The pictorial painting of Vasso Ghioni is exclusively anthropocentric. However her purpose is not the realistic depiction but the immobility of something fleeting, the presentation of a breath. The clear outlines of the figures have been abolished. The colours and the stroke of the brush don't aim at presenting the topic itself- and the topic that Ghioni uses is the woman- but they aim at depicting its movement. The movement is not external but it is something subtle and deeper in the gentle, minimal but fascinating movement of a woman, who bends, but the moment she tries to bend and also the internal movement of a body that is standing in front of a mirror, the movement of a woman who is sitting or standing and is just thinking about something.

There is a movement in the sense of immobility, one moment in time, since we can't perceive movement out of time, of course. This is actually the topic of Ghioni's works of art. It is a plastic perception, I would say, simple to describe or just a sense that Ghioni has experienced, difficult I imagine or whatever someone may interpret it, either its conception or its accomplishment, since using common materials there is an attempt to see something invisible in the naked eye.

The main elements in painting are the colours just as in literature are the words. Ghioni manages to keep the colour of the flesh, the "warm", gentle, natural colour. She tends to love the white colour and adds an amazing glowing clear red. A shade of red that "is throbbing" and "explodes" and when she colours the bodies there is the sense that a kind of blood transfusion is taking place which makes the figures alive. When she colours the clothes is seems as if a means is created which causes movement in a state of immobility, a means that causes heat in a state of coolness, a challenge in a state of innocence.

The artist's aim is always the presentation of an internal and sudden element. However there is another major element that appears: the confident, long free and assured stroke of brush. In some cases it is seemingly slovenly which pressuposes the artist's clear intention of the desirable result.

The spectator will be impressed by the gentle emotion and agitation which are caused by the sensitivity, the existing politeness and the internal thought of Ghioni’s works of art. In tough times these kind of emotions are valuable.

Vera Vassardani
November '92