Laura Grisi’s work has always been considered part of Italian Pop Art, though even from the outset she has actually gone beyond that category, promptly intercepting various lines of international artistic research and applying them in her own original synthesis.
From her debut in 1964 to 1968, Grisi’s work featured elements derived from the art of the rst half of the 1960s, when economic af uence was prompting artists to simulate a society of consumption, borrowing objects, images and media (in Pop Art), or analyzing the capacity of new technologies to in uence perception (in Optical Art and Kinetic-Programmed Art), while also absorbing the modular, geometric aspects of industrial production, the absence of subjective-manual intervention (in Minimal Art). On the other hand, however, Grisi’s work already included elements belonging to the research conducted in Italy and abroad in the second half of the 1960s, when a phase of economic recession led artists to view the society of consumption as alienating, and therefore to attempt to restore an atrophied creative potential to every individual, making them the protagonists of a dematerialized, de-aestheticized and theatrical art (in the temporary actions and site-specic installations characteristic of Arte Povera and Process Art).
“Your work, from the beginning, has presented a certain ‘theatricality,’ [...] the places discovered by your works are more like expeditions into the articial, into ction.”
Laura Grisi, Sphere with Grass Field, 1966, plexiglas and mix technique, diameter cm.43, acrilyc on canvas, cm.92hx120x3
Laura Grisi, Glotsy, 1966, neon, acrilyc on card, canvas, ondulux, wood, revolving plexiglass, cm.163x131x15,5
Laura Grisi, Grass Field, 1966, acrilyc on canvas, plexiglas, sliding panels, cm.98hx62x12
Laura Grisi, Seascape, 1966, acrylic on canvas, plexiglas, sliding panels, cm.100hx122x12
Laura Grisi, Untitled, 1966, acrylic, graphite, and felt-tip pen on card, cm.100x70
Laura Grisi, Untitled, 1966, acrylic, graphite, and felt-tip pen on card, cm.92x62
Laura Grisi, St.Marks Place, 1967, neon, plexiglass, aluminium, sliding panels, cm.175x185,5x21
Laura Grisi, Subway, 1967, neon, plexiglass, aluminium, sliding panel, cm.163x103x22
Laura Grisi, Sunset Light, 1968, neon, plexiglass, cm.219x30x30
Laura Grisi, Spiral Light, 1968, neon, plexiglass, cm.222x20x20
Laura Grisi, Wind Speed 40 Knots, 1968, b-w digital video from 16mm film, 4’45’’, ed.of 5+2ap