Marco Grassi Grama

Grama (Milan, 1966) is an internationally celebrated painter. He has taken part in some of the most important international fairs such as Art Miami, Scope Art Fair, and the Moscow Art Fair. Perhaps most significantly, his institutional acknowledgment reached its zenith when he was selected to open the Italian pavilion at the Venice Biennale in 2011.

Throughout his career’s long trajectory, he has consolidated a personal style insisting on the identity of the female figure in the context of the specific moment in which they are painted. Grama's intense female portraits captivate the viewer by establishing a silent dialogue between the subject and the spectator.

The use of lacquering, the brightness of his colours and the adoption of the female body as a leitmotif have wrongly labelled him in the reductive genre of “Pop”.

For the past ten years Grama has been working with a sense of responsibility in his works, always being faithful to the figurative style of his works, never has he allowed this to become an object of fashion or only satisfying a momentary taste. His language and his subjects have always remained constant and declaringly connected to his sense of vision and to the taste of his complex sensitivity, whenever such choices – the fashionable female figure, certain colour combinations, use of lacquering, the repletion with minimum variations of the subjects have labelled him, unjustly so, a Pop artist.

It is true that the privileged subjects of Grama are delicate and attractive, but also energetic and resolute, female figures shown in fashionable, bright colours, but this should not be sufficient to frame the artist in a genre which is his only in the form but certainly not in the contents of his art.

Grama renounces an element which up until now was a decisive element and part of the architecture of every part of his work. In his most recent works we witness a complete absence of design: the sure and confident stroke with which he traced outer anatomic lines, showing stability in the whole of the figure, compared to a choice of bold colours which transforms and breaks down under the effect of spatula and drippings, is less obvious. The figure loses the factor of certainty and sureness, a base which permitted it to integrate itself completely in the complex weave of colour, now depicted in a more decisive background and efficiently connected to the expression of faces and the intensity of their silence and complice with those who observe.