1610, 2011

Laurent Grasso’s research involves different media and genres, even variable historical periods. He rejects style, or rather he always experiments with new styles, because for him, style—the distinctive brand of a work—is completely secondary. What matters is the concept that animates the work. Grasso takes as his point of departure suggestions tied to science and science fiction, and to all realities that are capable of confusing, striking, or intriguing the viewer. He then builds on these through surreal juxtapositions, fictions, and tales, creating works that push to assume a viewpoint of reality and the discrepancies in its representation that are as mobile and fluctuating as possible. [...]