Mi-Re-Si is not a triad revealed in tonal harmony, but a chord that is well suited to the temperament and choices of this artist, expressed through painting and photography. But music remains her most intimate experience.

Music seems to spring from her paintings, now with tones gentle, now with noisy vigour. In her paintings she moves between architecture and urban landscapes, unexpectedly carried away by dynamic energy: the observer can sense the passion with which Miresi fixes her emotions on the canvas, subjugated by the transparency of the dome of the Reichstag in Berlin by Sir Norman Foster, by the geometries of Libeskind's Jewish Museum, by the free spatiality in which the Potsdamer Platz skyscrapers are set. With a spontaneous and decided gesture, she draws the outlines of her architectures, not breaking them up, though she adapts them to a rhythm of her own.

For Miresi art is the fruit of continuous, constant research, which leads her from the Abstraction of the Eighties to an autonomy of expression and an exploration in search of freedom. In her artistic path Miresi processes the idea of capturing an entire event through photography, not just a short moment. Miresi knows how to look and see the reality that surrounds her and she is well aware that the images she captures - always architecture because this is the world that fascinates her - possess an intrinsic symbolic value that goes beyond their incidental function and assigns them to history.

This Italian artist, who has lived and worked in Berlin for years, follows the city's political course and its architectural renewal.

She never goes out without her Canon, and as she goes through the City she shoots its wide spaces, parks, squares, street scenes, the facades of buildings, excluding human presence because her interest is focussed on the urban structure, by patterns where architecture is dominant.

She is able to capture the fleeting moment with great sensitivity: the image reflected in a window, a play of lights and shadows, an unrepeatable magic moment, imaginative in its reality, because in her photographic art Miresi is authentic and spurns all artifice.