ArtNow Report - Ed. 08 - Eng

r e p o r t

ArtNow

Edition 08

June 2025

ArtNow Report

Artistic expression in all its forms

Editorial

Art Now Report is a magazine dedicated to

the dissemination of contemporary art in all

its forms and expressions. Our goal is to

provide our readers with a unique and

comprehensive

view

of

the

art

world,

featuring emerging and established artists,

inspiring exhibitions, critical analysis and

insights into the trends of the current art

scene. With a team passionate about art and

culture, we seek to connect our readers with

the vibrant universe of artistic creation.

A digital publication, Americascom, Inc.

Publishers

Chirlei Bastos/Gilberto Georg

Content Direction,

Art and Research

Chirlei Bastos

Graphic Design

Américascom

Vídeo Marketing and Streaming TV

WWTV Play

Content

Américascom

Marketing Cognitivo e IA

Brandsi

Cover

Andrey e Dinorá Allage

E-mail

artnow@artnow.report

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Awaken your creativity. Welcome to ArtNow Report.

June 2025

Painting

Sculpture

Architecture

Photography

The Iron Lady

The Iron Lady

Between iron and poetry, a

Between iron and poetry, a

Between iron and poetry, a

sculpture that spans the

sculpture that spans the

sculpture that spans the

centuries

centuries

centuries

SHE RISES OVER

PARIS NOT JUST AS

A STRUCTURE, BUT

AS A STATEMENT.

A lacework of metal woven into the sky, an airy skeleton that defied gravity and the

prejudices of its time. The Eiffel Tower, affectionately nicknamed "The Iron Lady," is

more than a landmark; it’s a story of boldness, a celebration of engineering

transformed into art, a timeless dialogue between the strength of material and the

lightness of design.

Built for the 1889 World’s Fair to commemorate the centennial of the French

Revolution, Gustave Eiffel’s tower was, at its birth, a controversial giant. Dismissed by

many as a “metal monstrosity,” an industrial “asparagus” that would ruin the

classical beauty of Paris, it faced fierce opposition from intellectuals and artists of the

era. Little did they know that this structure would become not only an engineering

marvel, but an unexpected and enduring muse.

The Eiffel Tower marked a quiet revolution in iron—and later steel—engineering.

Gustave Eiffel, a visionary, understood the potential of this industrial-age material: its

strength, its malleability, its ability to rise to unimaginable heights with an almost

fragile appearance. Each of the 18,038 wrought-iron parts, joined by over 2.5 million

rivets, was mathematically calculated with precision, creating a structure that

combined robust engineering with surprising elegance. Eiffel didn’t just build a tower;

he orchestrated a symphony of lines and forces, turning raw metal into structural

poetry.

Its presence on the Parisian skyline quickly made it a symbol, a beacon of modernity

that redefined the city’s silhouette. From a temporary World’s Fair centerpiece, it

became the beating heart of Paris—a cultural icon that captures the French identity:

a blend of tradition and innovation, classical beauty and bold experimentation.

And it’s precisely in that boldness and masterful execution that its aesthetic beauty

lies. The tower’s industrial design—with its exposed framework, diagonal lines, and

graceful curves—elevated what could have been purely utilitarian into something

sublime. This wrought-iron aesthetic, this “industrial lace” soaring into the sky,

rippled far beyond architecture. Its influence can be seen in furniture design, lighting,

and decorative objects—where structure becomes ornament and the apparent

lightness of latticework inspires new forms and textures, echoing the daring spirit of

the Iron Lady.

In the history of art, the Eiffel Tower has served as both blank canvas and boundless

inspiration. Impressionists like Seurat and Pissarro captured it in shifting lights and

moods; Cubists like Delaunay deconstructed and reassembled it in dynamic

perspectives; photographers since its unveiling have explored its vastness and

intimacy through lenses; illustrators and graphic designers turned it into logos,

posters, and patterns, anchoring it firmly in the world’s visual imagination. The tower

was never just an object to be depicted—it was a presence that interacted with

movement, light, perspective, and the very idea of modern representation.

The Iron Lady permanently blurred the line between engineering and art. What

began as a technical necessity and the vision of an engineer emerged as a

monumental open-air sculpture—a reminder that extreme functionality can produce

unparalleled beauty. It reminds us that art isn’t confined to canvases or pedestals; it

can soar skyward, forged in metal, beating with the soul of a city and a century.

The Eiffel Tower stands as proof that sometimes, art rises on bolts and beams—but

always with soul.

After turning the pages that celebrate the “Iron

Lady,” it’s time to let the wind carry us away.

But not just any wind — we’re talking about a

gentle breeze that drifts between layers of

collage, that whispers through memories and

textures, that breathes old stories into the now.

A breeze named Simone Momente.

A BREEZE OVER

PARIS

The Breath Within the Iron

The Breath Within the Iron

The Breath Within the Iron

Simone Momente

Simone Momente

Simone Momente

If the “Iron Lady,” bold and commanding, told us her story of engineering and

daring on the previous pages, now it's time to hear her most intimate whispers.

Simone Momente arrives to reveal not just the structure of metal and rivets, but

the soul that beats within — a stage for emotions, a guardian of memories. In her

hands, the Eiffel Tower transcends cold steel to become an invitation to poetry

and introspection.

Simone’s art lives in that delicate in-between: the lyrical tension between the

recognizable rigidity of engineering and the flowing emotions it can evoke. Her

interpretation of the Tower embodies this duality. Using layers of paper and the

translucent softness of watercolor, she creates a visual tapestry that seems to

soften the iron, allowing the Lady to breathe — to dance with Paris’ invisible wind

and witness time’s gentle passing.

But this Tower is, above all, an architecture of affection. This is Simone Momente’s

signature — already familiar to readers of ArtNow Report — as she unveils the soul

of icons that span from Brazilian modernism to global luxury: the Copan building,

MASP, the cable-stayed bridge in São Paulo, the historic Hôtel du Marc in France,

and the futuristic Desert Sail (Burj Al Arab) in Dubai. Simone weaves the Tower

from threads of memory: her parents’ stories of Paris, the soft trade winds they

once spoke of with wonder, the delicate wicker café chairs, the golden trees in

city parks, and the celebration of her parents’ 25th wedding anniversary lived

under the Tower’s watchful gaze. In her hands, the Eiffel Tower becomes more

than a monument — it becomes a portal, where time folds and memories — both

personal and universal — overlap in visual layers, crafting a true landscape of the

soul.

B e c a u s e S i m o n e d o e s n ’ t j u s t p a i n t P a r i s .

S h e r e v i v e s i t .

Simone’s technique is intrinsic to her storytelling. Her collages and layered papers

are not just stylistic choices; they are metaphors for the accumulation of stories,

of lived experiences that settle like sediment on the city’s skin — and on ours.

Each scrap of paper is a sliver of time, each brushstroke a lingering echo of

emotion.

In Simone’s work, the Eiffel Tower reveals Paris’ soul: bold in innovation, yet deeply

artistic and poetic. It stands like a beacon, connecting people and emotions

across generations, holding fragments of memory from tourists, locals, and lovers

alike. And in this dialogue between icon and emotion, we find Simone herself —

her visceral connection to Paris, her distinct artistic voice that turns curves into

nature, color into feeling, and her personal history intricately woven into the

canvas. Her presence is felt in every poetic “breath”: the abstract floral shapes

rising from the base, evoking park vegetation and the idea of new beginnings; the

colors of France pulsing with the joy of cafés and cultural richness; and subtle

patterns, like the weave of Parisian café chairs, that stitch together the city’s

vibrant atmosphere. Hidden details at the base — like quiet memories scattered

through the city — emerge only to eyes willing to look beyond the obvious, the

kind of attentive gaze Simone teaches us to nurture.

Simone Momente hopes that, in gazing upon her Tower, the viewer will feel a

breeze of remembrance — a universal moment of affection, even if they’ve never

set foot there. That they’ll sense time passing with unexpected gentleness, carried

by the contrast of structural solidity and airy winds. If she had to sum it all up in

one word, it would be “Breath.” Because it’s the breath of memory, wind, life, and

art that the Tower inhales in her work.

Simone Momente’s art offers us havens of fluidity and feeling. She reminds us

that the world’s most iconic places are built not just from stone and steel, but

from the stories and emotions we lay within them. Her Eiffel Tower is an invitation

to slow down, to feel time gently, and to allow a breath of Paris to stir the soul —

proving that art can carry us inward, through a portal woven from memory and

poetry.

Instagram: @simonefm.art

The

The

The Body as Canvas

Body as Canvas

Body as Canvas

France, Where History is Painted,

France, Where History is Painted,

France, Where History is Painted,

Cut, and Worn

Cut, and Worn

Cut, and Worn

Victory of Samothrace - Louvre

n France, art isn’t just admired —

it’s worn.

Nowhere else in the world do history and fashion come

together with such elegance and boldness as they do

in France. Here, the past isn’t just a memory — it

becomes

pigment,

texture,

and

form,

breathing

through the creations that adorn the body. French

fashion,

especially

haute

couture,

is

a

vibrant

conversation between centuries of visual legacy and

the restless energy of the present. It’s a loom where

threads of history, brushstrokes of old masters, echoes

of cathedrals, and the virtuosity of artisans are woven

together. From the gilded halls of Versailles to the

ateliers of Paris, creating fashion has always been an

artistic act — a way to wear history and sculpt the body

like marble, like canvas.

VERSAILLES

TAUGHT FRENCH

FASHION THAT TO

GET DRESSED IS TO

INHABIT ART.

More than just a center of power, the Palace of Versailles was a living canvas where

the grandeur of Baroque and later the sensual lightness of Rococo weren’t just

admired — they were worn. The opulence, drama, and embellishment found in the

works of Charles Le Brun or Hyacinthe Rigaud echoed directly in court attire. Heavy

brocades, hand-painted silks with floral patterns that seemed lifted from the

canvases of Boucher or Fragonard, intricate embroidery rivaling Gobelins tapestries

— it was all part of an ongoing artistic performance. Even the silhouette itself, with its

panniers and corsets, was a walking sculpture, shaping the body according to the

aesthetic ideals of its time.

This artistic legacy — the understanding of clothing as an extension of painting and

decorative sculpture — is deeply embedded in the DNA of haute couture. Dior’s “New

Look,” with its architectural tailoring, echoed not just form but the artistic intention of

creating structured beauty, a modern reply to ornamental armor or classical

sculpture. Chanel, in her simplicity, acted as a modernist stripping down the form —

yet always aware of the artistic canon she was challenging. Contemporary

designers continue to draw from these roots, reworking Baroque extravagance or

Rococo delicacy into artistic citations, where every piece carries echoes of great

painting and decorative arts once nurtured under the royal gaze.

Portrait of Madame de Pompadour, François Boucher

At the Louvre, art isn’t just

At the Louvre, art isn’t just

At the Louvre, art isn’t just

memory — it’s raw material.

memory — it’s raw material.

memory — it’s raw material.

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