https://www.artforum.com/picks/antonietta-grassi-84309

 

Antonietta Grassi at Harcourt House Artist Run Centre, Edmonton

Montreal artist Antonietta Grassi shares the inspiration for her Edmonton exhibition

Excerpts from Reviews

Overlaying candy-colored, geometric prisms with glimmering networks of lines that weave through and around them, painter Antonietta Grassi could easily be taken for the love child of Josef and Anni Albers. Yet while underscoring the contiguity of modernist composition and traditional craft, her exquisite abstractions also demonstrate the visual similarities between loom work and computer code…..While shimmering thread lines expertly maneuver their topographical shifts, a few not-quite hard edges bleed into the raw linen surrounding them in a sumptuous disturbance of the work’s diagrammatic precision. Like Agnes Martin’s grids, Grassi’s paintings both bear the traces of the hands that made them and exceed the sum of their painstakingly articulated parts. Suggesting the potentially sublime afterlife of industrial detritus, they nonetheless remind us that even in the midst of a pandemic, neither art nor life is of much interest when fully dematerialized.

-Ara Osterweil, ARTFORUM, November 2020

 

In her act and propagation of “viewing deeply,” Grassi examines the space created by absence as she would colour – as an imprint of realities past and present. It is both intuitive and methodical, “emotional and removed” – as she endeavours to be. Grassi has both touched and scared me.

Lindsay Sorrell, Akimbo.ca, January 2019

 

Because her process is so intuitive, any individual painting can take years to complete—not because it takes Grassi that long to put paint to canvas, but because the works involve over time and she creates multiple pieces at once. For instance, Grassi worked on “At the Seams” over a period of three years.

Chelsea Novack, Daze.ca , February  2019

 

Sous des techniques différentes, les lignes évoquent une même – idée connexion. Certains y verront des réseaux de métro, d’autres des systèmes neuronaux. »

Chantal l’Heureux, Vie des Arts,  édition été 2018

 

En peinture, notons entre autres la participation d’Antonietta Grassi, avec deux oeuvres, All Jammed Up et Freeze, toutes deux tirées de la série Twitch, créée lors d’une résidence au Vermont, l’an dernier. Cette série expose fils et circuits, en dénudant des structures architecturales, tout en révélant les dessous de surfaces d’apparence stable et inoffensive.

– Julie Ledoux, Journal Voir, 22 mai, 2015

 

Grassi has been exhibiting her work in Canada and Europe since the 1990s, and now her edgy pieces are on view at Crossing Art Gallery. “My current work, which borders on abstraction and representation, references skewed architectural structures to reflect a shaky, unstable reality,” she said. “I derive my imagery by combining logic and intuition, embracing dynamic interactions between chaos and order, spillage and containment. Despite the work‟s structural references, very little is planned, and much is left to chance.”

– Tammy Scileppi , Queens Times Ledger, Decemebr 3, 2014

 

Les œuvres traiteront notamment de flottaison, d’aspects plus spirituels ou d’élévation architecturale.  Parmi les artistes présents, citons  Émilie F. Grenier et Antonietta Grassi.

– Eric Clement, la Presse, 20 mai, 2014

 

L’œuvre que nous avons choisie s’intitule Moving On Up Again. Elle a été créée par Antonietta Grassi, une des artistes qui participeront au festival Chromatic, dont la cinquième édition se tiendra du 24 au 30 mai à Montréal

– Anne Gagnaire, Les Affaires (Cahier), 12 mai, 2014

 

Some works in the exhibition allow you to swim in them, while others represent a conceptual use of the word or situation, such as in the work of Antonietta Grassi.

– Marcia Santore, Artscope , September/October, 2013

Grassi’s work involves a conceptual use of the word (water). The mysterious flow of ideas ebbs and flows and permeates all that it comes in contact with.

– The Vermont Journal, September 2013

 

Quebecoise  d’origine italienne, Antonietta Grassi est une figure importante de ce qu’on appelle la nouvelle abstraction au Québec. De passage dans la Vielle Capitale, son exposition est un véritable plaisir pour les yeux et l’esprit…On voit défiler les soies les plus légères, les popelines les plus fines et les velours les plus doux, comme autant d’invitations à s’abandonner aux espaces de solitude et de moments de quiétude avec soi-même. Des sollicitations au silence jusqu’au désir de comprendre ce qui est écrit, Grassi explique que l’expérience de son art est semblable au fait d’immerger sa tète sous l’eau, le temps d’entendre les bruits sourds et feutrés que sont les mots perdus émergeant du fond vers la surface de la toile.

– Michel Bois, Le Soleil , 28 May 2005

 

Kristeva’s ‘language’  chart is, uncannily mirrored in Antonietta Grassi’s  recent painting series Babble (and other coded language). But here notations are from the perspective of a painter and mother who, observing her infant in the process of acquiring language- the child being also the creative force, produced a unique and intellectually challenging body of  work. Although a genealogy could be established with Mary Cassat and Mary Kelly, whose art relates childhood experience, with Nancy Spero who explores language, and through abstraction to the grand dame of painting, Agnes Martin, the paintings can stand by themselves. Their strength comes from the daring transcription of speech into painting, and from the surplus of the attempt of capturing language and meaning which can neither be fully contained nor rendered in paint yet is visualized and made immediate.

– Maria Zimmerman Brendel,  Montreal ETC. Magazine, 2002

 

The late Yves Gaucher, who taught at Concordia University, was the mentor for Antonietta Grassi, whose exquisite works on paper and other pieces have been exhibited at Montreal’s Lilian Rodriguez Gallery as well as in Toronto and Vancouver.

– Victor Swoboda The Montreal Gazette, February 9, 2002

 

Du lot (de l’exposition), on retient les gribouillis de Grassi…

– Jérome Delgado La Presse, 27 juillet, 2002

 

On view are delicate, heartbreaking works on paper by Montreal artist Antonietta Grassi, who deftly delineates private anguish. Dripping wounds and needle thin scars combine with text ‘If my skin was parchment and your blows were ink.’

– Gillian MacKay, The Globe and Mail, Novemebr 23, 1996

 

Antonietta Grassi’s exquisite series entitled The Scar Project looks at the emotional wounds and the process of healing through delicate confessional paintings and sketches.  Closely cropped images of cuts and stitches are painted in fleshy tones that stretch the tonal limits of crimson and buttermilk.

– Natalie- Rose Fischer, Now Toronto, November 1996

se trouve la très esthétique série de pastels et encres d’Antonietta Grassi intitulée Cicatrices. À la manière de Goodwin, dans l’esprit tout à fait actuel de la métaphore de l’art comme corps. Grassi joue des surfaces du papier et des nuances de l’encre comme s’il s’agissait de peau et de sang.

– Jornal VOIR, Du 15 au 21 AOUT, 1996

 

…l’artiste inspire les visiteurs à entrer dans un univers de sensibilité et d’intimité.

– Le Progrès de St. Leonard, 22 aout 1995