SOLO

exhibition

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Grigoletto

Igor

ITALY

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“Grigoletto's works become contemporary tables, artifacts of a mysterious phrasing, harbingers of an encrypted message which, unknown, must still be brought to light as much as art brings it to us.”

After the initial pictorial informal parenthesis, in which immediately, however, his energetic expressiveness showed his propensity for a visual dimension of more intimate and rigorous, reasoned and measured, tension, Igor Grigoletto abandoned the path of painting on "chromatic substance" to arrive, step by step, series after series, to a language that fully belonged to him and responded to his desire to define arguments and narratives within an objective space and time, increasingly suitable for universal sharing. He considers, in this way, the dimension of the work as a border and crossing line that, thanks to this archetypal sense of its inspiration, could embrace, with the conformation of a map and a single mental geography, the emotions, the knowledge and the singular subjective experiences. The mechanism for obtaining this was the most classical reduction of removing, subtracting the surpluses, to let the essential and substantial elements emerge for his expressive research.

Overcoming limits and boundaries, geometries find themselves in dialogue in the works of Igor Grigoletto, giving life to interpenetration games between lines and shapes. Talifusions are central to his research, which is based on the bond or, more specifically, on the union between man and any possible feeling. sending coded messages to humanity through invented alphabets. Reflective mirrors and lacquered glass capable of being luminous, conceptually become geometric planes on the qualities.

The reduction of the superfluous and of the "decorative" body was a fundamental point in being able to fully free the gestures. This allowed him not only to concentrate on those narrative resources most suited to his ideas and considerations, but also to be able to open his inventiveness to a chorus of materials that went beyond the more canonical binomial, in the painting, of “canvas-frame”. The fear of not certifying the painter's artistic assumption precisely with the "picture" has admitted all those "exceptions" that have become for him the founding point: here then appearing crusher cases, metal nets, tables, glass, metal shapes, a different set of supports that welcome every slightest variation of his artistic action. In some cases, the development of color also embraced metallic forms, minimal and simple, which formed the basis for a series of sculptural works.

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Overcoming limits and boundaries, geometries find themselves in dialogue in the works of Igor Grigoletto, giving life to interpenetration games between lines and shapes. Talifusions are central to his research, which is based on the bond or, more specifically, on the union between man and any possible feeling. sending coded messages to humanity through invented alphabets. Reflective mirrors and lacquered glass capable of being luminous, conceptually become geometric planes on the qualities.

The process he adopted - as the summary testimonies of this first reasoned Monography clarify - has, therefore, given space to essentiality as a means of overloading every element present with maximum sense. He then followed those traces, in some embryonic cases grown in the solid logic of his coherence, to purge precisely the superfluous and useless data that imprisoned his artistic research in a certain academicism and, directed in a path of renunciation and equal affirmation, he led to that evolution which, germinated and strengthened work after work, was constituted as the certainty of each subsequent direction and intent. In this way he found his own artistic, aesthetic and expressive identity.

“Grigoletto was not afraid to wait for everything, as shown in the different series, to have a balance and a meaning.”

The change concerned supports and materials, but above all the fundamental theme of his iconography: if the sign value of his painting had, in fact, the desire for a dramatic and quivering uncontrollable pulsation, the reduction of that sign, open to a proliferating number of variations, has made it a changeable code and, even if reduced, has defined the most widely reflective sphere of its doing. The pictorial sign has become a physical, material, tangible, effective, resonant presence: the drawing of color has found its possibility to "draw" its presence through the use of a colored thread that wraps, groups, stratifies, concentrates in an evolutionary group of presences that break into the silent and inert space of its supports.

“Compositional lines change and, over time, have been able to determine a sort of increase in this geometric-sign alphabet which, combined with the dutiful pronouncement of color, has been prepared in a sort of communicative code, an idiom to be deciphered and observed.”

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Grigoletto began to "weave" a prolific set of segments, lines, geometric coordinates, which presented themselves as catalysts of attention, the epicenter of the configuration of a synthetic aesthetic that turns its spring moment into the most classic abstraction and bare minimalism, but he also puts his attention on the sense and weight of emotion and, in this sense, his communicative desire does not freeze in an icy sense of absence, always finding a vibration of emotion.