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'A painting’s months-long journey can’t keep up with the pace of the digital world'
Italian artist Marco Grassi masterfully blends hyperrealism with surreal elements, creating profound meanings in his works. Recognized as one of the most captivating figures in the contemporary art world, Grassi shares his insights in our engaging conversation. He emphasizes how digitalization offers artists the opportunity to reach wider audiences, while also expressing concern about art becoming rapidly consumed content:
“The months-long journey of a painting cannot keep up with the fast pace of the digital world.”
Childhood is a period that profoundly shapes our entire lives, and fortunately, mine was a rather positive one. Artistically, I was also quite privileged; I was born in Italy, a country rich in cultural heritage, where countless masterpieces have withstood the test of time. Growing up in a family passionate about art allowed me to be immersed in this artistic legacy from an early age. My grandfather, a modest collector, brought together works ranging from ceramics to sculptures by various old masters. As a result, I grew up surrounded by these pieces from a very young age.
I would spend hours diving into art books, trying to uncover the stories behind the paintings in our home. I studied each artist’s brushstrokes, color palettes, and distinctive motifs. This experience shaped me deeply. Growing up with art all around you doesn’t necessarily make you an art lover, but if the interest is already there, it certainly reinforces it. And in my case, it left a lasting impression.
The turning point in my career was during my university years, when I took restoration courses in Bologna. Learning the techniques of the old masters and adapting them to my own style solidified my decision to leave a mark in the art world. One of the most challenging, and at the same time, most exciting, projects I’ve worked on was my piece “Paradox of Evolution.”
This project took three full years to complete and pushed me to my technical limits. It was my first large-scale painting, and it was also my introduction to the many challenges of the art world. But despite the difficulties, it marked a significant milestone in my artistic journey.
My personal experiences and observations about humanity leave a deep imprint on my art. One of the most powerful aspects of art is its ability to speak to universal emotions. Feelings like loneliness, sorrow, hope, or disappointment are part of all of us. Art becomes a powerful medium through which we can explore and reflect these emotions. In the pieces where I delve into the complexity of human nature, traces of my own life are clearly present. The inner imbalances I experience, or the emotional weight of societal events, often manifest in my work.
At the same time, the fragile relationship between humans and nature is a subject that profoundly affects me. Human-driven climate change, the depletion of natural resources, environmental destruction, and mass extinction, these are realities we are all increasingly forced to confront. These issues have become central themes in my work. In “Paradox of Evolution,” for instance, I depict figures that emphasize the delicate balance between these two worlds. Throughout history, we’ve evolved by turning our vulnerabilities into strength; but today, that balance is tipping. Our pursuit of technological and scientific progress is accelerating in ways that are damaging not only to nature, but to ourselves. That is the paradox of evolution: in our quest for constant advancement, we’ve forgotten that we are not the center of the universe—only a part of it.
I explored similar themes in “Mother of Pearl” and “Captivity.” In Mother of Pearl, I examine the human connection, and disconnection—from both nature and the self. In Captivity, I portrayed the struggle of humans against the limits and constraints we’ve imposed upon ourselves. In both pieces, I try to remind viewers that we are part of nature, while also showing just how fragile and impermanent that part really is.
As an artist, observing the world and reinterpreting it through my own lens is an inevitable process. It draws from both my personal experiences and the global crises we face. Especially in recent years, through works that highlight this lost balance, I aim to invite the viewer to reflect, and perhaps even to act.
My figures represent the transformations within both the physical and emotional realms of the human experience. Hyperrealism helps me capture not only external reality but also internal conflicts and emotional depth. Surreal elements, on the other hand, allow me to express this inner world in a more symbolic and liberated way. My figures often become symbols reflecting one’s own inner journey.
The aesthetic value of art is just as important as the message it conveys. The surrealist elements in my work invite the viewer into a space of reflection, while also taking them on an aesthetic journey. In my piece Mother of Pearl, I explore both the internal and external transformation of the figure, illustrating the complex relationship one has with the self. I aim to communicate that this process of transformation is something we all share—an inherent part of the human experience.
The contrasts in my work create a multilayered narrative rich in meaning. By bringing together the past and the contemporary, and emphasizing oppositions through light and shadow, I highlight these tensions. I especially use the sfumato technique to create soft transitions on the figures, which not only enhance the realism but also deepen the emotional and dramatic dimension of the pieces. These contrasts go beyond visual impact; they offer viewers an opportunity to contemplate internal conflicts, societal issues, and the complexities of human nature.
Sfumato is a technique masterfully employed by Italian Renaissance painters, and it holds a significant place in my own artistic practice as well. It involves the subtle blending of colors and light-shadow transitions to create a soft, almost smoky effect. This approach allows me great flexibility in building depth and atmosphere within my compositions. Sfumato helps my figures attain a heightened sense of realism and emotional depth, guiding the viewer’s attention toward the overall cohesion of the scene.
By using this technique, I aim not only to enhance surface-level realism but also to offer a layered and immersive experience. Sfumato plays a crucial role in crafting emotional atmospheres; the gentle transitions on the faces of my figures often evoke a strong sense of empathy in the viewer. Ultimately, sfumato is not just a technical choice in my work, it’s a means of deepening the emotional connection between the audience and the artwork.
Digitalization offers new opportunities for artists. Traditional galleries and museums don’t always provide access to every artist, but digital platforms allow many to share their work with broader audiences. However, this shift also comes with certain drawbacks. There’s a growing risk of art being reduced to mere ‘content.’ The pressure from social media algorithms and the constant demand for quickly consumed content can place an unrealistic burden on artists to produce and share continuously.
For artists like myself, completing a single painting can take months—or even up to a year. The pressure to keep up with rapid content production is not only difficult but also goes against the essence of my practice. Working with hyperrealist and surrealist elements on the human figure requires deep focus, attention to detail, and patience—qualities that don’t align well with the fast-paced nature of digital platforms.
I also believe that digitalization changes the way art is interpreted. When my work is exhibited physically, viewers can witness the textures, the density of the paint, the brushstrokes—elements that deepen the emotional impact of the piece. In contrast, on a screen, much of that richness is lost. A digital viewing can never fully replicate the sensory experience of standing in front of a painting. That said, I can’t ignore the opportunities the digital realm provides. The presence of art online makes it more accessible to a wider audience, and that’s an important development in itself.
Italy’s artistic heritage is unquestionably among the richest in the world, yet today it no longer holds a central role in the global art scene. The art world has become far more globalized and diverse. Italy, with its glorious past, now functions more as a guardian of artistic tradition, a kind of pilgrimage site for art lovers, rather than a center of contemporary artistic innovation.
While events like the Venice Biennale keep the art scene vibrant, Italy’s stronger influence today arguably lies in fashion and design. Its legacy remains foundational, but the pulse of contemporary art now beats in a broader, more international rhythm.
You have a strong following in Turkey; are you considering holding an exhibition there in the near future?
I’ve heard about the initiatives led by your Ministry of Culture, and the artistic events happening in Istanbul are truly impressive. It would be a wonderful experience to visit, I’m sure of that. However, I’m only able to produce one or two works per year, so my artistic output is quite limited. These pieces often become part of private collections around the world. I would love for my work to be represented in Turkey as well, but for this year, I don’t have any exhibitions planned there.
The visual materials in this interview have been used with the permission of the artist.
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