The work developed by Fiedler O Mastrangelo is, above all, a gesture of resistance — a deeply human response to the dizzying acceleration of technology. What they propose is a kind of analog pictorial programming, where the inputs and outputs are, by design, human. In place of algorithms, there is listening; instead of artificial intelligence, there is natural intelligence — built within the artistic and personal intimacy they have cultivated over time.

​

The starting point is always semantic. Giulia Mastrangelo undertakes a precise, almost surgical exploration of the meaning of words. From this, she constructs a rigorous verbal sequence that unfolds across a defined space. Synonyms and antonyms intertwine until the initial word finds its echo in the final one. The result is a composition of interconnected concepts, where each term carries its own density, and the relationship between parts and whole generates a formal and poetic tension.

​

Mastrangelo does not write to explain the world, but to redraw the invisible pathways between the words that uphold it. Her practice extends beyond vocabulary choice — she probes the folds of meaning, the frictions between definitions, the tension zones between what is said and what is felt.

​

Decoding her words is not a matter of literal translation — it is an act of reception. When Mastrangelo presents a concept, Nicolas Fiedler receives only a fragment of the whole. He is not given the complete narrative — nor is he meant to. Time is short, the gesture is urgent. It is precisely in this space — between what is spoken and what is intuitively perceived — that the strength of their process lies.

​

Fiedler paints as one who responds to an intimate call. His aim is not to illustrate, but to access the emotional dimension of what has been proposed. Painting becomes a form of listening. In this collaboration with Mastrangelo, the pictorial gesture takes on a performative character — an act in which memory, affection, and intuition converge with reason. This practice can only exist in the presence of absolute trust in the other.

​

What materializes on paper or canvas is an abstraction pulsing with figuration — a residue of her thought filtered through his language, through the couple’s shared history. These works do not explain: they suggest, whisper, provoke. It is this very risk that continues to drive them. Because only in risk resides truth.