PAOLO GRASSINO

Mimetico

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Paolo Grassino composes his works by overlapping and combining strips of materials which neither interweave nor intersect. These industrially produced thicknesses become elements which constitute  and draw the image, and which become, in the hands of the artist, recognisable elements of his creative lexicon. The artist uses spongy materials, although actually thin cut plates and filaments of plastic material of constant thickness, and uses them to wrap the heads of animals and humans, bodies and objects, restoring them to a state of immobility and ‘rigor mortis’. The fixedness of the image, linked to the technique of wrapping, is softened by the polychromy which is created by the alternation of the lines of spongy material.

In this way, the artist restores a realm of blocked figures which nonetheless obsessively express a context. From this arises the strong involvement of the visitor, who is persuaded and made aware of the creative act. The extreme realistic  and sensorial acuteness of the images, which are not without spectacular scenographic effects, leads us to a new conception of nature and space, and to a new relationship between these elements and humans.

Grassino’s work forms part of the world of the discontinuity of time: this experience, through the presence of memory and the project, unites within itself the dimensions of the future, the present, and the past. The challenge which the daily world presents us with is that of constructing a consciousness of time which permits us to pass through the categorisations of variety and multiplicity.  This ‘discontinuity’ favours creation, personal sensations, and along with all this, emotionality and desire. In the work ‘Mimetic 2003’ Paolo Grassino evokes, over a background of three sculpted deer, the habitat of a forest visualised  through ‘pixels’ of blue and green spongy material. In this way, the artist invites the spectator to reconstruct, with his own imagination and sensorial capacity, a personally congenial space. The ‘patterns of colour’ become media capable of stimulating the observer to imagine one’s own natural landscape, from the moment in which the artist offers the possibility of  perceiving in a different way, depending on the visual angle which one takes to observe. In hunting, dogs chase deer and vice versa, insofar as they ‘become in equal measure prey to and predator of’ each other. From this incessant movement, in which ‘searching, losing of oneself, chasing and escaping’ all become confused, emerges the conviction of the artist, who affirms that life is nothing but the instinct to search and devour reciprocally.

In spaces which have no limits, nor codes of ethical behaviour between individuals, the violation of rules becomes the rule of life itself, which takes us beyond all frontiers and pushes us to occupy new territories of thought and action.

 

Enrico Pedrini

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