Love: from "Omnia vincit amor" to "Amor che move il sole e l'altre stelle" by Dante as well as "The only important thing when we leave, will be the traces of love that we will have left" by Albert Schweitzer, Love, since the beginning of the world and in its broadest sense, has crossed the centuries and will continue to cross them until the end of time. Around that essential pivot which is Love, human beings, and artists in particular, build their lives and their works, sometimes without even realizing it. Love, cross and delight of the human being.
Speaking of love, the thought can only go to the couple, the man and the woman and their relationship that already occupies a central place in the Bible in the story of origins. The Garden of Eden and all of creation, in fact, are nothing more than the frame of the encounter between the masculine and the feminine.
...
The work of Laura Grosso who, as an artist and a woman who is a daughter of our time, feeling directly called into question, gives her personal feminine vision of the life cycle and of the man/woman relationship, the artist hopes. a redemption, a renewal that will lead to the return of that luminous original innocence for which so many yearn and for which relationships increasingly feel the need. Building common ground, made up of a shared language and culture, with respect for reciprocal differences, as indicated by Luce Irigaray, a philosopher who Laura Grosso particularly loves, could be the basis on which to build, with true love, relationships bringing the world to that lost Eden so badly needed.
Adriana De Angelis
Bathing scenes magically attracted painters throughout Art History. Especially in Impressionism the new painting technique bore reference to the play of light and many artists created light-flooded seascape.
The delineation of hazy sea air, due to the aerosols above the water, was a challenge.
In her work Laura Grosso is concerned about light and its impact on colors, its power to structure space and build a three-dimensionality within the painting.
In Laura Grosso's Roman Vedute, the translucent light, characteristic for Mediterranean regions, plays a vital role. Reflecting on urban structure, it precisely defines the shape of famous historical buildings in the Citta Eterna, creating contrasts through shadow.
In Laura Grosso's Sea-Side paintings the artist experiences the effect of light on human forms. These respond to light in a quite different way than static structures. Figures become colored stains, abstract forms and space is used by the principle of atmospheric perspective. With this technique of 'sfumatura', an impression of lightness and vastness is created.
Laura Grosso uses non-primary colors, so called Mezzatinta, each with the admixture of the complementary hue in order to reduce and thus refine their saturation. From pale ocher to grey and blue, they are gradated to harmonious compositions of width. On some of the painting panels, beach, sea , horizon and sky appear as vertical layers. Here the artist uses the impasto technique, thick layers of oil paint.
Impastoed paint makes the light reflect in a particular way and permits a special texture on the painting. In some works painting- knife strokes are visible and create an almost sculptural effect.
Laura Grosso's Seaside Paintings as the Roman Vedute, rendered in different painting techniques create a stunning atmospheric impression of natural and urban spaces.
Barbara Goebels
