Assunta Cassa

Bio

I’m Assunta Cassa, born in San Giovanni Rotondo, in Puglia, in 1964, I spent my childhood and adolescence in Manfredonia, the city of origin of my family. After graduating in economics from the University of Chieti, I moved to San Benedetto del Tronto in the Marche region, where I currently live.
I came out of my childhood home years ago to see the world. Backpacking, since then I walk towards a horizon that is not a destination, but a promise of new adventures. This is my vision of life: a continuous movement, a becoming, a path towards a goal that is itself in the making.
Along this path, thanks to a collaborative project with the Piceni Museums that saw me working closely with local artists, I felt the call of art and I began to visit art shops discovering my strong sense of color and of forms.

More About

ARTWORKS

ANIMA CHE ATTRAVERSI LA VITA (TRIPTIC)

Oil on canvas
7 9/10 × 7 9/10 in
20 × 20 cm

L’ABBRACCIO

Oil on canvas
23 3/5 × 23 3/5 in
60 × 60 cm

MOLO SUD

Oil on canvas
39 2/5 × 47 1/5 in
100 × 120 cm

A TEMPO DI TANGO

Oil on canvas
31 1/2 × 31 1/2 in
80 × 80 cm

TANGO ON THE STREET

Oil on canvas
27 3/5 × 35 2/5 in
70 × 90 cm

TANGO METROPOLITANO

Oil on canvas
27 3/5 × 39 2/5 in
70 × 100 cm

DIETRO LA FINESTRA

Oil on canvas
23 3/5 × 31 1/2 in
60 × 80 cm

WHY

Oil on canvas
39 2/5 × 39 2/5 in
100 × 100 cm

FUGA

Oil on canvas
47 1/5 × 31 1/2 in
120 × 80 cm

I RAGAZZI CHE SI AMANO

Oil on canvas
31 1/2 × 47 1/5 in
80 × 120 cm

RESTARE

Oil on canvas
31 1/2 × 39 2/5 in
80 × 100 cm

RIFLESSI DI LUCE ALL’OMBRA

Oil on canvas
23 3/5 × 31 1/2 in
60 × 80 cm

MoreAbout

I ventured into figurative and informal, but it is the first that I had the need to deepen, realizing at the beginning, works with the oil-shaded brush technique and using chromatic and tonal contrasts and emphasizing chiaroscuro.
Instinctively and for emotional reasons, I adopted a strong chromatic scale, favoring the use of yellow and orange in contrast with violet, combining reds with the various shades of blue, as I pour my energy into color and delegate to it is the task of revealing the emotional charge.
Over time, I have neglected the use of the brush in favor of the spatula to apply the oil color and I have pushed my research towards a particular combination of shapes and colors to give life to a personal vision of everyday reality: modern, metropolitan, in where the image, dotted with pixels, seems to be all that matters by trapping the characters.
I draw inspiration from today’s reality, where haste is the mother of stress, where one does not observe but look at one another, losing all the nuances of life. A frenetic reality made of images, where real life travels in parallel with a digital life sometimes more important than the first.
Using brightly colored and textured pixels, I paint people, often women, bringing out the infinite facets of their interiority, representing with them the complexity of the soul and trying to summarize the thousand tensions of my feeling and the world in which I live.
I have participated in numerous group exhibitions in Italy and created personal exhibitions in some cities of the Marche, Puglia, Tuscany and Veneto. Abroad I exhibited at the Carrousel du Louvre in Paris, at the Biennale Italy Art Tokyo at the Minato Mirai Gallery and at the Palazzo Pallfi in Bratislava.
The pride of my artistic production is the realization of the cover of the Metaphor disc by the famous American musician Alphonso Johnson.

Events&Exhibitions

Solo Exhibitions

EXHIBITIONS and CONTESTS

  • 2018 OLTRE L’ORIZZONTE – Borgo della Spiga – Cingoli – MC
  • 2017 OLTRE L’ORIZZONTE – Palazzina Azzurra – San Benedetto del Tronto – AP
  • 2017 OLTRE L’ORIZZONTE – Palazzetto dell’Arte A. Pazienza – Foggia
  • 2015 ANIMA CHE ATTRAVERSI LA VITA – Centro Pacetti – Monteprandone – AP
  • 2014 INFINITE VIBRAZIONI – Ristorante da Rosa – Abbadia di Fiastra
  • 2013 SCORIE DELL’ANIMA – Palazzo Leopoldo – Radda in Chianti
  • 2012 EMOZIONI DI LUCE – Caffè degli Artisti – Vicenza
  • 2011 EMOZIONI DI LUCE – Punto Einaudi – San Benedetto del Tronto
  • 2019 Artexpo – Cosenza
  • 2019 AR[t]CEVIA – International Art Festival – XII Edition” – Arcevia (AN)
  • 2019 Non sogni – Contemporary Art Exhibition – ZeroUno Gallery – Barletta.
  • 2018 BIBART 2018 – Biennal International Art – Bari
  • 2018 Woman in… Art – IX Edition – Church Santa Teresa dei Maschi – Bari
  • 2018 ARTEPADOVA 2018
  • 2018 AR[t]CEVIA – International Art Festival – XI Edition – Arcevia (AN)
  • 2016 ART(t)CEVIA 2016 – Arts Festival – Arcevia (AN)
  • 2016 ZooArt Contemporary Art Collective Exhibition – Oriental walk – Ortona (CH)
  • 2016 ArteMia La voce dell’insensuale – Contemporary Art Collective Exhibition “ – Fabrizio Serafini Gallery – Montesilvano (PE)
  • 2016 Carpe Diem – Collective exhibition of Painting, Photography and Sculpture – Spazio Viola – Cormano (MI)
  • 2016 3° International Painting Contest Colour and Substance organised by Clik Art Center – Cormano (MI)
  • 2016 Artists Jubelee – Madonna della Marina Cathedral – San Benedetto del Tronto.
  • 2016 Le Fil Rouge – Philantropic Exhibition with Charity Auction by Omnibus Omnes – Ascoli Piceno.
  • 2015 Nessuno ci crede – Contemporary Art Exhibition – ZeroUno Gallery – Barletta.
  • 2015 Le stagioni dell’arte II edition – Contemporary Art Exhibition – Wikiarte Gallery – Bologna
  • 2015 Pesaro Arte 2015 – Contemporary Art Show – Alexander Museum Palace – Pesaro
  • 2015 Italy Art Tokyo – Contemporary Art Biennial Exhibition – Minato Mirai Gallery – Yokohama – Tokyo
  • 2015 1st Biennal International Art and Territory Exhibition in Umbria
  • 2015 Italian Art Between Shapes and Colour – Contemporary Art Exhibition – Palffy Palace – Bratislava
  • 2015 Di lì a poco – Contemporary Art Collective Exhibition– Galleria ZeroUno – Barletta
  • 2014 Salon Art Fair Shopping Carrousel du Louvre – Carrousel du Louvre (Paris)
  • 2014 Metamorfosi corporee – Contemporary Art Exhibition – Merlino Art Gallery – Florence
  • 2014 Creatività tra Arte, Musica e Danza- Contemporary Art Exhibition – L’Altrove Gallery – Ferrara
  • 2014 La Spadarina International Art Contest – La Spadarina Gallery – Piacenza
  • 2014 4th Ancona Art Salon Contemporary Art Exhibition – Mole Vanvitelliana – Ancona
  • 2014 Sonno, sogno o risveglio – Contemporary Art Exhibition – Palazzina Azzurra ¬- San Benedetto del Tronto
  • 2014 Nello stesso istante – Contemporary Art Exhibition – Zero-Uno Gallery – Barletta
  • 2014 Anagni and Frosinone Biennial Art Exhibition
  • 2014 Solo show at La Bibliofila bookshop – San Benedetto del Tronto)
  • 2013 L’attesa – Contemporary art exhibition – Villa Baruchello (Porto Sant’Elpidio
  • 2013 XXI Painting and sculpture international contest G. D’Annunzio Mu.Mi Museo Michetti – Francavilla al Mare
  • 2013 Chiare fresche et dolci acque – Contemporary Art Exhibition – L’Altrove Art Gallery Ferrara
  • 2013 Art collective Dreams and needs – Pietraia dei Poeti Museum – Acquaviva Picena
  • 2013 Arteinsieme 2013 – Pietraia dei Poeti Museum – Acquaviva Picena
  • 2013 La fucina dell’arte – Contemporary art show Fonderia Righetti Villa Bruno – San Giorgio a Cremano
  • 2013 Faces of love – Art Contest- Antichi Forni Gallery – Macerata
  • 2013 Domus Talenti Art Festival – Domus Talenti Gallery – Roma
  • 2012 XX International Art and sculpture contest G. D’Annunzio – Mu.Mi. Museo Michetti – Francavilla al Mare

PUBLICATIONS

  • 2019 Artexpo Cosenza catalogue
  • 2018 AR(t)CEVIA 2019 catalogue
  • 2018 BIBART 2018 catalogue
  • 2018 AR(t)CEVIA 2018 catalogye
  • 2017 Oltre l’orizzonte, Monographic catalogue of the Assunta Cassa’s artworks, by Giuseppe Bacci
  • 2017 Arte – Cairo editore – June 2017
  • 2016 AR(t)CEVIA 2016 Catalogue
  • 2016 Colour and Substance Catalogue 2016.
  • 2016 Members catalogue IoArte 2016
  • 2016 Le Fil Rouge – Art and solidarity event Catalouge
  • 2015 Picenum Catalogue – Asta n.1
  • 2015 Italy Art Tokyo Catalogue
  • 2015 Biennial International Art and Territory in Umbria Catalogue
  • 2015 Biancoscuro Art Magazine number 8 February – March 2015
  • 2015 Liburni Open Space Art and Culture – Year 4 number 22 – December January 2015
  • 2014 “ExpoArt” Art.Culture and Lifestyle Magazine
  • 2014 Catalogue “La Spadarina”
  • 2014 Duemila Arte interview
  • 2016 AR(t)CEVIA 2016 Catalogue
  • 2016 Colour and Substance Catalogue 2016.
  • 2016 Members catalogue IoArte 2016
  • 2016 Catalouge Le Fil Rouge – Art and solidarity event
  • 2015 Picenum Catalogue – Asta n.1
  • 2015 Italy Art Tokyo Catalogue

CRITICISM

SYNPHONIES OF ENERGY

Assunta Cassa places her figures in urban landscapes, dancing, in everyday poses of kissing couples, or women with defiant eyes. The technique and the tones steal the scene before the figures, rendering unique the finished work of a sensitive, innovative and sparkling artist. Bright colours contrasting with black absorb light and intrigue the observer, fascinated by the dazzling glow. An uncommon figuration and from a distance the stroke appears abstract, while up close it declares its greatness. A self-effacing hand uses intense tones and small, precise strokes to speak of passions, daily life and underlying emotions. The figuration is a challenge to overcome and Cassa succeeds very well, a magnificent way to speak through memories, intimacy and emotions; the shades are an instinct to manage, a feisty explosion that will engage the viewer. A figuration seeking to grasp the meaning of life through unusual works, with a sensual feel alternating moments of a tango with women portrayed from behind: with great skill the spatula dances in the artist’s hand, composing a symphony that will leave the observer speechless from the first movement to the finale.

  • – ANNA SORICARO

THE MIGHTY SOUL OF COLOURS
The most striking aspect of this artist’s work is her use of iridescent pixels filled with faces, movement, landscapes of the soul just explored by Tango. We are ensnared by a closed loop of passion while all around it flows naturally. The boundaries of shadow and the red light that swallows everything else are intensified. The oxymoron becomes a weightless step, the quick resurgence of a memory and infinite momentum over time, in places peopled by contrasts of red, purple and black, the circus and the theatre, and city suburbs. There is something that leaves the black to give form and life to colours as if they were offspring carried in every womb. The red swirls across lips, beseeching them. The day traces wonder and passion on bodies, a complete place where the identity of the wounded is lost and we open our arms to the frail and human act of an embrace. Everything supports the lightness of the bodies and there it is, the soul, under the colours, its being showing us our own. Standing there, in an emotion of mine ready to be born. Everything was there: swift, moving sight, the soft touch of light in the intense, free exploration of things. Everything is received like a fresh mounting of overwhelming energy, an inexplicable force that goes beyond the painting and the eye, and already becomes a threshold on this side of a dilated horizon. The figures dance amid the movements of the world and the tango sends a shiver up the spine, another aspect of the source, life that gathers us until the very end where the red rose is held by fingers that skim over lips. Exploding passions plunder hearts, one facing the other, and the artist’s rich emotions follow the moving bodies and tenacious light, overseen by solemn stillness. This strong, pleasing trait erupts from the core and collects every act of the performance. The choir turns and looks to us, meets our eyes, our something else, which in formless black acquires deep essence, rising from the bottom to the top, and a firm, light hand wields the spatula in lively palette choices.

– ROSSELLA FROLLA’

FOR THE SAKE OF DREAMS: THE PIXEL PARADIGM IN THE ART OF ASSUNTA CASSA
The artistic research Assunta Cassa has pursued thus far constitutes a carousel of works and ideas so rich in colour and nuance as to suggest she wants to deplete her entire cosmos of imagination and intellect. Slowly, meticulously, faces and ideas slide forth from chiaroscuros, emerging to assert themselves in the strong strokes and expression. The pixelated faces reflect ideas personified and oozing passion through the intensity with which they experience their inner story. Cassa’s pixels are a requisite reference in her pictorial research: to contemplate them we must keep a certain physical distance, otherwise the images they compose are out of our reach, dissolving into a mess of colour before vanishing completely.
The subjects shown in motion and the static quality of the pixels are the paradoxes in the examples used in interpreting Assunta Cassa’s signature style, representing a real oxymoron with regard to the events of her artistic research.
Assunta Cassa devoted her time to studying pixels in order to tease out a dogmatic and creative side, and in this key she subsequently broadened her studies, painting characters more familiar to her. Overall, her portraits ring with an undefined, remotely Renaissance echo.
From this point, her artistic production gradually expanded into the exploration of new territory, further buttressed by adverse events, which Cassa handles with stubbornness and determination, but which encourage her to give free rein to all her energies.
The corpus making up the Libertà section requires a contextual reading of the pictorial texts, which speak of the encumbrance of our limits, errors, rejections, illnesses, unforeseen events of any kind that are a symptom of regression and decadence.
In the works of Assunta Cassa the mannered space of dark colours and rigorous compositions of iron bars expands into glowing faces dominated by the light of the eyes, the part of the body that reflects the soul; eyes that reject loss of freedom with a surplus of light.
Thus we shift from the freedom etched into eyes, with the style of the great and pure, to the freedom of the journey, taking in the freedom of self-determination. The works of the Libertà section reflect in the retreat of the soul as it turns towards that self-determination, as a synonym of freedom but also of escape, of conciliation, of peace: nothing is more beautiful than the moment before the journey.
But the real journey begins in the mind and in having new eyes, explained so well in the section Io ti vedo [I See You], where the paintings are emblematic metaphors. The eyes of the mind and heart must harmonize to exclaim at the magnificence of creation with emotion.
A world that Assunta Cassa declares loudly with bold colours and vibrant compositions in the fascinating Non Solo Tango [More Than Tango] pictorial section, which speaks of the urgency of recovering identity, greatness that lies in simple things, sublime nature, aspirational desires.
The dances painted by Assunta Cassa capture our attention with situations where her eyes light on the couple and its emotional angst. In the Non Solo Tango section we immediately have the overwhelming impression that these subjects must have stirred her emotionally from the very moment she saw them. This made her style of painting tentative, as if lacking the courage to introduce the concepts she had in mind, put them in place and look into them deeply enough. She did this later, with her innate confidence, in a scenario of quiet, hard and serious work, sketching over and over, always ready to embark on a terse appraisal. And her skilled intuition manifests itself in the perception of the strength of the individuals, treated with the same involvement she reserves for the concepts of life and death, darkness and light, end and beginning, weaving a perfect balance that expresses her love for dance.
The theme of passion, of sensuality, could not escape the artist’s painterly intentions. Cassa’s commitment has imprinted her artistic research, her efforts succeeding as an analysis of her artistic evolution shows she has achieved her goal. Initially passionate about painting, she became a painter, exhibiting prolifically and also commenting in recent times on art and culture tout court.
Assunta Cassa’s research is still in progress, and she cannot fail to open up to more developments in the logic of a “new cultural season” for her artistic growth. It is a case of looking to the future, intuiting the signs of the times to promote new artistic productions.

  • – GIUSEPPE BACCI

THE QUEST OF ASSUNTA CASSA FOR DELIGHT AND DYNAMIC BEAUTY
Observing the work of Assunta Cassa is like a return to original sin, emotionally speaking, a experience of deep sensual immersion in the colour whirlwind and pulsating movements of the figures, but also of a space that participates and fills the no-man’s-land of this probing, gratifying pursuit of beauty.
Beauty is experienced in the purity of its emotions, but also almost impetuously, like the soft and sensual touch of skin, precisely for the ease with which it is sensed. Gentle sentiment and erotic trait together, speaking the same language of expression, chasing each other, fusing together, attacking one another, and managing to talk thanks to the emotional world that rears up when least expected, reaching the apex and tracing out perceptual geometries that perhaps no one thought could be experimented.
The art of Assunta Cassa has something primal in its emotional factor, no one should miss the thrill of experiencing her works in person, absorbing some of that passion, which enters the mind first and then sinks deeper into the spheres of perception. Sensuality and love, tenderness and passion, move with and in the dancing figures, which surprise with their natural seeking of pleasure in the gesture, the beauty of producing a human movement, again with sheer spontaneity, finding the refined aesthetic sense in the eroticism of the dance. The unwritten pleasure is impossible not to express: it is sought, deliberately imprinted with colour so that the recipient of the opus may be drawn into this sense of beauty flowing across the skin of one who has managed to impose the normality of a woman experiencing emotions for the eroticism of the dance, in keeping with a sense that has to do with the impossible taste of being wordless before the beauty of life. The beauty of life, the joy of life, however, do not always win: melancholy is sometimes a tangible note in some works, but again naturally. Every age of life must be experienced, and painter Assunta Cassa shows a depth and awareness that every moment must be faced and lived with a unique emotional perspective, linked to the vital act that is innate to painting. Now it becomes impossible not to appreciate the opus in which the subject is not only dance and joyous vitality, but also the constant quest for meaning that accompanies and must accompany very minute of a truly authentic existence, whether joyful or not.
Cassa is a complete painter and before that she is a woman who has a developed sense of her own life and pictorial quest. Perceiving the nuances that pulsating emotions drive across her work is like feeling a shiver that travels up the spine to the head, from the eyes – the instrument of perception – that feed the entire body with a strong, discreet sensuality. Technically everything addresses this research, the use of matter that appears and then rarefies itself with deliberate or unconscious desire, to the use of the palette, a purposeful chromatic range sought with the gentle energy of conveying something that arrives promptly and brings delight. This is an aesthetic fact of great depth. No research should exclude the artist’s own awareness of being a medium acting through their art. When the subject is broken down into precise points, Cassa does so in her sense of exploration and there is the power to give a meaning to be found in the geometric attempt to rationalize this complete inner flow that arrives at the boundless outcome of departure, where a train is the existentiell image of opportunity. We cannot know with precision what Assunta Cassa feels when she paints a train, but perhaps it invokes and crystallizes a chance, an opportunity, an ongoing investigation, first existentiell – daily – and then existential, the overall meaning of life.
Were she to accelerate the dynamism when she disassembles, when she imposes a perceptual pace, when she arranges a chromatic order, it would not be a rhetorical but a spontaneous and natural process. It may seem obvious, at this point, but talking about emotions, passions and life is not obvious and there is no process for doing so. Assunta Cassa has her own incredibly successful method for making us feel this, regardless of whether we have experienced the emotion or occurrence, but it is a journey that persuades us to cross the no-man’s-land between body and mind, perceptions and emotions, mind and heart, fusion and quest in this perpetual pursuit, like two dancers who look at each other as they dance.

– GIUSEPPE MARRONE

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