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"Mia is someone with great talent and energy. Her work has an original character - with striking colour combinations, texture and sinuous line. She creates a unique painterly world and has great imagination and creative intelligence.”

— Fabrizio Plessi

"We have become too intellectual in our ways of perceiving things. The dominance of rational thought over activities based on feeling prevents us from understanding the fullest dimension of any concept, which means we are unable to reach the nucleus of an idea and, above all, cannot experience the full intensity of emotion. This is the point: I’m sure that in the new city of tomorrow, we will be able to think more with the body and heart than with the head. For Mia, emotion is colour and colour is the virtual expression of emotions.”

— Pierre Restany (Critic - extract from interview in his studio, Paris)

"Mia's expressiveness is not directed towards any object in particular, but moves 'within' a fundamental emotion that characterises her entire work. It works within the sentiment of nature and within the feeling of time... Mia's painting thus becomes a symbol of a deep and individual memory, and also a collective, environmental, archaic and recent remembrance that touches and moves the intimate fibres of being."

— Giorgio Segato (Critic and curator, Padova)

"We are amid exuberant, distinctive landscapes which on second glance create happy abstract compositions in which rhythmic lines of colour unexpectedly become curves and shapes. This rigorous and very controlled procedure creates a sense of gentleness combined with a great depth of emotion, which magically and perhaps entirely reflects the authenticity of an original and intelligent artist.”

— Silvana Weiller Romanin Jacur (Poet and critic, Padova)

“MIA’s piano suggests the possibility of the gesamtkunstwerk – the total work of art… As an attainable ideal, the gesamkunstwerk is probably best regarded as a kind of phantom, something we can never, as imperfect human beings, quite manage to attain. It stands for things we can imagine, which are always stronger in the end than the things we actually know. In painting this Steinway, María Inés Aguirre offers a bridge to that never attainable totality. Rather than looking for ways to decorate an instrument, as most of her predecessors have done, she has looked for ways to express its inner spirit and intensify the communication between a gifted performer and their audience.”

— Edward Lucie-Smith (Critic, London)

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