A language that communicates perfectly with our innermost self, triggering emotion and reflection … On the many faces of contemporary painting, Giovanna Andreassi opens the focus of a third eye which begins from the framing (the chosen subject), renewing in a hyperrealist subsequent attachment and further more, to complete it in an evocative surrealism … Giovanna, soul of the world, belongs only to herself … Aware of the fascinating vertigo of the European capitals, this Artist fixes with the aim of mind and heart the essence of life, opening up many facets color … The passage of Swinging London, its voices of the new trends on the air next to the nostalgia of the two-floored omnibus busses and the red phone booths; the Paris of p’tites cafés overlooking squares and boulevards, or even the Mediterranean sunrise and the bustling nightlife of Ibiza and Barcelona …. All these concave mirrors notations reflect the emotional ones, little by little browsing the pages of a carnet de voyage: pages and pages, the past, that seemingly infinite scale hanging in the void that maybe taking up space but, in the meanwhile, this indicates a track trembling for the future … Works, years of existence in the wind of memory … The pause to compose the fragments, in the light of a striking metaphor … and continues to surprise the creative force of this petite woman, dancer and athlete, so able to transpose to fragility thoughtful artistic sensitivity. It reminds me of the great Yvonde Cumbers, the British photographer of the first 900, who was able to grasp the passage of time with a streak of incisive, elegant unconventionality … Her female models, sometimes transformed into a mythological key (famous, the 23 Goddesses …) sometimes shaped on the models of ancient and modern art, in order to reach, in the ’20s and ’30s, the totem of Surrealism: Man Ray. We find an echo of this powerful transliteration, the sign of an unconventional iconography in Giovanna Andreassi’s backstage paintings: film sequence itself (in the wake of “A Chorus Line” by Attenborough – played on polynomial perfection, amount of sweat, tears, hope, disillusionment …). The float of moods with the extraordinary ally, the color. Dense, fireworks, sparked the second cultural symbols at first sight divergent – between veiled humor, retained derision and a crunch allusive sexuality, particularly today, all that ‘plot’ appears to be the poster of an era when everything seems to allow and perhaps concedes nothing … But, treading the scenes across the Atlantic, Giovanna arrives in New York, descending with watchful expectation in that melting pot dimension subjects to a constant change. New York, the beautiful and the damned, never equal to itself, full of stunning views and dark ravines full of social protest that opens, in the production of Andreassi, more fertile inspiration, not the triumphalistic with stars and stripes at an angle of vibrant memory which allows her to develop a sort of musical sensitivity, capturing the extreme notes, and perhaps seemingly ‘uncomfortable’ that were of Warhol, Basquiat and Keith Haring. Nothing but the mosaic tiles on a daily piercing, small magnets that cling with explosive upward movement along innumerable walls of light, along the optical illusion of the skyline … An artist who is expected to return here forever, because she’s able to ignore the flash of the mind and the duplicity of the heart related to the unhealthy places of Midtown stars&stripes triumphalism (Manhattan Transfer, by Dos Passos), to find herself, finally, in a free flight of gulls on the pier to Staten Island. That’s the End, for now … If you gonna dance, Giovanna, Bernstein’s music is in the air strolling and carrying the scent of the waves, while the sun illuminates the yellow truck stopped by an invisible ecological operator (A Day in New York, but, more On the Waterfront).
Caterina Berardi
