Ettore Greco


And there's an obsessive vision in which the redemption of the body is denied too many time, exhibited here in all its possible variations. An orgy of bodies, an unlimited inebriation. The nervous form, as it takes shape, rejects the static Apollononian dimension and enhances the dynamic Dyonisian, making it a redundant poetic declaration, which means that it might be useful for us to reach an understanding of the meaning and sense of what Greco is trying to do. Powerful chiaroscuro effects, tortured surfaces, the warmth of the flesh, as in Rodin's troubled, plastic conception, evoked with such intensity in Ercole or Abbandono. In the larger dimensions, this moulded effect retains the character of a scale model, which vibrates through the matter then reforms itself in the final execution. In Greco, however, it's like the soul transmitted to a face, the projection of an inner torment, a pain that manifests itself through the expression in the portrait of Michela, Sara, Mayumi, Caterina or the exemplary Egypt. The faces live and the bodies moan. Greco expresses a fever of form that reinstates the expressiveness of the unfinished works of Michelangelo and the surface vibration, almost like painting, of Medardo Rosso. Leaving it up to the light, and the night, and our eyes, to do the rest.

San Gimignano
From 15/05/1993 to 03/06/1993
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