Artist Discovery: Christopher Greco

I ran across this artist online, and I truly enjoy looking at his work! He has quite a variety of work, so I’m not sure he’s quite found his motif.  However, he has certainly developed a style and sense of wholeness in his work.

Greco has a natural sense of color harmony.  Although he often uses bright colors, they are nicely balanced with neutrals. The result? You can enjoy the intense hues and your eyes are not overwhelmed and confused by a bombardment of colors.

Those points of bright color are often beacons in the work; they mold the forms with which he seems most fascinated. He does not abandon the rest of the work, however.  Greco amplifies the tonal differences amongst the neutral colors with discernable brushstrokes and layering, creating a palpable sense of movement and space.

I love how he can make a beautiful piece with something has mundane and, quite frankly, ugly as an interstate bypass.  His turns up the volume on color harmonies in urban urban scenes so that they seem to sing!

One critique I have to offer concerns large blocks of color in some works.  There are some works in which he builds a flat background that never the less provides space and “breathing room”, if you will, such as in Brody or Iris Afternoon.  These subtle complexities of color and brushstroke are ever so slightly abandoned in others, and blocks of color pop out of the landscape: they aren’t singing the same song as the rest of the work.  For example, in The Shady Side of the City, there are blocks of color in the shadows of the road and sidewalk that do not vary as much as the foreground mailbox, and so the road seems to come forward in space instead of laying flat.  Also, there is a triangle of light blue next to the brown building on the left and a light purple rectangle on the left.  In contrast to the neutrals tones surrounding them, those areas burst forward in space, seeming as near to the viewer as the blue awning (?).  Their role in the piece are a bit confusing.

He seems more consistent in works such as Tree, House. I like his approach to the bright blue sky within the tree’s branches: some blue strokes seem to have been layered in front of the tree limbs, and others behind.  The effect? The tree and sky are woven together in the work yet maintain their separateness in the piece’s overall narrative.


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