Stories of migration on canvas

Artist Mazzoni insists painting helps her ‘understand what really matters,’ a raw truth hitting hard within The Moment It’s Decided. Two fragile figures brace against roaring tides, staring down an absolute, impending shift. Artist Sood shares this fierce ache, stating her work ‘reflects a longing’ stretching across impossible oceans.
Two distant diasporas crash together within Mirrors: Distance Between Worlds, a brilliant dual exhibition mapping the shared emotional architecture of migration. Curated by Georgina Maddox, this visceral showcase brings Shana Sood’s Indian heritage face-to-face with Yolanda Peña Mazzoni’s Cuban-American lineage. Both painters fight to preserve vanishing cultural legacies. As traditional performing arts struggle for survival, leaving gifted masters facing a forced silence with zero stage left to perform upon, these visual works offer a quiet, stubborn resilience.
Sood unleashes pure diaspora longing through The India I Carry - Himachali Bride, trapping a traditionally dressed figure within deeply saturated, nostalgic pigments. She deepens this introspection via Layered Inheritance, where overlapping female faces bloom amidst striking red hues, symbolising generational continuity. She also captures silent female strength via Sitting with Memory, portraying a pensive figure resting alone.
Mazzoni fires back at profound isolation using Echoes of La Rumba. Slapping rich oil paint onto cold aluminium, she channels Cuban street musicians radiating pure rhythmic heat. Mazzoni further immortalises her cultural roots through Legacy in the Leaves, capturing weathered hands delicately pressing tobacco, elevating a simple ritual into profound heritage.
Sood explores romanticised spaces between what was plus what remains. Meanwhile, Mazzoni treats her metallic canvases as vital meditations on community ties. Together, their distinct visual vocabularies forge a poignant communion, proving history survives beautifully in painted strokes when physical stages disappear.














