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Giovanni Greco



Born in Catania (Italy) ; after the completion of art studies he began his artistic career in the early '80s, did not complete his studies in biology and attended the School of the Nude in her hometown led by a strong passion for art (in particularly that of the '500 and '600), which leads me to investigate and study the technique of painting through careful observation and analysis of the works of Caravaggio, Poussin, and especially flamish Van Eyck, Brueghel, Bosch, at the same time trying to satisfy his need for classical art is concerned generally Hellenic belief in it as well as the aesthetic perfection are exhaustive technique to fill his overweening curiosity that led him to cross the contemporary painting in order to expand his knowledge and find the its interior dimension driven by a greater reflection on life and trying to interpret the "thinking" sometimes ineffable as a means to put in a new light on the fundamental problems of which our mind does not cease to rid the stage of putting visual blackmail, blackmail soul. My artistic side while the examples of surrealism as a breaking of the daily thought and represent a revolt against the commonplace of existence permanently, to disengage me from it and de Chirico as a way to be able to enter into a personal space and time where it is possible the resolution of two layers, apparently contradictory, the dream and the objective reality in a kind of absolute reality; further dedicated, therefore, entirely to the metaphysical painting not so much for the stylistic choices that led to the interest expressed a solidity of composition, objects, figures and the same space given by the mighty masses that become dark and mellow color volumes in a context where time seems suspended between those arrested and the influence of metaphysical references and the works derived from neoclassical emptied of the past time, in an unknown world. It is not a rethinking of metaphysics and surrealism in a critical and even a tribute to them, but rather a total detachment from them, it is not poetic object of interest but that of individual memory and collective memory that is a reflection of the contradictions human. Everything is known to our eyes and our memory, but everything appears again through a gap skews the thought that always refers to something else, something that lies beyond. The elements represented do not lose their original meaning, but in becoming adults we feel that way, that the answer to our research because it is beyond what we see and look at that. And this is beyond I aims at coordinating our eyes, beyond representation and time, beyond the obviousness of transient events in a present that becomes the "eternal", the border and place of answer as to why everything happens and everything can happen. As a mirror image reminds us that we know and which therefore becomes non-existent.

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