 752 posts. Against the audience, that is roughly 10 followers for each post published. Galleria Patricia Armocida also keeps 10 story highlights on the profile. All 10 carry captions, averaging 219 words each. Words that recur across them include painting, canvas, paper, through and group.
Sarò presente all’inaugurazione e ci sarà anche il firmacopie del catalogo. Qui trovate l’invito. Saluti dall’ammeriga, ci vediamo presto!
“In questi tre lustri ho documentato centinaia di camere d’albergo: stanze stanche di essere stanze. Consumate, venali ma mai giudicanti, piene di oggetti ricorrenti: Chiavi pesanti o schede logore, asciugacapelli esausti come fiato d’anziano, telefoni che non squillano mai, grucce spossate in fila militaresca, casseforti insicure e vuote, televisori con decoder separato - in equilibrio sul bordo superiore dello schermo, fra grovigli di cavi e mestizia. Cordicelle di emergenza dentro vasche con la psoriasi da prodotto chimico, Frigobar con mignon di liquori che pregano di essere bevuti, connessioni internet claudicanti, bicchieri di plastica incellofanati - perché “l’igiene è una priorità”; cuscini di velluto da starnuto alla sola vista, “servi muti” che dovrebbero essere in pensione da un pezzo. Le Hall sembrano uno Stargate con Tangentopoli, ascensori che pigramente salgono e scendono verso sale colazioni minime. Succo di fu arance spagnole dal sapore medico, bacon ammassato a fianco a uova strapazzate dalla vita. A volte trovi la macchina dei pancake. Estintori. Una mia cara amica una volta mi ha detto che avevo fotografato un cestino così solo che sembrava depresso”
Lorenzo Urciullo (Colapesce)
🗓️ inaugurazione e firmacopie del catalogo: 7 ottobre dalle 18
⏰ dal 7 al 31 ottobre, da martedì a sabato h 16-20
📍Adiacenze, Vicolo Spirito Santo 1/b
info: link in bio
Dopo l’esordio nella galleria milanese Patricia Armocida, Adiacenze ha il piacere di ospitare la quarta tappa della mostra itinerante “Doppia Uso Singola”, di Lorenzo Urciullo, in arte Colapesce, a cura di Patricia Armocida. In occasione dell'inaugurazione, il 7 ottobre alle 18, l'artista sarà presente per il firmacopie del catalogo, con un suo testo autografo.
“Mostra di fotografie, non mostra fotografica", nelle parole di Colapesce. Mostra che con ironica amarezza parla di solitudine: dalla serie D.U.S., omonima del titolo, una catalogazione di arredi e oggetti all’interno di camere di alberghi in cui l'artista ha soggiornato durante i viaggi della sua carriera; alla relazione simbiotica documentata in "Teresa e Anna", nonna e prozia di Lorenzo, simili in tutto ma guai a farglielo notare; alle "muffe" siciliane di "Giorni sfiniti", raccontate tra simbolismo e introspezione. Una selezione iconica di 200 scatti in una lunga sequenza temporale di oltre dieci anni che conduce il visitatore nell’universo segreto e intimo di Colapesce.
A cura di Patricia Armocida
Con il contributo di e
Simone Miccichè’s paintings speak to the long tradition of drapery in art by reinterpreting it through a contemporary lens. His project “Corpo Tessuto” explores, through painting, the absence and origin of a migrant body, constantly displaced due to geopolitical circumstances. It is a rediscovered body that, in contemporary narratives, is often represented by the media as covered, hidden, or wrapped in anonymous, sterile cloths. The fabric thus becomes a sensitive archive: a surface capable of retaining memories, gestures, and collective identities, as well as the frictions and asymmetries of power that span the history of bodies and territories.
In this picture Danni Pantel “Nothing out to get you”, 2021, Acrylic on canvas, 180x145 cm.
Danni Pantel (Erlangen, 1989; lives and works in Berlin) studied at HBK Braunschweig and develops a practice that spans painting and sculpture, characterized by a sharp and poetic visual language. Her work has been shown in solo and group exhibitions in Berlin, Hamburg, Ibiza, New
York, Milan, Paris, and Beirut. Recent solo exhibitions include The Milk Is Sour (Collectors Room, 2022), The Kids Are Having None Of It (Kanya Kage, 2020), and Hysteria (DUVE, 2019). Her work has also been included in international group exhibitions such as Silent Echoes (A+B Gallery, 2024), FARBE (A+B Gallery, 2023), and Meet Us on Jupiter (Collectors Room, 2022). Her paintings and sculptures are part of major international collections, including the Pizzuti Collection, Columbus Museum of Art, and the Mora Art Foundation, confirming her recognition in the European and international contemporary art scene.
Danni Pantel’s works reveal a tension between apparent surface perfection and inner complexity. From a distance, the surfaces may appear smooth and defined but upon closer inspection, more complex and textured structures emerge. This contrast suggests a passage from the visible to the
invisible, inviting us to approach and explore what lies hidden beneath the surface.
Pantel does not try to represent external realities or specific narratives; rather, she seeks to expose a psychological, emotional, and often confused depth, bringing to light the “hidden” that usually remains within. Her works are spaces of tension between control and vulnerability, expressing human fragility through expanses of color and evocative marks.
📸
Jeffrey Cheung “Fountain (Unbottled)”, 2026, Acrylic on canvas, 121.92 x 152.4 cm
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 Simone Miccicchè “Corpo tessuto_Bogolan”, 2025, Graphite on canvas
Aluminum frame, 60x60 cm
Simone Miccichè (Bologna, 1992; lives and works in Bologna) develops a painting practice focused on the relationship between body, memory, and fabric, and he exhibits widely in Italy and abroad. Solo exhibitions include *Corpo Tessuto 01* at Fondazione Bologna Welcome as part of
Art City Bologna (2026), as well as earlier solo projects in Bologna and the Emilia-Romagna region. His work has also been included in numerous group exhibitions in Milan, Venice, and Rome, as well as international venues in Amsterdam, Munich, Berlin, Istanbul, and New York. He recently participated in the Arte Laguna Prize, Biennale Marte Live, and Combat Prize. He won the Premio Luigi Candiani in 2025 and the YICCA Prize (2024/25), and has been a finalist in several other awards, including the Prisma Prize. He has taken part in artist residencies in Milan and Bologna, including Viafarini. His works are included in collections such as the Collezione Candiani
and the Archivio Viafarini.
Simone Miccichè’s paintings speak to the long tradition of drapery in art by reinterpreting it through a contemporary lens. His project “Corpo Tessuto” explores, through painting, the absence and origin of a migrant body, constantly displaced due to geopolitical circumstances. It is a rediscovered body that, in contemporary narratives, is often represented by the media as covered, hidden, or wrapped in anonymous, sterile cloths. The fabric thus becomes a sensitive archive: a surface capable of retaining memories, gestures, and collective identities, as well as the frictions and asymmetries of power that span the history of bodies and territories.
📸
Simone Miccicchè “Corpo tessuto_Kefiah”, 2025, Oil on canvas, 160x90 cm
Simone Miccicchè, “Corpo tessuto_Messico”, 2025, Oil on canvas, 150x100 cm
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.
📸
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
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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 7,629 followers on Instagram (7.6K). Galleria Patricia Armocida follows 1,345 accounts, so the audience is roughly 5.7 times the size of the list followed. Galleria Patricia Armocida has built a substantial archive of 752 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, 9 are carousels and 1 is a video. The 10 recent Instagram captions Flinque holds for Galleria Patricia Armocida repeatedly use the words painting, canvas, paper, through and group. Galleria Patricia Armocida keeps 10 story highlights, which open with a free Flinque account.
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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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