Euridice

The sign in all its essence. Raw canvas. Author: Giorgio Griffa

The mystery and poetry of painting. Art that inhabits space.

The mystery and poetry of painting. Art that inhabits space.

The distinctive traits of the “Euridice” collection, in their apparent simplicity, embody an extraordinary and bar-setting complexity stemming from the history of painting, even including the memory of the gesture taught by the Paleolithics. If it is true that “the past is not a father to be killed but a mother from whom to draw nourishment”, the poetry of this series of elegant ceramics proposes a sublime use of porcelain stoneware which, assimilated to a rough canvas, defines a work that is at the same time partial and infinite.

Euridice
Euridice
Euridice

«In the past, art was expected to transfer the object, or work of art, from the inanimate to the animate world. Now, since we know that the whole world is animate, the task of the artist is to interact with the intelligence of matter.» Giorgio Griffa

Euridice
Euridice
Euridice

CRITICAL TEXT BY ANDREA BELLINI:”GIORGIO GRIFFA: I DON’T PORTRAY ANYTHING, I PAINT”.

Born in Turin in 1936, Giorgio Griffa is now ranked as one of Italy's most important abstract painters of the Twentieth Century. He began to paint when he was very young, just 10 years old, and for two decades his work was figurative, fairly traditional in subjects and style. His mature work developed later, in the mid Sixties, in the context of the abstract-expressionist and tachiste movements, which based their language on a concept of painting as a sequence of actions, like a repeated sign or form of writing. Rather than a representation, painting became the direct expression of a mental state, a precise psychic temperature, an internal beat.Historically, his work has been classified as part of this "analytical painting" movement, which concentrated on analysing itself and its internal mechanisms: surface, substrate, colour and sign. However, Giorgio Griffa's work seems to stand apart from that of his fellow artists, and nowadays it is difficult to place it firmly within the historic analytical and conceptual painting movements. His abstract works, consisting of simple signs repeated on the canvas, seem to be not so much an analysis of the act of painting as a homage to painting itself and its history. And this is one of the delightful, central paradox's of Griffa's work: in spite of their conceptual approach, his paintings have a fascinating lyrical component, a radiant musicality, very different from the cold, unemotional mood of the neo-avantgardes.

In this sense his works are something of a mystery for the art world, as lovely as they are indefinable, because in them everything seems to be at once both simple and complex. The types of canvas the artist uses (jute, hemp, cotton or linen) are simple. His painted signs are also simple, or even anonymous: a series of vertical or horizontal lines and - only from the Eighties onwards - stylised floral motifs, friezes and spirals. Yet Griffa entrusts this apparent simplicity with the task of saying what is unsayable by its very nature; of plumbing the depths of the mystery of creation and the unknown. Seemingly banal and obvious at first glance, Griffa's work is actually layered with references to the history of art, Stone Age painting, Zen philosophy, music and – as we have seen – the artistic avantgarde of his own age.All these characteristics are very much to the fore in the artist's works for CEDIT Ceramiche. For this historic brand, Griffa has created five works involving a series of lyrical, minimalist signs, which recall the motifs current in the late Sixties and Seventies. The range of colours in which these signs are presented, with complementary colours and half-tones, seem to be drawn from the Renaissance and the art of Venice and its region in the Sixteenth and Seventeenth Centuries. The other fundamental point of reference is Matisse, the painter who rejoiced in colour and in whose images signs and colours are nicely balanced.

Griffa's collection for CEDIT sets out to use modular repetition of signs to build up genuine spatial environments for everyday living. The partnership with a ceramics manufacturer is a particularly fertile one for the Turin-born artist. In fact, his pictorial language – based on the concept of an anonymous sign open to potentially infinite repetition – seems to be ideally suited to large-scale reproduction and the decoration of entire interiors. The concepts of fragmentation and incompletion can be easily applied to the decoration of living-spaces of varying sizes, as if they were "portions" of a larger whole, an expanding universe. All Griffa's works use a repertoire of timeless signs, actions repeated over the millennia, on a complex trajectory that combines art, craftsmanship and decoration. In the project for CEDIT, this ancient story of experimentation with the potentialities of sign, colour and matter comes to a kind of natural, fascinating fruition.

Authors

Colors

Tela

Discendente

Obliquo verticale

Orizzontale lungo

Orizzontale quadrato

Obliquo

Sizes

120x240 cm 48"x95"

120x120 cm 48"x48"

60x120 cm 24"x48"

Thickness

6,00 mm

Surfaces

MATTE

Accessories

Sigillante cementizio

STUCCO AVORIO

STUCCO BEIGE

Pittura acrilica

EURIDICE PAINT ARANCIO SAT. 4 LTR

EURIDICE PAINT NEBBIA SAT. 4 LTR

EURIDICE PAINT MARRONE SAT. 4 LTR

Colors:

Size:

Thickness:

Surface:

Reference standard E.N. 14411 . Appendix G. Group BⅠa. UGL
Test method
Reference value
Declared value
Download
Length and width: admitted deviation, in %, of the average size of each tile from the production dimensions
ISO-10545-2
±0,6% (±2 mm)
± 0,15%
Admitted deviation, in %, of the average thickness of each tile from the production dimensions
ISO-10545-2
±5% (±0,5 mm)
± 5%
Maximum straightness deviation, in %, in relation to the corresponding production dimensions
ISO-10545-2
±0,5% (±1,5 mm)
± 0,1%
Maximum right-angle deviation, in %, in relation to the corresponding production dimensions
ISO-10545-2
±0,5% (±2 mm)
± 0,2%
Flatness (centre curvature / edge curvature / warpage)
ISO-10545-2
±0,5% (±2mm)
± 0,2%
Surface quality
ISO-10545-2
Il 95% min delle piastrelle deve essere esente da difetti visibili / At least 95% of the tiles must be free from visible flaws / 95% min des carreaux ne doivent présenter aucun défaut visible / Mindestens 95% der Fliesen müssen frei von sichtbaren / mín. el 95% de las baldosas tiene que estar exento de defectos visibles
CONFORME / CONFORMING / CONFORME / KONFORM / CONFORME / СООТВЕТСТВУЕТ
Amount of water absorbed, in percentage
ISO-10545-3
E<0,5%
average value 0,08%
Breaking strength in N (thickness < 7,5 mm)
ISO-10545-4
≥700 Newton
average value 1350 N*
Bending strength in N/mm2
ISO-10545-4
>35 N/mm2
average value 52 N/mm2
Resistance to deep abrasion of unglazed tiles
ISO-10545-6
<175 mm3
average value 140 mm3
Thermal shock resistance
ISO-10545-9
-
RESISTE / RESISTANT / RÉSISTE / ERFÜLLT / RESISTE / УСТОЙЧИВ
Frost resistance
ISO-10545-12
Richiesta / Required / Requise / Gefordert / Requerida
RESISTE / RESISTANT / RÉSISTE / ERFÜLLT / RESISTE / УСТОЙЧИВ
Resistance to staining
ISO-10545-14
-
Cl. 4-5
Resistance to high concentrations of acids and alkali
ISO-10545-13
Come dichiarato dal produttore / See manufacturer’s declaration / Selon déclaration du producteur / Entsprechend der Herstellerangaben / Tal como declara el fabricante
UHA
Resistance to low concentrations of acids and alkali
ISO-10545-13
Come dichiarato dal produttore / See manufacturer’s declaration / Selon déclaration du producteur / Entsprechend der Herstellerangaben / Tal como declara el fabricante
ULA
Resistance to domestic chemicals and additives for swimming pools
ISO-10545-13
UB minimo / UB minimum / UB minimum / UB mindestens / UB minimo
UA
Dynamic coefficient of friction (section 9.6 ANSI A 137.1 2012)
DCOF
>0,42 wet
> 0,42 wet

Notes

For optimal installation results, Florim recommends maintaining a joint of 2 mm 1/12” for single format installations and 3 mm 1/8” to combine mixed formats.

* Test performed on 80x80cm size (6mm)

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