This minimalist contemporary artwork features a tall, rectangular light sculpture with a sleek, geometric design. The work consists of a white, pleated translucent shade atop a sturdy metal base, creating a striking contrast of materials and textures. The simple, yet elegant composition emphasizes the interplay of light and shadow, hinting at the artist's interest in exploring the sculptural and illuminating properties of light. This contemporary lighting installation likely aims to challenge traditional notions of functional design while inviting the viewer to contemplate the transformative power of light in shaping our perceptions of space. ...
Laura Grisi’s work has always been considered part of Italian Pop Art, though even from the outset she has actually gone beyond that category, promptly intercepting various lines of international artistic research and applying them in her own original synthesis.
From her debut in 1964 to 1968, Grisi’s work featured elements derived from the art of the first half of the 1960s, when economic affluence was prompting artists to simulate a society of consumption, borrowing objects, images and media (in Pop Art), or analyzing the capacity of new technologies to influence perception (in Optical Art and Kinetic-Programmed Art), while also absorbing the modular, geometric aspects of industrial production, the absence of subjective-manual intervention (in Minimal Art). On the other hand, however, Grisi’s work already included elements belonging to the research conducted in Italy and abroad in the second half of the 1960s, when a phase of economic recession led artists to view the society of consumption as alienating, and therefore to attempt to restore an atrophied creative potential to every individual, making them the protagonists of a dematerialized, de-aestheticized and theatrical art (in the temporary actions and site-specic installations characteristic of Arte Povera and Process Art).
“Your work, from the beginning, has presented a certain ‘theatricality,’ [...] the places discovered by your works are more like expeditions into the artificial, into fiction.”
Germano Celant ...
The name P420 is inspired by Pantone 420, a universally recognized shade of grey known for its ability to serve as the perfect background, enhancing whatever it accompanies. P420 thus emerges as a platform whose primary aim is to embrace and elevate artistic ideas and expressions, fostering their harmonious coexistence within a context that supports, encourages, and celebrates diversity and innovation. Here, every voice can resonate powerfully and distinctly, much like a work of art standing out against the backdrop of Pantone 420.
P420 has been instrumental in the rediscovery of artists such as Irma Blank, Laura Grisi, Ana Lupas, and Stephen Rosenthal, collaborating directly with the artists or, when necessary, with their heirs or the Estates representing them. Through exhibitions, off-site projects, fairs, and a strong online presence, the gallery also supports the evolving narratives of contemporary art, initiating and supporting the journey of many young emerging talents like Victor Fotso Nyie, Francis Offman, and Shafei Xia. ...
