Silences, Light and Color – Nicola Scontrino, 2007

Assunta Grieco’s research develops into various levels of elaboration, both observing and operating,but they all converge into the creation of pictorial forms. A long-lasting work that develops into thebowels of colour, wrapping the weave of the painting; a sense which expands the perception of its own communication, fulfilling intricately all the weaves of pictorial language, but also the substantialcomplexities that induce emotion to elaborate its own language, a route inside what turns out to be a log, that is what exactly a picture is.A weave of significations that necessarily generates communicative multiplicities in the imaginative construction of the painting, where colour becomes the actual representation that performs and constructsall the possible interpretations, being these ones figures, simple elaborations or weaves of colour.
Grieco’s work develops inside this operational maze, where a sole necessity wraps the awareness of representation, but at the same time it extends the signification of gesture. A complex element thatdevelops completely in the operation and expresses itself in the painting of the background; in fact, the representation imposes a logic that becomes its own subject and at the same time something differentfrom the representation itself.
The act of referring to the image as an icon is certainly the synthesis of a fluctuation of the representation, which becomes not a reproduction of reality, but a synthesis of one’s own self, leaving the figure aside andbecoming an icon of the represented substance.
The practice of running away from reality leads us into a different substance, maybe opaque, buttransparent as well, sensitive, similar to an indefinite project, whose aim is catching our eye and our fullattention.
Grieco’s work opens up these opportunities, transforming our sense of perception into a more complexsense of attention. As in an open work, where defining is limiting and observing remains the only way to approach the sense of the work.
Only the dimension of colour perception defines and enlarges the communicative themes of the pictorialsign, constructing its own visionary dimension.
Then painting becomes a game: a game conveying forces and cultural systems where new substances, but also new realities, will be defined.
The paraphrases of Assunta Grieco’s painting are confirmed out of all this, beyond the definition of its own real linguistic and representative metaphors; a practice that is widely confirmed in art and may be opens up new opportunities for communication. A constant combination of dream and reality. This is what painting means to Assunta Grieco: the reviving of ancestral motivations that only the sense of artculture can embody. In fact, the continuous communicative and evolutionary process goes beyond the contextualization of subjectivity to express itself in the wider world of essences that only one’s own existence can put into the right dimension of life-space.


Paola Attolino

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