Giovanni Primo Greco

His practice emerged from a gradual departure from figurative representation toward abstraction and Informel. Rather than describing the visible world, Greco allows color, line, texture and spontaneous mark-making to become direct vehicles for inner tensions, memory and psychological states. A central element of his work is his fascination with the physical surfaces of the urban environment. Weathered walls, torn posters, layered fragments and traces of decay are absorbed into the pictorial field, transforming the canvas into a space where human intervention, time and material erosion coexist. By deliberately flattening the pictorial space, Greco removes the illusion of depth and brings attention back to the surface itself. Pigment is no longer used descriptively; it becomes an emotional and analytical force. Ochres, blacks, blues, reds and whites collide in compressed fields where structure and instability remain in constant dialogue. Across these works, fragmented architectural forms suggest ruins, walls or residual urban structures, yet they never settle into literal representation. Instead, they operate as psychological landscapes in which gesture interrupts order, matter becomes memory and color carries the emotional weight of the composition. Greco's canvases are therefore not windows onto reality, but living surfaces shaped by accumulation, friction and time. Their strength lies in the tension between the constructed and the instinctive, the material and the emotional, the visible trace and the internal experience.