The total or partial truths

...the total or partial truths that engage the artist are hidden, by a mysterious combination and in a precarious equilibrium, between the individual/particular and the objective/absolute. From this sacred realm,
continuously changing but without disgregating, by means of intuition, in the totality of the person, images are created with the forms of the visual collective unconscious and the seed of truth which is revealed to men when
it is collectively received, in order to nourish, in turn, the new unconscious, projecting new forms of art towards the future. We are (and have been since the eighteenth century) trapped in the mind, instead of using our wholeness in the right proportions. And the unconscious, with our ancestral, dreaming, "nocturnal" part - the part that derives from teaching based on fables handed down, and from initiation ceremonies connected with man and the naturalistic world - this unconscious is in agony, due to a lack of the nourishment that ultimately derives from the sacred, from the mystery which gives birth to the space for the unlikely and the impossible, and even dreams of a better society.

La Pietà


We are sadly all too accustomed to images and news of violence and abuses carryed out against the innocent, that another exhibition dedicated to these subjects might seem yet another intrusion in our natural right and tendency to seek those corners of peace and serenity that we all long for. Each of these etchings contains two key images that enable a better reading of the whole: on one side the violent act or its symbol brought to the headlines by the daily chronicle, and on the other, its opposite; the image that recalls and reminds us of our primordial state prior -violation, innocent, that is. The abyss of difference between "how it was ment to be" and the reality, is one of the elements that inspires this series of "La Pietà".
In the same image there is the most famous "Pietà" by Michelangelo with the Madonna and her Son, together with a palestinian mother that gently caresses the head of her daughter dead 'by mistake' in a feud. A little girl that gracefully swings whilst on the background there's the scene of an orgy. A cart loaded with emaciated figures of children on 'the way back' from the lager together with two happy kids playing on the trycicle. The foot from which erupts  a gun with the coranic verses from which the motivation of the jihad is interpreted, together with Christ's feet with the holes.
The real theme infact is redemption carryed out by all - especially unaware innocents - in all possible ways through all times. The death and suffering of someone taken by surprise, or who is unaware and submits without understanding; the absolute astonishment and terror in front of the ferocity. Other than the obvious indignation, rage, we also feel an emotion of deep compassion in the buddhist sense of the term; a profound love soaked with an incomprehensible hope.


Every sign left on a canvas, even when wrong, even if - as often happens - out of a neurosis ; even when removed, leaves a trace that becomes indispensable for the finished painting. As in life.


Giovanni Greppi