Lucio Greco art is involving, charming and troubling. He comes from Naples but he lives in Bologna. He is not forty yet but he bewilders us, he stirs us with deep synthesis of many materials, which consist of wire-nettings, golden threads, plaster relieves and which show a pure and uncontaminated eulogy to femininity.
He uses vibrating and coloured strokes as subtle musical chords, in order to present us an enchanting beauty which sometimes is unpleasant, sometimes provoking, sometimes austerely nice in the royal fixity of the gaze, and which changes the poor roughness of the employed materials into something magnificently golden.
The image from far off seduces us because of the completeness of the light and shade, which is plastically set by levels of colour drown close the one to the others. At close quarter, the image fades away and we just look to specks of colour which animate the chalky bracket and the wire-netting. This is the result of a study at the computer of a photograph, which is the starting point for the artists research. This last one will be later enlarged by personal and original speculation.
The computer inquiry of a photograph reveals a deep study of the volumes divided into levels, with colour shades which are deeper where there is the shade and which grade down to the lighter tones which are the brighter parts of the image.
In this way interesting and fascinating chromatic maps show a clear influence of the physical maps with the difference that where there are the plains we find lightness and where the mountains we discover the shades.
At close quarter the uniformity disappears, the drawing looses his wonderful incisiveness and the gradual colours seem chromatic mixtures; if we go far away we can see how the painting gets value in its whole; we discover the play of light, the hair, the gazes and the brilliant sense of volume, which is rhythmically stresses by a crescendo of tonal steps.
The space links these precious and ephemeral feminine figures with the material concreteness of the bracket, of the chalk, of the sacking. These corroborate the intrinsic value of this suggestively informal art, which is moreover defined as charming, neo-expressionist and an overbearingly and dynamically self-made art.
Vladimiro Zocca writes: Lucio Greco makes the feminine images real and he throws them into a soft liberty atmosphere, full of passionate and mediterranean decadence. His art follows the deep decoration of the Klimt of the secession period , who through the feminine poetry shows the real woman, made up of skin and bright flesh and of fascination which is softened by dignity. This artists excellent production always arouse greater approval between the astonished public.
Maria Pia Romano |
