From Pencil to Neon: Nadia Leo's Artistic Journey

The summer break, besides offering a break from the daily grind, often becomes an opportunity for discovery and new experiences. In this suspended time, tradition and modernity intertwine, as in Olevano sul Tusciano, in the village of Monticelli, revitalized by the creativity of Nadia Leo and the "Le Moire" collective.

An artistic project supported by local institutions and associations, which enthusiastically engaged the community, ready to welcome new forms of expression and rebirth.

On August 12th and 13th, the surfaces and exterior facades of Monticelli were transformed into pages of a romantic and spectacular visual narrative: silent tales of an ancient neighborhood, which, with the new murals, breathes a rekindled vitality to resist oblivion.

Nadia Leo, a painter and muralist from Salerno, involved a former colleague and her mother in this experience: Angelina E. Di Gennaro I. and Nataliya Smirnova, respectively. The three, united by a shared vision, founded the collective Le Moire for the occasion, inspired by the mythological figures who weave destiny, as if to infuse their feminine art with a regenerative and profoundly transformative power.

Subsequently, responding to strong demand from the community, they began a fruitful collaboration with Assunta La Corte – a local artist – contributing together to covering the entire village with murals.

The vitality of their street art is demonstrated by the evocative and heartfelt words that Nadia shared on her Instagram profile, describing the pictorial intervention in the village of Monticelli:

We painted a village armed with paints, brushes, and clothes to get dirty. The first things we worked on were the centuries-old olive trees. What inspired us? Well, we just had to look around: the sense of peace, the well-kept alleys, the kindness and helpfulness of those who, climb after climb , prepared the village for the festival.

Old and new generations, united by their love for their village, reminded us that regeneration sometimes doesn't mean change, but rather valorizing and supporting those who guard the roots, turning their branches, as always, toward the sun.

But art has always evoked the importance of encounters, of the suggestions triggered by observation and the reflection of a luminosity that takes shape from it, penetrating the gaze of the visitor attracted by its harmony. 

The bold features and vibrant colours of the alleys of Monticelli conceal a personal story, made up of challenges, introspection and a continuous search for meaning , made accessible thanks to the encounter with the artist.

We therefore welcomed and listened to the story of Nadia Leo, a determined individual with technical rigor and sensitivity, who develops visual languages ​​capable of engaging with space and people, discreetly but consistently. The following interview allowed us to discover her journey, her techniques, and her professional perspective.

• Your artistic output is distinguished by a realistic and hyperrealistic style that captures the eye and brings intensity to your images. How did your passion for art begin? Are there any personal experiences or significant encounters that influenced your choice of technique and the definition of your style?

"I started out at art school, then continued at the academy, which I didn't finish due to work commitments. But as soon as I can, I'll finish. It's never too late to study. My sculpture teacher steered me towards painting; he was an example.

Even the drawing teacher at the Academy recognized my talent—I was born with pencil drawing, which has always been my defining characteristic—and encouraged me to pursue it; it gave me the impetus to continue. I worked for almost ten years in a modern furniture company, where I discovered acrylic painting and refined this technique.

Over time, I've decided to experiment with new ones. I also want to explore the scientific world—another passion of mine— particularly neuroscience, because I believe that imagination and the brain are profoundly connected. My thesis could explore this very connection.

Initially, my style was hyperrealist, driven by the desire to achieve an almost impossible perfection—a personal challenge, but also a response to those who doubted my abilities. Today, I seek a balance between technical rigor and expressive freedom, blending hyperrealism with contemporary elements. I also employ expressionist neon, a technique that aligns well with my introspective streak; I use fluorescent colors with which I continue to explore realism.

• What do you want to convey through your realistic and hyperrealistic style? Is it to convey emotion, to tell a truth, or perhaps something more subtle?

"I primarily want to convey my emotional state, which manifests itself—I'd almost jokingly say—as pure malaise. I mean the internal one, which emerges when I can't express myself well in words, or when I feel held back socially: like a constantly exposed nerve.

When I hear about a problem, I feel the need to translate it into an image. I usually express myself through self-portraits; I use body posture to communicate, because if the subject is me, I prefer not to expose myself too much. I don't want to be seen clearly, but my posture, along with the colors—neutral or very bright, as in my latest work, "The Exodus of Hecate"—describe how I feel.

Fluorescent colors, in particular, are present in my work partly because I'm observing the current market, with a view to a possible gallery experience. It's one of the trends that's working. The use of luminescent colors, in this sense, becomes a technique that captures and fixes a mood, giving it a precise visual form.

To connect to the Murals – but also to some personal works – in addition to emotional states that can be heavy and unpleasant, I also try to convey this sense of peace and admiration through dedicated works, in the hope that a fair and just ideology can materialize."

• Does being a woman and an artist in Southern Italy still present specific challenges today? Have you felt the need to prove yourself more than your male colleagues to establish yourself in the art world?

My introverted nature, combined with being a woman, has made it more difficult to establish myself in the art world. I've always rejected the idea of ​​having to please anyone to gain visibility. I've made this clear: I firmly believe that recognition should come based on merit, not on the dynamics of sympathy or opportunism. As a woman, I've often felt the need to prove myself, especially when I was producing abstract art.

To avoid superficial judgments, I combined academic drawing exhibitions with more experimental ones, precisely to assert my expertise. I exhibited in alternative spaces, such as bars and clubs, that promoted emerging artists. Unfortunately, there is still a mistrust of women's expertise, and on this point I am waging a battle: the quality of the work must be the primary criterion for evaluation.

• Has there been an artistic event that deeply reflected your expressive language and your worldview? An occasion where you felt your art was authentically engaging with the space, the audience, and the context?

"Among the events I've participated in, the ones I felt most involved in were the Limen in Salerno and the project in Olevano, where I actively worked on the murals. At the Limen, in particular, I presented two works: "The Exodus of Hecate," exhibited in the expo area, and another created live during the third evening, inspired by Hermes Mangialardo's installation—a large inflatable moon lit from within—which I reinterpreted through live painting."

• I've noticed with great interest that you've participated in international initiatives in cities like Berlin, Dubai, and Beijing. Can you tell us more about this experience?

“Yes, I held a virtual exhibition, a video exhibition, in Berlin, Dubai, and Beijing. I submitted a work in each city to participate in these group exhibitions and international awards. I was later published in the manuals for these awards. There will also be future stops in New York, Munich, and Venice.”

• What future projects are you developing?

“I will be physically present with my works at two events in October.

First of all, at the Salerno Biennale, which will take place from October 18th to November 2nd at Palazzo Fruscione. Furthermore, one of my works has been included in the Artists' Yearbook '25 and, again in October, will be exhibited in Palermo.

Nadia Leo is a well-rounded artist, escaping rigid definitions and moving between technique and introspection, guided by an intimate expressive need. She doesn't seek the spotlight, but engages with depth and rigor. Driven by a fervent curiosity and open to experimentation, the fluidity of her creative process is grounded in a solid and conscious motivation: "I know how to do this, and I choose to do something else too."

The village of Monticelli, with its painted alleys and renewed vitality, offers the opportunity to experience her art up close, as she and the Le Moire collective have transformed walls into visual narratives. Those who wish to follow her can also do so at the Salerno Biennale, from October 18th to November 2nd at Palazzo Fruscione.

Nadia also leads drawing and painting workshops in collaboration with local associations, offering opportunities for learning and exchange open to all.

To stay up-to-date on her projects, exhibitions, and artistic initiatives, you can follow her on Instagram (@nadialeoart) and on Facebook (Nadia Leo). Because art, as she herself teaches us, is an encounter that regenerates itself every time someone chooses to truly look.