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Psyche of Fae O, @galerieevapresenhuber Vienna 2026

“Ultra-slim, naked bodies, as if levelled to the surface, stand out brightly against a golden or smoky, diffuse background, some decadently framed by fur. They push their spread legs towards the audience or pose coquettishly with a ponytail. A woman’s face emerges melancholically from a diffuse black color space, while another seems to merge with its glazed, painted surroundings. These are fleeting apparitions, slowly fading away, yet brought to the canvas with rapid brushstrokes. They intuitively recall their role models, but reduce their canonized visual language to poses and ciphers. Impressionistic backgrounds reminiscent of Bonnard’s paintings or glazed color backdrops eliminate any overly obvious historical context in favor of an open pictorial space in which an equally artificial and affecting physicality takes shape.
These figures are sexualized, but also deformed, reminiscent of the severed limbs in Schiele’s nude drawings or the torsions in Hans Bellmer’s dolls. Large eyes and pouting lips link these fin de siècle creatures to the camp version of courtesans from the 1970s, but also bring them closer to the present with its manga-inspired Instagram filters. Mitsola’s female beings consist of curves and lines, opaque surfaces and expressive brushstrokes; they are fiction made image through and through, and perhaps for this very reason they are projection surfaces for a perception that is aware of the numbing effects of a media-saturated present saturated with sex. They are not modelled on real-life, but are pictorial fantasies on a meta-level, so to speak, aware of the voyeurism once evoked by their art-historical predecessors and the transgressions that are mostly no longer transgressions today. Above all, however, they are aware of the latent irritation of being the creations of a female painter who has brought them to the canvas with supreme self-assurance and freed them from potential resentments.”
Vanessa Joan Müller

Psyche of Fae O, @galerieevapresenhuber Vienna 2026

“Ultra-slim, naked bodies, as if levelled to the surface, stand out brightly against a golden or smoky, diffuse background, some decadently framed by fur. They push their spread legs towards the audience or pose coquettishly with a ponytail. A woman’s face emerges melancholically from a diffuse black color space, while another seems to merge with its glazed, painted surroundings. These are fleeting apparitions, slowly fading away, yet brought to the canvas with rapid brushstrokes. They intuitively recall their role models, but reduce their canonized visual language to poses and ciphers. Impressionistic backgrounds reminiscent of Bonnard’s paintings or glazed color backdrops eliminate any overly obvious historical context in favor of an open pictorial space in which an equally artificial and affecting physicality takes shape.
These figures are sexualized, but also deformed, reminiscent of the severed limbs in Schiele’s nude drawings or the torsions in Hans Bellmer’s dolls. Large eyes and pouting lips link these fin de siècle creatures to the camp version of courtesans from the 1970s, but also bring them closer to the present with its manga-inspired Instagram filters. Mitsola’s female beings consist of curves and lines, opaque surfaces and expressive brushstrokes; they are fiction made image through and through, and perhaps for this very reason they are projection surfaces for a perception that is aware of the numbing effects of a media-saturated present saturated with sex. They are not modelled on real-life, but are pictorial fantasies on a meta-level, so to speak, aware of the voyeurism once evoked by their art-historical predecessors and the transgressions that are mostly no longer transgressions today. Above all, however, they are aware of the latent irritation of being the creations of a female painter who has brought them to the canvas with supreme self-assurance and freed them from potential resentments.”
Vanessa Joan Müller

Psyche of Fae O, @galerieevapresenhuber Vienna 2026

“Ultra-slim, naked bodies, as if levelled to the surface, stand out brightly against a golden or smoky, diffuse background, some decadently framed by fur. They push their spread legs towards the audience or pose coquettishly with a ponytail. A woman’s face emerges melancholically from a diffuse black color space, while another seems to merge with its glazed, painted surroundings. These are fleeting apparitions, slowly fading away, yet brought to the canvas with rapid brushstrokes. They intuitively recall their role models, but reduce their canonized visual language to poses and ciphers. Impressionistic backgrounds reminiscent of Bonnard’s paintings or glazed color backdrops eliminate any overly obvious historical context in favor of an open pictorial space in which an equally artificial and affecting physicality takes shape.
These figures are sexualized, but also deformed, reminiscent of the severed limbs in Schiele’s nude drawings or the torsions in Hans Bellmer’s dolls. Large eyes and pouting lips link these fin de siècle creatures to the camp version of courtesans from the 1970s, but also bring them closer to the present with its manga-inspired Instagram filters. Mitsola’s female beings consist of curves and lines, opaque surfaces and expressive brushstrokes; they are fiction made image through and through, and perhaps for this very reason they are projection surfaces for a perception that is aware of the numbing effects of a media-saturated present saturated with sex. They are not modelled on real-life, but are pictorial fantasies on a meta-level, so to speak, aware of the voyeurism once evoked by their art-historical predecessors and the transgressions that are mostly no longer transgressions today. Above all, however, they are aware of the latent irritation of being the creations of a female painter who has brought them to the canvas with supreme self-assurance and freed them from potential resentments.”
Vanessa Joan Müller

Psyche of Fae O, @galerieevapresenhuber Vienna 2026

“Ultra-slim, naked bodies, as if levelled to the surface, stand out brightly against a golden or smoky, diffuse background, some decadently framed by fur. They push their spread legs towards the audience or pose coquettishly with a ponytail. A woman’s face emerges melancholically from a diffuse black color space, while another seems to merge with its glazed, painted surroundings. These are fleeting apparitions, slowly fading away, yet brought to the canvas with rapid brushstrokes. They intuitively recall their role models, but reduce their canonized visual language to poses and ciphers. Impressionistic backgrounds reminiscent of Bonnard’s paintings or glazed color backdrops eliminate any overly obvious historical context in favor of an open pictorial space in which an equally artificial and affecting physicality takes shape.
These figures are sexualized, but also deformed, reminiscent of the severed limbs in Schiele’s nude drawings or the torsions in Hans Bellmer’s dolls. Large eyes and pouting lips link these fin de siècle creatures to the camp version of courtesans from the 1970s, but also bring them closer to the present with its manga-inspired Instagram filters. Mitsola’s female beings consist of curves and lines, opaque surfaces and expressive brushstrokes; they are fiction made image through and through, and perhaps for this very reason they are projection surfaces for a perception that is aware of the numbing effects of a media-saturated present saturated with sex. They are not modelled on real-life, but are pictorial fantasies on a meta-level, so to speak, aware of the voyeurism once evoked by their art-historical predecessors and the transgressions that are mostly no longer transgressions today. Above all, however, they are aware of the latent irritation of being the creations of a female painter who has brought them to the canvas with supreme self-assurance and freed them from potential resentments.”
Vanessa Joan Müller

Psyche of Fae O, @galerieevapresenhuber Vienna 2026

“Ultra-slim, naked bodies, as if levelled to the surface, stand out brightly against a golden or smoky, diffuse background, some decadently framed by fur. They push their spread legs towards the audience or pose coquettishly with a ponytail. A woman’s face emerges melancholically from a diffuse black color space, while another seems to merge with its glazed, painted surroundings. These are fleeting apparitions, slowly fading away, yet brought to the canvas with rapid brushstrokes. They intuitively recall their role models, but reduce their canonized visual language to poses and ciphers. Impressionistic backgrounds reminiscent of Bonnard’s paintings or glazed color backdrops eliminate any overly obvious historical context in favor of an open pictorial space in which an equally artificial and affecting physicality takes shape.
These figures are sexualized, but also deformed, reminiscent of the severed limbs in Schiele’s nude drawings or the torsions in Hans Bellmer’s dolls. Large eyes and pouting lips link these fin de siècle creatures to the camp version of courtesans from the 1970s, but also bring them closer to the present with its manga-inspired Instagram filters. Mitsola’s female beings consist of curves and lines, opaque surfaces and expressive brushstrokes; they are fiction made image through and through, and perhaps for this very reason they are projection surfaces for a perception that is aware of the numbing effects of a media-saturated present saturated with sex. They are not modelled on real-life, but are pictorial fantasies on a meta-level, so to speak, aware of the voyeurism once evoked by their art-historical predecessors and the transgressions that are mostly no longer transgressions today. Above all, however, they are aware of the latent irritation of being the creations of a female painter who has brought them to the canvas with supreme self-assurance and freed them from potential resentments.”
Vanessa Joan Müller

Psyche of Fae O, @galerieevapresenhuber Vienna 2026

“Ultra-slim, naked bodies, as if levelled to the surface, stand out brightly against a golden or smoky, diffuse background, some decadently framed by fur. They push their spread legs towards the audience or pose coquettishly with a ponytail. A woman’s face emerges melancholically from a diffuse black color space, while another seems to merge with its glazed, painted surroundings. These are fleeting apparitions, slowly fading away, yet brought to the canvas with rapid brushstrokes. They intuitively recall their role models, but reduce their canonized visual language to poses and ciphers. Impressionistic backgrounds reminiscent of Bonnard’s paintings or glazed color backdrops eliminate any overly obvious historical context in favor of an open pictorial space in which an equally artificial and affecting physicality takes shape.
These figures are sexualized, but also deformed, reminiscent of the severed limbs in Schiele’s nude drawings or the torsions in Hans Bellmer’s dolls. Large eyes and pouting lips link these fin de siècle creatures to the camp version of courtesans from the 1970s, but also bring them closer to the present with its manga-inspired Instagram filters. Mitsola’s female beings consist of curves and lines, opaque surfaces and expressive brushstrokes; they are fiction made image through and through, and perhaps for this very reason they are projection surfaces for a perception that is aware of the numbing effects of a media-saturated present saturated with sex. They are not modelled on real-life, but are pictorial fantasies on a meta-level, so to speak, aware of the voyeurism once evoked by their art-historical predecessors and the transgressions that are mostly no longer transgressions today. Above all, however, they are aware of the latent irritation of being the creations of a female painter who has brought them to the canvas with supreme self-assurance and freed them from potential resentments.”
Vanessa Joan Müller

Psyche of Fae O, @galerieevapresenhuber Vienna 2026

“Ultra-slim, naked bodies, as if levelled to the surface, stand out brightly against a golden or smoky, diffuse background, some decadently framed by fur. They push their spread legs towards the audience or pose coquettishly with a ponytail. A woman’s face emerges melancholically from a diffuse black color space, while another seems to merge with its glazed, painted surroundings. These are fleeting apparitions, slowly fading away, yet brought to the canvas with rapid brushstrokes. They intuitively recall their role models, but reduce their canonized visual language to poses and ciphers. Impressionistic backgrounds reminiscent of Bonnard’s paintings or glazed color backdrops eliminate any overly obvious historical context in favor of an open pictorial space in which an equally artificial and affecting physicality takes shape.
These figures are sexualized, but also deformed, reminiscent of the severed limbs in Schiele’s nude drawings or the torsions in Hans Bellmer’s dolls. Large eyes and pouting lips link these fin de siècle creatures to the camp version of courtesans from the 1970s, but also bring them closer to the present with its manga-inspired Instagram filters. Mitsola’s female beings consist of curves and lines, opaque surfaces and expressive brushstrokes; they are fiction made image through and through, and perhaps for this very reason they are projection surfaces for a perception that is aware of the numbing effects of a media-saturated present saturated with sex. They are not modelled on real-life, but are pictorial fantasies on a meta-level, so to speak, aware of the voyeurism once evoked by their art-historical predecessors and the transgressions that are mostly no longer transgressions today. Above all, however, they are aware of the latent irritation of being the creations of a female painter who has brought them to the canvas with supreme self-assurance and freed them from potential resentments.”
Vanessa Joan Müller

Psyche of Fae O, @galerieevapresenhuber Vienna 2026

“Ultra-slim, naked bodies, as if levelled to the surface, stand out brightly against a golden or smoky, diffuse background, some decadently framed by fur. They push their spread legs towards the audience or pose coquettishly with a ponytail. A woman’s face emerges melancholically from a diffuse black color space, while another seems to merge with its glazed, painted surroundings. These are fleeting apparitions, slowly fading away, yet brought to the canvas with rapid brushstrokes. They intuitively recall their role models, but reduce their canonized visual language to poses and ciphers. Impressionistic backgrounds reminiscent of Bonnard’s paintings or glazed color backdrops eliminate any overly obvious historical context in favor of an open pictorial space in which an equally artificial and affecting physicality takes shape.
These figures are sexualized, but also deformed, reminiscent of the severed limbs in Schiele’s nude drawings or the torsions in Hans Bellmer’s dolls. Large eyes and pouting lips link these fin de siècle creatures to the camp version of courtesans from the 1970s, but also bring them closer to the present with its manga-inspired Instagram filters. Mitsola’s female beings consist of curves and lines, opaque surfaces and expressive brushstrokes; they are fiction made image through and through, and perhaps for this very reason they are projection surfaces for a perception that is aware of the numbing effects of a media-saturated present saturated with sex. They are not modelled on real-life, but are pictorial fantasies on a meta-level, so to speak, aware of the voyeurism once evoked by their art-historical predecessors and the transgressions that are mostly no longer transgressions today. Above all, however, they are aware of the latent irritation of being the creations of a female painter who has brought them to the canvas with supreme self-assurance and freed them from potential resentments.”
Vanessa Joan Müller

Psyche of Fae O, @galerieevapresenhuber Vienna 2026

“Ultra-slim, naked bodies, as if levelled to the surface, stand out brightly against a golden or smoky, diffuse background, some decadently framed by fur. They push their spread legs towards the audience or pose coquettishly with a ponytail. A woman’s face emerges melancholically from a diffuse black color space, while another seems to merge with its glazed, painted surroundings. These are fleeting apparitions, slowly fading away, yet brought to the canvas with rapid brushstrokes. They intuitively recall their role models, but reduce their canonized visual language to poses and ciphers. Impressionistic backgrounds reminiscent of Bonnard’s paintings or glazed color backdrops eliminate any overly obvious historical context in favor of an open pictorial space in which an equally artificial and affecting physicality takes shape.
These figures are sexualized, but also deformed, reminiscent of the severed limbs in Schiele’s nude drawings or the torsions in Hans Bellmer’s dolls. Large eyes and pouting lips link these fin de siècle creatures to the camp version of courtesans from the 1970s, but also bring them closer to the present with its manga-inspired Instagram filters. Mitsola’s female beings consist of curves and lines, opaque surfaces and expressive brushstrokes; they are fiction made image through and through, and perhaps for this very reason they are projection surfaces for a perception that is aware of the numbing effects of a media-saturated present saturated with sex. They are not modelled on real-life, but are pictorial fantasies on a meta-level, so to speak, aware of the voyeurism once evoked by their art-historical predecessors and the transgressions that are mostly no longer transgressions today. Above all, however, they are aware of the latent irritation of being the creations of a female painter who has brought them to the canvas with supreme self-assurance and freed them from potential resentments.”
Vanessa Joan Müller

Join us next week in Vienna for the book launch of @SofiaMitsola’s new monograph 'Sisterly Affections,‘ taking place on the occasion of the finissage of her solo exhibition 'Psyche of Fae O,‘ on view until April 10.

Finissage with artist walkthrough (7 pm), book launch & video screening
Thursday, April 9, 6 – 9 pm
Lichtenfelsgasse 5, Vienna

Video: Maria Mitsola (@maria_mtsl)
Music: Nefeli Bravaki (@nefelibravaki)

#SofiaMitsola #Vienna #DCVBooks #GalerieEvaPresenhuber #EvaPresenhuber

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🦋After nearly 2 years in the making my first monograph is out in the world! 🏹🫀It’s an anthology of paintings, watercolours, drawings made between 2019-2024. Accompanied by @alycemahon beautiful essay and a fun interview I did with @jennifer_higgie

A big thanks to @twelve.la for designing, @dcv_books Eva Presenhuber gallery and Pilar Corrias gallery for publishing. 🔗Get your copy link in bio

What is great about making a books is that you get to see the work reunite and you’re reminded of what it’s all about:
Super heroines, deities, monsters, pets, clumpsy coquettes, archetypes and caricatures of women who are the protagonist in story, not the side chicks. Bodies that are tender and powerful, mischievous, overindulgent, capricious, vengeful, mad. But most of all it’s for the love of painting, the only thing that makes me free.

🪞My installation Psyche, 2026 in Vienna. 💄
Objects made by my studio, music by @nefelibravaki (link in bio) and an here’s an extract from Vanessa Mueller’s essay

“Immersed in suggestive darkness, a dressing table, a ‘Psyche’ as it is called in Austria, is presented in the center, with the repertoire that makes worldly metamorphosis possible in the first place. However, the mirror as an instrument of self-reflection and transformation triggered by the image reflects at most us, the viewers. The furniture that supports it is made of steel, and the utensils on it are less plush than the ambience historically demands. One might find them subtle, like the objects in Marina Abramovic’s performance Rhythm 01, which are surgically placed on a table so that the audience can perform all kinds of actions on the artist.
This set design – every detail a piece of a larger puzzle and encoded in multiple ways – relies on contrasts, appearing hard or soft, warm or cold. The overall theatrical atmosphere is also reminiscent of intimate, self-contained spaces of pent-up emotion, where euphoria can quickly turn to despair. Mitsola cites the horror vacui of the apartment from Fassbinder’s The Bitter Tears of Petra von Kant as a source of inspiration, as well as the lavish sets of the ballet film The Tales of Hoffmann. The dissected staging of visual opulence and dramatic, even affected sentiment, the interplay of love, desire, submission and downfall, seems to shine through here and there in every part of the décor, in every painted emotion.
And yet Fae O, whose psyche seems to be explored in this series of paintings, with her conscious and unconscious feelings, her emotional outbursts and her jouissance, is ultimately above all a linguistic creature. Fae is derived from the Greek word Φαΐω (to shine brightly) – Sofia Mitsola loves etymology. Fae O sounds like a name that can achieve fame even in its incompleteness, like Anna or Jackie O. And yet it remains more of a phonetic paraphrase, an initial sound as in fancy, phantasm or fantasy – something that materializes in speech only to disappear again.”

🪞My installation Psyche, 2026 in Vienna. 💄
Objects made by my studio, music by @nefelibravaki (link in bio) and an here’s an extract from Vanessa Mueller’s essay

“Immersed in suggestive darkness, a dressing table, a ‘Psyche’ as it is called in Austria, is presented in the center, with the repertoire that makes worldly metamorphosis possible in the first place. However, the mirror as an instrument of self-reflection and transformation triggered by the image reflects at most us, the viewers. The furniture that supports it is made of steel, and the utensils on it are less plush than the ambience historically demands. One might find them subtle, like the objects in Marina Abramovic’s performance Rhythm 01, which are surgically placed on a table so that the audience can perform all kinds of actions on the artist.
This set design – every detail a piece of a larger puzzle and encoded in multiple ways – relies on contrasts, appearing hard or soft, warm or cold. The overall theatrical atmosphere is also reminiscent of intimate, self-contained spaces of pent-up emotion, where euphoria can quickly turn to despair. Mitsola cites the horror vacui of the apartment from Fassbinder’s The Bitter Tears of Petra von Kant as a source of inspiration, as well as the lavish sets of the ballet film The Tales of Hoffmann. The dissected staging of visual opulence and dramatic, even affected sentiment, the interplay of love, desire, submission and downfall, seems to shine through here and there in every part of the décor, in every painted emotion.
And yet Fae O, whose psyche seems to be explored in this series of paintings, with her conscious and unconscious feelings, her emotional outbursts and her jouissance, is ultimately above all a linguistic creature. Fae is derived from the Greek word Φαΐω (to shine brightly) – Sofia Mitsola loves etymology. Fae O sounds like a name that can achieve fame even in its incompleteness, like Anna or Jackie O. And yet it remains more of a phonetic paraphrase, an initial sound as in fancy, phantasm or fantasy – something that materializes in speech only to disappear again.”

🪞My installation Psyche, 2026 in Vienna. 💄
Objects made by my studio, music by @nefelibravaki (link in bio) and an here’s an extract from Vanessa Mueller’s essay

“Immersed in suggestive darkness, a dressing table, a ‘Psyche’ as it is called in Austria, is presented in the center, with the repertoire that makes worldly metamorphosis possible in the first place. However, the mirror as an instrument of self-reflection and transformation triggered by the image reflects at most us, the viewers. The furniture that supports it is made of steel, and the utensils on it are less plush than the ambience historically demands. One might find them subtle, like the objects in Marina Abramovic’s performance Rhythm 01, which are surgically placed on a table so that the audience can perform all kinds of actions on the artist.
This set design – every detail a piece of a larger puzzle and encoded in multiple ways – relies on contrasts, appearing hard or soft, warm or cold. The overall theatrical atmosphere is also reminiscent of intimate, self-contained spaces of pent-up emotion, where euphoria can quickly turn to despair. Mitsola cites the horror vacui of the apartment from Fassbinder’s The Bitter Tears of Petra von Kant as a source of inspiration, as well as the lavish sets of the ballet film The Tales of Hoffmann. The dissected staging of visual opulence and dramatic, even affected sentiment, the interplay of love, desire, submission and downfall, seems to shine through here and there in every part of the décor, in every painted emotion.
And yet Fae O, whose psyche seems to be explored in this series of paintings, with her conscious and unconscious feelings, her emotional outbursts and her jouissance, is ultimately above all a linguistic creature. Fae is derived from the Greek word Φαΐω (to shine brightly) – Sofia Mitsola loves etymology. Fae O sounds like a name that can achieve fame even in its incompleteness, like Anna or Jackie O. And yet it remains more of a phonetic paraphrase, an initial sound as in fancy, phantasm or fantasy – something that materializes in speech only to disappear again.”

🪞My installation Psyche, 2026 in Vienna. 💄
Objects made by my studio, music by @nefelibravaki (link in bio) and an here’s an extract from Vanessa Mueller’s essay

“Immersed in suggestive darkness, a dressing table, a ‘Psyche’ as it is called in Austria, is presented in the center, with the repertoire that makes worldly metamorphosis possible in the first place. However, the mirror as an instrument of self-reflection and transformation triggered by the image reflects at most us, the viewers. The furniture that supports it is made of steel, and the utensils on it are less plush than the ambience historically demands. One might find them subtle, like the objects in Marina Abramovic’s performance Rhythm 01, which are surgically placed on a table so that the audience can perform all kinds of actions on the artist.
This set design – every detail a piece of a larger puzzle and encoded in multiple ways – relies on contrasts, appearing hard or soft, warm or cold. The overall theatrical atmosphere is also reminiscent of intimate, self-contained spaces of pent-up emotion, where euphoria can quickly turn to despair. Mitsola cites the horror vacui of the apartment from Fassbinder’s The Bitter Tears of Petra von Kant as a source of inspiration, as well as the lavish sets of the ballet film The Tales of Hoffmann. The dissected staging of visual opulence and dramatic, even affected sentiment, the interplay of love, desire, submission and downfall, seems to shine through here and there in every part of the décor, in every painted emotion.
And yet Fae O, whose psyche seems to be explored in this series of paintings, with her conscious and unconscious feelings, her emotional outbursts and her jouissance, is ultimately above all a linguistic creature. Fae is derived from the Greek word Φαΐω (to shine brightly) – Sofia Mitsola loves etymology. Fae O sounds like a name that can achieve fame even in its incompleteness, like Anna or Jackie O. And yet it remains more of a phonetic paraphrase, an initial sound as in fancy, phantasm or fantasy – something that materializes in speech only to disappear again.”

🪞My installation Psyche, 2026 in Vienna. 💄
Objects made by my studio, music by @nefelibravaki (link in bio) and an here’s an extract from Vanessa Mueller’s essay

“Immersed in suggestive darkness, a dressing table, a ‘Psyche’ as it is called in Austria, is presented in the center, with the repertoire that makes worldly metamorphosis possible in the first place. However, the mirror as an instrument of self-reflection and transformation triggered by the image reflects at most us, the viewers. The furniture that supports it is made of steel, and the utensils on it are less plush than the ambience historically demands. One might find them subtle, like the objects in Marina Abramovic’s performance Rhythm 01, which are surgically placed on a table so that the audience can perform all kinds of actions on the artist.
This set design – every detail a piece of a larger puzzle and encoded in multiple ways – relies on contrasts, appearing hard or soft, warm or cold. The overall theatrical atmosphere is also reminiscent of intimate, self-contained spaces of pent-up emotion, where euphoria can quickly turn to despair. Mitsola cites the horror vacui of the apartment from Fassbinder’s The Bitter Tears of Petra von Kant as a source of inspiration, as well as the lavish sets of the ballet film The Tales of Hoffmann. The dissected staging of visual opulence and dramatic, even affected sentiment, the interplay of love, desire, submission and downfall, seems to shine through here and there in every part of the décor, in every painted emotion.
And yet Fae O, whose psyche seems to be explored in this series of paintings, with her conscious and unconscious feelings, her emotional outbursts and her jouissance, is ultimately above all a linguistic creature. Fae is derived from the Greek word Φαΐω (to shine brightly) – Sofia Mitsola loves etymology. Fae O sounds like a name that can achieve fame even in its incompleteness, like Anna or Jackie O. And yet it remains more of a phonetic paraphrase, an initial sound as in fancy, phantasm or fantasy – something that materializes in speech only to disappear again.”

🪞My installation Psyche, 2026 in Vienna. 💄
Objects made by my studio, music by @nefelibravaki (link in bio) and an here’s an extract from Vanessa Mueller’s essay

“Immersed in suggestive darkness, a dressing table, a ‘Psyche’ as it is called in Austria, is presented in the center, with the repertoire that makes worldly metamorphosis possible in the first place. However, the mirror as an instrument of self-reflection and transformation triggered by the image reflects at most us, the viewers. The furniture that supports it is made of steel, and the utensils on it are less plush than the ambience historically demands. One might find them subtle, like the objects in Marina Abramovic’s performance Rhythm 01, which are surgically placed on a table so that the audience can perform all kinds of actions on the artist.
This set design – every detail a piece of a larger puzzle and encoded in multiple ways – relies on contrasts, appearing hard or soft, warm or cold. The overall theatrical atmosphere is also reminiscent of intimate, self-contained spaces of pent-up emotion, where euphoria can quickly turn to despair. Mitsola cites the horror vacui of the apartment from Fassbinder’s The Bitter Tears of Petra von Kant as a source of inspiration, as well as the lavish sets of the ballet film The Tales of Hoffmann. The dissected staging of visual opulence and dramatic, even affected sentiment, the interplay of love, desire, submission and downfall, seems to shine through here and there in every part of the décor, in every painted emotion.
And yet Fae O, whose psyche seems to be explored in this series of paintings, with her conscious and unconscious feelings, her emotional outbursts and her jouissance, is ultimately above all a linguistic creature. Fae is derived from the Greek word Φαΐω (to shine brightly) – Sofia Mitsola loves etymology. Fae O sounds like a name that can achieve fame even in its incompleteness, like Anna or Jackie O. And yet it remains more of a phonetic paraphrase, an initial sound as in fancy, phantasm or fantasy – something that materializes in speech only to disappear again.”

🪞My installation Psyche, 2026 in Vienna. 💄
Objects made by my studio, music by @nefelibravaki (link in bio) and an here’s an extract from Vanessa Mueller’s essay

“Immersed in suggestive darkness, a dressing table, a ‘Psyche’ as it is called in Austria, is presented in the center, with the repertoire that makes worldly metamorphosis possible in the first place. However, the mirror as an instrument of self-reflection and transformation triggered by the image reflects at most us, the viewers. The furniture that supports it is made of steel, and the utensils on it are less plush than the ambience historically demands. One might find them subtle, like the objects in Marina Abramovic’s performance Rhythm 01, which are surgically placed on a table so that the audience can perform all kinds of actions on the artist.
This set design – every detail a piece of a larger puzzle and encoded in multiple ways – relies on contrasts, appearing hard or soft, warm or cold. The overall theatrical atmosphere is also reminiscent of intimate, self-contained spaces of pent-up emotion, where euphoria can quickly turn to despair. Mitsola cites the horror vacui of the apartment from Fassbinder’s The Bitter Tears of Petra von Kant as a source of inspiration, as well as the lavish sets of the ballet film The Tales of Hoffmann. The dissected staging of visual opulence and dramatic, even affected sentiment, the interplay of love, desire, submission and downfall, seems to shine through here and there in every part of the décor, in every painted emotion.
And yet Fae O, whose psyche seems to be explored in this series of paintings, with her conscious and unconscious feelings, her emotional outbursts and her jouissance, is ultimately above all a linguistic creature. Fae is derived from the Greek word Φαΐω (to shine brightly) – Sofia Mitsola loves etymology. Fae O sounds like a name that can achieve fame even in its incompleteness, like Anna or Jackie O. And yet it remains more of a phonetic paraphrase, an initial sound as in fancy, phantasm or fantasy – something that materializes in speech only to disappear again.”

🪞My installation Psyche, 2026 in Vienna. 💄
Objects made by my studio, music by @nefelibravaki (link in bio) and an here’s an extract from Vanessa Mueller’s essay

“Immersed in suggestive darkness, a dressing table, a ‘Psyche’ as it is called in Austria, is presented in the center, with the repertoire that makes worldly metamorphosis possible in the first place. However, the mirror as an instrument of self-reflection and transformation triggered by the image reflects at most us, the viewers. The furniture that supports it is made of steel, and the utensils on it are less plush than the ambience historically demands. One might find them subtle, like the objects in Marina Abramovic’s performance Rhythm 01, which are surgically placed on a table so that the audience can perform all kinds of actions on the artist.
This set design – every detail a piece of a larger puzzle and encoded in multiple ways – relies on contrasts, appearing hard or soft, warm or cold. The overall theatrical atmosphere is also reminiscent of intimate, self-contained spaces of pent-up emotion, where euphoria can quickly turn to despair. Mitsola cites the horror vacui of the apartment from Fassbinder’s The Bitter Tears of Petra von Kant as a source of inspiration, as well as the lavish sets of the ballet film The Tales of Hoffmann. The dissected staging of visual opulence and dramatic, even affected sentiment, the interplay of love, desire, submission and downfall, seems to shine through here and there in every part of the décor, in every painted emotion.
And yet Fae O, whose psyche seems to be explored in this series of paintings, with her conscious and unconscious feelings, her emotional outbursts and her jouissance, is ultimately above all a linguistic creature. Fae is derived from the Greek word Φαΐω (to shine brightly) – Sofia Mitsola loves etymology. Fae O sounds like a name that can achieve fame even in its incompleteness, like Anna or Jackie O. And yet it remains more of a phonetic paraphrase, an initial sound as in fancy, phantasm or fantasy – something that materializes in speech only to disappear again.”

🪞My installation Psyche, 2026 in Vienna. 💄
Objects made by my studio, music by @nefelibravaki (link in bio) and an here’s an extract from Vanessa Mueller’s essay

“Immersed in suggestive darkness, a dressing table, a ‘Psyche’ as it is called in Austria, is presented in the center, with the repertoire that makes worldly metamorphosis possible in the first place. However, the mirror as an instrument of self-reflection and transformation triggered by the image reflects at most us, the viewers. The furniture that supports it is made of steel, and the utensils on it are less plush than the ambience historically demands. One might find them subtle, like the objects in Marina Abramovic’s performance Rhythm 01, which are surgically placed on a table so that the audience can perform all kinds of actions on the artist.
This set design – every detail a piece of a larger puzzle and encoded in multiple ways – relies on contrasts, appearing hard or soft, warm or cold. The overall theatrical atmosphere is also reminiscent of intimate, self-contained spaces of pent-up emotion, where euphoria can quickly turn to despair. Mitsola cites the horror vacui of the apartment from Fassbinder’s The Bitter Tears of Petra von Kant as a source of inspiration, as well as the lavish sets of the ballet film The Tales of Hoffmann. The dissected staging of visual opulence and dramatic, even affected sentiment, the interplay of love, desire, submission and downfall, seems to shine through here and there in every part of the décor, in every painted emotion.
And yet Fae O, whose psyche seems to be explored in this series of paintings, with her conscious and unconscious feelings, her emotional outbursts and her jouissance, is ultimately above all a linguistic creature. Fae is derived from the Greek word Φαΐω (to shine brightly) – Sofia Mitsola loves etymology. Fae O sounds like a name that can achieve fame even in its incompleteness, like Anna or Jackie O. And yet it remains more of a phonetic paraphrase, an initial sound as in fancy, phantasm or fantasy – something that materializes in speech only to disappear again.”

🪞My installation Psyche, 2026 in Vienna. 💄
Objects made by my studio, music by @nefelibravaki (link in bio) and an here’s an extract from Vanessa Mueller’s essay

“Immersed in suggestive darkness, a dressing table, a ‘Psyche’ as it is called in Austria, is presented in the center, with the repertoire that makes worldly metamorphosis possible in the first place. However, the mirror as an instrument of self-reflection and transformation triggered by the image reflects at most us, the viewers. The furniture that supports it is made of steel, and the utensils on it are less plush than the ambience historically demands. One might find them subtle, like the objects in Marina Abramovic’s performance Rhythm 01, which are surgically placed on a table so that the audience can perform all kinds of actions on the artist.
This set design – every detail a piece of a larger puzzle and encoded in multiple ways – relies on contrasts, appearing hard or soft, warm or cold. The overall theatrical atmosphere is also reminiscent of intimate, self-contained spaces of pent-up emotion, where euphoria can quickly turn to despair. Mitsola cites the horror vacui of the apartment from Fassbinder’s The Bitter Tears of Petra von Kant as a source of inspiration, as well as the lavish sets of the ballet film The Tales of Hoffmann. The dissected staging of visual opulence and dramatic, even affected sentiment, the interplay of love, desire, submission and downfall, seems to shine through here and there in every part of the décor, in every painted emotion.
And yet Fae O, whose psyche seems to be explored in this series of paintings, with her conscious and unconscious feelings, her emotional outbursts and her jouissance, is ultimately above all a linguistic creature. Fae is derived from the Greek word Φαΐω (to shine brightly) – Sofia Mitsola loves etymology. Fae O sounds like a name that can achieve fame even in its incompleteness, like Anna or Jackie O. And yet it remains more of a phonetic paraphrase, an initial sound as in fancy, phantasm or fantasy – something that materializes in speech only to disappear again.”

🪞My installation Psyche, 2026 in Vienna. 💄
Objects made by my studio, music by @nefelibravaki (link in bio) and an here’s an extract from Vanessa Mueller’s essay

“Immersed in suggestive darkness, a dressing table, a ‘Psyche’ as it is called in Austria, is presented in the center, with the repertoire that makes worldly metamorphosis possible in the first place. However, the mirror as an instrument of self-reflection and transformation triggered by the image reflects at most us, the viewers. The furniture that supports it is made of steel, and the utensils on it are less plush than the ambience historically demands. One might find them subtle, like the objects in Marina Abramovic’s performance Rhythm 01, which are surgically placed on a table so that the audience can perform all kinds of actions on the artist.
This set design – every detail a piece of a larger puzzle and encoded in multiple ways – relies on contrasts, appearing hard or soft, warm or cold. The overall theatrical atmosphere is also reminiscent of intimate, self-contained spaces of pent-up emotion, where euphoria can quickly turn to despair. Mitsola cites the horror vacui of the apartment from Fassbinder’s The Bitter Tears of Petra von Kant as a source of inspiration, as well as the lavish sets of the ballet film The Tales of Hoffmann. The dissected staging of visual opulence and dramatic, even affected sentiment, the interplay of love, desire, submission and downfall, seems to shine through here and there in every part of the décor, in every painted emotion.
And yet Fae O, whose psyche seems to be explored in this series of paintings, with her conscious and unconscious feelings, her emotional outbursts and her jouissance, is ultimately above all a linguistic creature. Fae is derived from the Greek word Φαΐω (to shine brightly) – Sofia Mitsola loves etymology. Fae O sounds like a name that can achieve fame even in its incompleteness, like Anna or Jackie O. And yet it remains more of a phonetic paraphrase, an initial sound as in fancy, phantasm or fantasy – something that materializes in speech only to disappear again.”

🥀Few more days to see my show @czpresents in Shanghai 🥀 On through 5th April

🥀Few more days to see my show @czpresents in Shanghai 🥀 On through 5th April

🥀Few more days to see my show @czpresents in Shanghai 🥀 On through 5th April

🥀Few more days to see my show @czpresents in Shanghai 🥀 On through 5th April

🥀Few more days to see my show @czpresents in Shanghai 🥀 On through 5th April

🥀Few more days to see my show @czpresents in Shanghai 🥀 On through 5th April

🥀Few more days to see my show @czpresents in Shanghai 🥀 On through 5th April

Sasha and Prudence, 2025

Sasha and Prudence, 2025

La Petite Morte, 2025

I am part of this beautiful group show in Seoul @p21.kr

Unapologetic
On through 27 Feb 2026

Minjeong An, Monica Kim Garza, Myung-Joo Kim, Na Kim, Eunsae Lee, Sofia Mitsola, Anna Jung Seo, Shin Min, Wu Jiaru
안민정, 모니카 김 가르자, 김명주, 김나, 이은새, 소피아 미촐라, 서안나, 신민, 우쟈루

I am part of this beautiful group show in Seoul @p21.kr

Unapologetic
On through 27 Feb 2026

Minjeong An, Monica Kim Garza, Myung-Joo Kim, Na Kim, Eunsae Lee, Sofia Mitsola, Anna Jung Seo, Shin Min, Wu Jiaru
안민정, 모니카 김 가르자, 김명주, 김나, 이은새, 소피아 미촐라, 서안나, 신민, 우쟈루

I am part of this beautiful group show in Seoul @p21.kr

Unapologetic
On through 27 Feb 2026

Minjeong An, Monica Kim Garza, Myung-Joo Kim, Na Kim, Eunsae Lee, Sofia Mitsola, Anna Jung Seo, Shin Min, Wu Jiaru
안민정, 모니카 김 가르자, 김명주, 김나, 이은새, 소피아 미촐라, 서안나, 신민, 우쟈루

I am part of this beautiful group show in Seoul @p21.kr

Unapologetic
On through 27 Feb 2026

Minjeong An, Monica Kim Garza, Myung-Joo Kim, Na Kim, Eunsae Lee, Sofia Mitsola, Anna Jung Seo, Shin Min, Wu Jiaru
안민정, 모니카 김 가르자, 김명주, 김나, 이은새, 소피아 미촐라, 서안나, 신민, 우쟈루

Next Thursday in Vienna: Artist talk with @SofiaMitsola & Dr. Vanessa Joan Müller, Art historian and Curator

Thursday, January 15, 6.30 pm
Galerie Eva Presenhuber
Lichtenfelsgasse 5, Vienna

RSVP to rsvp@presenhuber.com

The talk takes place on the occasion of the opening of 'Psyche of Fae O' (6-9 pm), Mitsola’s second solo exhibition at the gallery and her first solo exhibition in Austria.

Art historian and curator Dr. Vanessa Joan Müller will join Mitsola in dialogue to discuss the new body of work and its engagement with art-historical references, psychological introspection, and the staging of desire and fantasy in contemporary painting.

Mitsola‘s latest works deepen her exploration of the boudoir as a site of transformation and psychological tension. Rendered in luminous oil paint, the figures hover between glamour and unease, drawing on art-historical echoes while asserting a distinctly contemporary sensibility. Seductive yet estranged, the paintings unfold as fleeting apparitions—images of desire, introspection, and disappearance that resonate with heightened emotional intensity.

—
(1) Sofia Mitsola. Photo: Konstantinos Sklavenitis.
(2) Vanessa Joan Müller

#SofiaMitsola #GalerieEvaPresenhuber #EvaPresenhuber

'Psyche of Fae O,' our second solo show by @SofiaMitsola, opens at Lichtenfelsgasse in Vienna on Thursday, January 15, from 6–9 pm.

At 6.30 pm, Mitsola will be in conversation with Vienna-based art historian Vanessa Joan Müller, to discuss the new body of work and its engagement with art-historical references, psychological introspection, and the staging of desire and fantasy in contemporary painting.

"In Mitsola's new oil paintings, reincarnations of Klimt’s female characters – long a source of inspiration for her – merge with vintage porn to create a neo-Art Deco style, dominated by porcelain-white skin and cascades of red hair. Ultra-slim, naked bodies, as if levelled to the surface, stand out brightly against a golden or smoky, diffuse background, some decadently framed by fur. They push their spread legs towards the audience or pose coquettishly with a ponytail. A woman’s face emerges melancholically from a diffuse black color space, while another seems to merge with its glazed, painted surroundings. These are fleeting apparitions, slowly fading away, yet brought to the canvas with rapid brushstrokes. They intuitively recall their role models, but reduce their canonized visual language to poses and ciphers. Impressionistic backgrounds reminiscent of Bonnard’s paintings or glazed color backdrops eliminate any overly obvious historical context in favor of an open pictorial space in which an equally artificial and affecting physicality takes shape." – Vanessa Joan Müller

🔗 Learn more via link in bio.

—
Sofia Mitsola, Fae O, 2025
Oil on linen
50 x 40 cm / 19 5/8 x 15 3/4 in
Courtesy the artist and Galerie Eva Presenhuber, Zurich / Vienna © the artist

#SofiaMitsola #GalerieEvaPresenhuber #EvaPresenhuber

More time to step into the mythological world of Astropoodles 🪩

Sofia Mitsola’s exhibition is now on view until July 26.

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SOFIA MITSOLA
Astropoodles
5. 31 - 7. 26, 2025

#P21 #P21gallery #SofiaMitsola #Exhibition

#Onview
‘Astropoodles’는 이번 전시 제목인 동시에, 작가 소피아 미촐라가 창조해낸 신화적 종(種)의 이름이자 세계이다. 그리스 테살로니키에서 나고 자라 최근에는 영국 런던을 기반으로 활발하게 활동하고 있는 이 젊은 작가는, 그리스어로 ‘별(άστρο)’이라는 의미를 지닌 단어인 'Astro(천상의)’와 친숙한 개 품종인 'Poodle(푸들)'이라는 용어를 혼성했고, 이 명칭이 보름달이 뜨면 푸들로 변신하는 우주 시대의 ‘요염한 여성(Coquette)’을 뜻한다고 설명한다. 이 독창적인 전시 제목은 그녀가 그간 추구해온 변형과 유동성, 자기 표현의 자유로운 미학을 고스란히 담고 있다.
작가가 창조한 ‘Astropoodles’는 분명 처음 보는 존재임에도 불구하고 어딘가는 이상하리 만치 익숙하다. 그는 어쩌면 우리 안에 필히 존재하면서도 잠들어 있던, 혹은 억눌려 있던 어떤 몸의 기억과 욕망을 자극하기 때문인지도 모른다.

‘Astropoodles’ is both the title of the exhibition and the name of a mythological species and world that Mitsola has created. Born and raised in Thessaloniki, Greece, and now based in London, the young artist created this hybrid term by combining astro (άστρο)—from the Greek word for star—with poodle, a familiar dog breed. According to Mitsola, the term refers to a coquette of the space age who transforms into a poodle under the full moon. This imaginative title embodies the artist’s long-standing aesthetic of transformation, fluidity, and free self-expression.
Though never seen before, the ‘Astropoodles’ she creates feel oddly familiar. Perhaps it is because they awaken a dormant or repressed bodily memory and desire within us.

-
2,3)
Astropoodles 🌠
2025
watercolour on paper
56 x 75 cm

4,5)
Lilith 💀
2025
watercolour on paper
56 x 75 cm

6)
Blood Moon, Metamorphosis 🌚
2025
watercolour on paper
56 x 75 cm

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SOFIA MITSOLA
Astropoodles
5. 31 - 7. 12, 2025

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📄 Shin-young Park

Images courtesy of P21 and the Artist. Photo: Installation view by Chunho An; artwork by Mark Blower

#P21 #P21gallery #SofiaMitsola #Exhibition #전시

#Onview
‘Astropoodles’는 이번 전시 제목인 동시에, 작가 소피아 미촐라가 창조해낸 신화적 종(種)의 이름이자 세계이다. 그리스 테살로니키에서 나고 자라 최근에는 영국 런던을 기반으로 활발하게 활동하고 있는 이 젊은 작가는, 그리스어로 ‘별(άστρο)’이라는 의미를 지닌 단어인 'Astro(천상의)’와 친숙한 개 품종인 'Poodle(푸들)'이라는 용어를 혼성했고, 이 명칭이 보름달이 뜨면 푸들로 변신하는 우주 시대의 ‘요염한 여성(Coquette)’을 뜻한다고 설명한다. 이 독창적인 전시 제목은 그녀가 그간 추구해온 변형과 유동성, 자기 표현의 자유로운 미학을 고스란히 담고 있다.
작가가 창조한 ‘Astropoodles’는 분명 처음 보는 존재임에도 불구하고 어딘가는 이상하리 만치 익숙하다. 그는 어쩌면 우리 안에 필히 존재하면서도 잠들어 있던, 혹은 억눌려 있던 어떤 몸의 기억과 욕망을 자극하기 때문인지도 모른다.

‘Astropoodles’ is both the title of the exhibition and the name of a mythological species and world that Mitsola has created. Born and raised in Thessaloniki, Greece, and now based in London, the young artist created this hybrid term by combining astro (άστρο)—from the Greek word for star—with poodle, a familiar dog breed. According to Mitsola, the term refers to a coquette of the space age who transforms into a poodle under the full moon. This imaginative title embodies the artist’s long-standing aesthetic of transformation, fluidity, and free self-expression.
Though never seen before, the ‘Astropoodles’ she creates feel oddly familiar. Perhaps it is because they awaken a dormant or repressed bodily memory and desire within us.

-
2,3)
Astropoodles 🌠
2025
watercolour on paper
56 x 75 cm

4,5)
Lilith 💀
2025
watercolour on paper
56 x 75 cm

6)
Blood Moon, Metamorphosis 🌚
2025
watercolour on paper
56 x 75 cm

-
SOFIA MITSOLA
Astropoodles
5. 31 - 7. 12, 2025

-
📄 Shin-young Park

Images courtesy of P21 and the Artist. Photo: Installation view by Chunho An; artwork by Mark Blower

#P21 #P21gallery #SofiaMitsola #Exhibition #전시

#Onview
‘Astropoodles’는 이번 전시 제목인 동시에, 작가 소피아 미촐라가 창조해낸 신화적 종(種)의 이름이자 세계이다. 그리스 테살로니키에서 나고 자라 최근에는 영국 런던을 기반으로 활발하게 활동하고 있는 이 젊은 작가는, 그리스어로 ‘별(άστρο)’이라는 의미를 지닌 단어인 'Astro(천상의)’와 친숙한 개 품종인 'Poodle(푸들)'이라는 용어를 혼성했고, 이 명칭이 보름달이 뜨면 푸들로 변신하는 우주 시대의 ‘요염한 여성(Coquette)’을 뜻한다고 설명한다. 이 독창적인 전시 제목은 그녀가 그간 추구해온 변형과 유동성, 자기 표현의 자유로운 미학을 고스란히 담고 있다.
작가가 창조한 ‘Astropoodles’는 분명 처음 보는 존재임에도 불구하고 어딘가는 이상하리 만치 익숙하다. 그는 어쩌면 우리 안에 필히 존재하면서도 잠들어 있던, 혹은 억눌려 있던 어떤 몸의 기억과 욕망을 자극하기 때문인지도 모른다.

‘Astropoodles’ is both the title of the exhibition and the name of a mythological species and world that Mitsola has created. Born and raised in Thessaloniki, Greece, and now based in London, the young artist created this hybrid term by combining astro (άστρο)—from the Greek word for star—with poodle, a familiar dog breed. According to Mitsola, the term refers to a coquette of the space age who transforms into a poodle under the full moon. This imaginative title embodies the artist’s long-standing aesthetic of transformation, fluidity, and free self-expression.
Though never seen before, the ‘Astropoodles’ she creates feel oddly familiar. Perhaps it is because they awaken a dormant or repressed bodily memory and desire within us.

-
2,3)
Astropoodles 🌠
2025
watercolour on paper
56 x 75 cm

4,5)
Lilith 💀
2025
watercolour on paper
56 x 75 cm

6)
Blood Moon, Metamorphosis 🌚
2025
watercolour on paper
56 x 75 cm

-
SOFIA MITSOLA
Astropoodles
5. 31 - 7. 12, 2025

-
📄 Shin-young Park

Images courtesy of P21 and the Artist. Photo: Installation view by Chunho An; artwork by Mark Blower

#P21 #P21gallery #SofiaMitsola #Exhibition #전시

#Onview
‘Astropoodles’는 이번 전시 제목인 동시에, 작가 소피아 미촐라가 창조해낸 신화적 종(種)의 이름이자 세계이다. 그리스 테살로니키에서 나고 자라 최근에는 영국 런던을 기반으로 활발하게 활동하고 있는 이 젊은 작가는, 그리스어로 ‘별(άστρο)’이라는 의미를 지닌 단어인 'Astro(천상의)’와 친숙한 개 품종인 'Poodle(푸들)'이라는 용어를 혼성했고, 이 명칭이 보름달이 뜨면 푸들로 변신하는 우주 시대의 ‘요염한 여성(Coquette)’을 뜻한다고 설명한다. 이 독창적인 전시 제목은 그녀가 그간 추구해온 변형과 유동성, 자기 표현의 자유로운 미학을 고스란히 담고 있다.
작가가 창조한 ‘Astropoodles’는 분명 처음 보는 존재임에도 불구하고 어딘가는 이상하리 만치 익숙하다. 그는 어쩌면 우리 안에 필히 존재하면서도 잠들어 있던, 혹은 억눌려 있던 어떤 몸의 기억과 욕망을 자극하기 때문인지도 모른다.

‘Astropoodles’ is both the title of the exhibition and the name of a mythological species and world that Mitsola has created. Born and raised in Thessaloniki, Greece, and now based in London, the young artist created this hybrid term by combining astro (άστρο)—from the Greek word for star—with poodle, a familiar dog breed. According to Mitsola, the term refers to a coquette of the space age who transforms into a poodle under the full moon. This imaginative title embodies the artist’s long-standing aesthetic of transformation, fluidity, and free self-expression.
Though never seen before, the ‘Astropoodles’ she creates feel oddly familiar. Perhaps it is because they awaken a dormant or repressed bodily memory and desire within us.

-
2,3)
Astropoodles 🌠
2025
watercolour on paper
56 x 75 cm

4,5)
Lilith 💀
2025
watercolour on paper
56 x 75 cm

6)
Blood Moon, Metamorphosis 🌚
2025
watercolour on paper
56 x 75 cm

-
SOFIA MITSOLA
Astropoodles
5. 31 - 7. 12, 2025

-
📄 Shin-young Park

Images courtesy of P21 and the Artist. Photo: Installation view by Chunho An; artwork by Mark Blower

#P21 #P21gallery #SofiaMitsola #Exhibition #전시

#Onview
‘Astropoodles’는 이번 전시 제목인 동시에, 작가 소피아 미촐라가 창조해낸 신화적 종(種)의 이름이자 세계이다. 그리스 테살로니키에서 나고 자라 최근에는 영국 런던을 기반으로 활발하게 활동하고 있는 이 젊은 작가는, 그리스어로 ‘별(άστρο)’이라는 의미를 지닌 단어인 'Astro(천상의)’와 친숙한 개 품종인 'Poodle(푸들)'이라는 용어를 혼성했고, 이 명칭이 보름달이 뜨면 푸들로 변신하는 우주 시대의 ‘요염한 여성(Coquette)’을 뜻한다고 설명한다. 이 독창적인 전시 제목은 그녀가 그간 추구해온 변형과 유동성, 자기 표현의 자유로운 미학을 고스란히 담고 있다.
작가가 창조한 ‘Astropoodles’는 분명 처음 보는 존재임에도 불구하고 어딘가는 이상하리 만치 익숙하다. 그는 어쩌면 우리 안에 필히 존재하면서도 잠들어 있던, 혹은 억눌려 있던 어떤 몸의 기억과 욕망을 자극하기 때문인지도 모른다.

‘Astropoodles’ is both the title of the exhibition and the name of a mythological species and world that Mitsola has created. Born and raised in Thessaloniki, Greece, and now based in London, the young artist created this hybrid term by combining astro (άστρο)—from the Greek word for star—with poodle, a familiar dog breed. According to Mitsola, the term refers to a coquette of the space age who transforms into a poodle under the full moon. This imaginative title embodies the artist’s long-standing aesthetic of transformation, fluidity, and free self-expression.
Though never seen before, the ‘Astropoodles’ she creates feel oddly familiar. Perhaps it is because they awaken a dormant or repressed bodily memory and desire within us.

-
2,3)
Astropoodles 🌠
2025
watercolour on paper
56 x 75 cm

4,5)
Lilith 💀
2025
watercolour on paper
56 x 75 cm

6)
Blood Moon, Metamorphosis 🌚
2025
watercolour on paper
56 x 75 cm

-
SOFIA MITSOLA
Astropoodles
5. 31 - 7. 12, 2025

-
📄 Shin-young Park

Images courtesy of P21 and the Artist. Photo: Installation view by Chunho An; artwork by Mark Blower

#P21 #P21gallery #SofiaMitsola #Exhibition #전시

#Onview
‘Astropoodles’는 이번 전시 제목인 동시에, 작가 소피아 미촐라가 창조해낸 신화적 종(種)의 이름이자 세계이다. 그리스 테살로니키에서 나고 자라 최근에는 영국 런던을 기반으로 활발하게 활동하고 있는 이 젊은 작가는, 그리스어로 ‘별(άστρο)’이라는 의미를 지닌 단어인 'Astro(천상의)’와 친숙한 개 품종인 'Poodle(푸들)'이라는 용어를 혼성했고, 이 명칭이 보름달이 뜨면 푸들로 변신하는 우주 시대의 ‘요염한 여성(Coquette)’을 뜻한다고 설명한다. 이 독창적인 전시 제목은 그녀가 그간 추구해온 변형과 유동성, 자기 표현의 자유로운 미학을 고스란히 담고 있다.
작가가 창조한 ‘Astropoodles’는 분명 처음 보는 존재임에도 불구하고 어딘가는 이상하리 만치 익숙하다. 그는 어쩌면 우리 안에 필히 존재하면서도 잠들어 있던, 혹은 억눌려 있던 어떤 몸의 기억과 욕망을 자극하기 때문인지도 모른다.

‘Astropoodles’ is both the title of the exhibition and the name of a mythological species and world that Mitsola has created. Born and raised in Thessaloniki, Greece, and now based in London, the young artist created this hybrid term by combining astro (άστρο)—from the Greek word for star—with poodle, a familiar dog breed. According to Mitsola, the term refers to a coquette of the space age who transforms into a poodle under the full moon. This imaginative title embodies the artist’s long-standing aesthetic of transformation, fluidity, and free self-expression.
Though never seen before, the ‘Astropoodles’ she creates feel oddly familiar. Perhaps it is because they awaken a dormant or repressed bodily memory and desire within us.

-
2,3)
Astropoodles 🌠
2025
watercolour on paper
56 x 75 cm

4,5)
Lilith 💀
2025
watercolour on paper
56 x 75 cm

6)
Blood Moon, Metamorphosis 🌚
2025
watercolour on paper
56 x 75 cm

-
SOFIA MITSOLA
Astropoodles
5. 31 - 7. 12, 2025

-
📄 Shin-young Park

Images courtesy of P21 and the Artist. Photo: Installation view by Chunho An; artwork by Mark Blower

#P21 #P21gallery #SofiaMitsola #Exhibition #전시

#Onview
‘Astropoodles’는 이번 전시 제목인 동시에, 작가 소피아 미촐라가 창조해낸 신화적 종(種)의 이름이자 세계이다. 그리스 테살로니키에서 나고 자라 최근에는 영국 런던을 기반으로 활발하게 활동하고 있는 이 젊은 작가는, 그리스어로 ‘별(άστρο)’이라는 의미를 지닌 단어인 'Astro(천상의)’와 친숙한 개 품종인 'Poodle(푸들)'이라는 용어를 혼성했고, 이 명칭이 보름달이 뜨면 푸들로 변신하는 우주 시대의 ‘요염한 여성(Coquette)’을 뜻한다고 설명한다. 이 독창적인 전시 제목은 그녀가 그간 추구해온 변형과 유동성, 자기 표현의 자유로운 미학을 고스란히 담고 있다.
작가가 창조한 ‘Astropoodles’는 분명 처음 보는 존재임에도 불구하고 어딘가는 이상하리 만치 익숙하다. 그는 어쩌면 우리 안에 필히 존재하면서도 잠들어 있던, 혹은 억눌려 있던 어떤 몸의 기억과 욕망을 자극하기 때문인지도 모른다.

‘Astropoodles’ is both the title of the exhibition and the name of a mythological species and world that Mitsola has created. Born and raised in Thessaloniki, Greece, and now based in London, the young artist created this hybrid term by combining astro (άστρο)—from the Greek word for star—with poodle, a familiar dog breed. According to Mitsola, the term refers to a coquette of the space age who transforms into a poodle under the full moon. This imaginative title embodies the artist’s long-standing aesthetic of transformation, fluidity, and free self-expression.
Though never seen before, the ‘Astropoodles’ she creates feel oddly familiar. Perhaps it is because they awaken a dormant or repressed bodily memory and desire within us.

-
2,3)
Astropoodles 🌠
2025
watercolour on paper
56 x 75 cm

4,5)
Lilith 💀
2025
watercolour on paper
56 x 75 cm

6)
Blood Moon, Metamorphosis 🌚
2025
watercolour on paper
56 x 75 cm

-
SOFIA MITSOLA
Astropoodles
5. 31 - 7. 12, 2025

-
📄 Shin-young Park

Images courtesy of P21 and the Artist. Photo: Installation view by Chunho An; artwork by Mark Blower

#P21 #P21gallery #SofiaMitsola #Exhibition #전시