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.
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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.