The personality of this artist, Giovanna Andreassi, deserves to be considered for the complexity of her research, her commitment and the multidimensional perspective of her sphere of interests. In reality, what is especially convincing about her and within her creative research, is her unitary composure and basic coherence that animates all things, to which she entrusts the duty to become expression of her inner vitality.
In saying this, we would like to first free the figure of our artist, from the somewhat reductionist label of eclecticism, since in her case, there is no casual transforming elasticity in moving from one style to another, but rather the responsible manifestation of wholeness in her sensations, which find, from time to time, the most adequate and suitable shapes to express her state of mind, to bring out from her perceptive conscience the complex blend of inner humours.
From this description, it is no coincidence that the multifaceted richness of the artist emerges, who is, not by chance, represented as a whole personality of a kind of performer, who is naturally inclined towards creativity, being endowed with versatility and talent, recognized as a skilled andappreciated photographer and dancer and capable of giving life to canvases – mostly acrylics, evenof large dimensions – which mirror cosmopolitan mentality and New-Age spirituality.
It is then possible to fully comprehend the extent of this artist’s creative versatility and the richness of her creative proposal in asserting itself as a purposeful horizon, within which she lets the roots of her own creative zest be nourished.
There emerges a compositional context, whereby the background coordinates gain substantial character and lead the user to get rid of necessary ordering stereotypes, more specifically, of disciplinary scans.
It is consequently essential to take into account her creative leaning towards producing and highlighting, however obviously, a strong inner urge, which emerges and asserts itself as an argued need to embody an imaginary that is undoubtedly the expression of a rich personal character, but which can also become an interpretation of shared living in our contemporaneity, in a wider sense and more dilated general meaning.
The expressive instances are therefore transformed into expressionistic propositions, considering that the depth of sign can be found in each specification within the wide scope of her creative horizon, beyond the techniques and languages chosen from time to time.
As we said, expressionism, and it is necessary to clarify its meaning and the accepted use of the term: expressionism as a field of a category and not specifically stylistically, expressionism, in short, as a direction and not as a prescription, as a scope and not as paradigmatic and predictive moulding. These are the peculiar characteristics that enable our artist to be convincing – regardless of the intervention techniques, but also thanks to them – since her creative drive determines the decisive power of each creative exercise.
As in representation, where a gesture is asserted that states no turning back on hyper-figurative requirements, as in photography, where the sign effectively becomes photo–graphic, that is, made of light, a light that we would dare define as neo-Caravaggesque for its ability to prove that it can become revealing of things and instances, which they descend from and gather inside it.
Andreassi’s gesture also becomes temporal continuity, thus learning to use the scanning of consecution, not only as an opportunity to reveal the object of artistic communication, but also as an opportunity to involve the active presence of the public, who is called to put in place a sort of participatory and involved enjoyment.
Andreassi has been defined as a complete artist, and we believe this definition to suit perfectly her case, which would be decisively valued with respect to an acknowledgment of her great qualities of eclecticism which, preached tout-court, would not do justice to an inner and formal coherence of absolute prestige.