ASSUNTA CASSAAssunta Cassa - Beyond the horizon - 5 Sensuality, movement, technique whose gesture, form and matter are scented with the carnal thrill of dance it conveys, compelling

ASSUNTA CASSA

1st edition - June 2017graphics: Giuseppe Bacci / Daniele Primavera

photography: Emanuele Santoritranslations: Angela Arnone

printed by Fastedit - Acquaviva Picena (AP)e-mail: [email protected]

website: www.assuntacassa.it

Assunta Cassab e y o n d t h e h o r i z o n

edited by Giuseppe Bacciforeward by Giuseppe Marrone

critical texts by Rossella Frollà, Anna Soricaro, Giuseppe Bacci

4 - Assunta Cassa - Beyond the horizon

Assunta Cassa - Beyond the horizon - 5

Sensuality, movement, technique whose gesture, form and matter are scented with the carnal thrill of dance it conveys, compelling it on the eye, calling out to it and enticing the viewer, the recipient of the work who is dazed by an emotion stronger than delighted connection, and feels the inner turmoil triggered by the virtuous explosions of colour and matter. The subject, the dance, the movement, the steps that shift continuous exist-ence, igniting a split second and fixing it forever on the canvas. Dynamic eroticism, rising yet immobile, fast, uncontrollable in mind and in passion, able to erupt in a flash and unleash the fiercest emotion, the sheer giddiness of the most intense per-ception. 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, pre-cisely for the ease with which it is sensed. Gentle sentiment and erotic trait together, speaking the same language of ex-pression, 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 trac-ing 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 expe-riencing 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

The Quest of Assunta Cassafor Delight and Dynamic Beauty Giuseppe Marrone


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 au-thentic 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 ap-pears 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 opportu-nity. We cannot know with precision what Assunta Cassa feels when she paints a train, but perhaps it invokes and crystal-lizes 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 danc-ers who look at each other as they dance.


The most striking aspect of this artist’s work is her use of iri-

descent 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 inten-

sified. The oxymoron becomes a weightless step, the quick re-

surgence of a memory and infinite momentum over time, in plac-

es 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 car-

ried 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, un-

der 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

The Mighty Soul of Colours

Rossella Frollà

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 move-

ments 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.


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, inno-

vative 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.

Symphonies of Energy

Anna Soricaro


The artistic research Assunta Cassa has pursued thus far con-

stitutes a carousel of works and ideas so rich in colour and nu-

ance 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 req-

uisite 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 pixels indicate the countless points that make up the display

of a digitalized image on a computer screen, so even for the art-

ist, following the path in reverse, the union of all these miniscule

dots generates the frame, then the merging of all the frames

reconstitutes the moving image.

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 re-

gard 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, re-

motely 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 determina-

tion, but which encourage her to give free rein to all her energies.

The corpus making up the Libertà section, entirely in indigo, re-

quires 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. These works allow us to grasp the theme of

Assunta Cassa’s art, which moulds figures of contemporary life

to people an assorted and organic collection that reveal rhyme

and reason of art in a “supernatural” perspective. Freedom is

For the Sake of Dreams:the Pixel Paradigm in the Art of Assunta CassaGiuseppe Bacci


symbolized by the colour indigo, which the artist singled out,

perhaps inspired by The Color Purple, Steven Spielberg’s 1985

film loosely based on Alice Walker’s 1982 novel. Why did Alice

Walker, a renowned novelist, call her novel The Color Purple?

Purple is the colour of the flowers in the field where the story

starts and ends, defined by the words: “I think is pissed God

off if you walk by the colour purple in a field somewhere and

don’t notice it.” It is also the colour that alludes to the freedom

dreamed of by the women in the film.

If each of us were asked to choose the colour freedom has for

us, the answers would be as different as each one of us is differ-

ent, and every shade that exists would be suggested ...

In the works of Assunta Cassa the mannered space of dark col-

ours and rigorous compositions of iron bars expands into glow-

ing 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.

The opus Why (2016) leads to the perception of distance, soli-

tude, fragility, because the scenario where daily life plays out is

full of suffering and frailty.

Methafors (2017) is a portrait dedicated to Alphonso Johnson,

acknowledged as the best jazz-fusion bassist of the 1970s.

The work was for the cover of the new album by this famous

American musician who worked with international artists like

Weather Report, Carlos Santana, Billy Cobham, Wayne Shorter,

The Crusaders, Stanley Clarke, Quincy Jones, Sarah Vaughan,

Phil Collins, Airto Moreira, and Pino Daniele. In the portrait his

face has strong, virile features and gives the impression of re-

maining aloof while being totally immune to the contamination of

the place where he finds himself. A condition that is most often

found only in “real people”, whose dignity and pride permeate

the air in a positive breath of awareness and responsibility, eager

for a different and better future.

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-de-

termination. In Assunta Cassa’s iconographic evolution, the

identification of characters is not yet entirely distinct as the solo

individual works their way to their landfall, seeking unconditional

freedom and an identity, universal paradigms of human redemp-

tion accompanied by intimate suggestions motivating empow-

erment, manifestations of the weariness of routine, pondering

the treadmill of work and days passing. Everything develops in

a process ranging from universal to individual, from rationality to

sentiment, from fortuitous to intangible, fostering total, uncondi-

tional intellectual awareness, kindling desires of the heart, arriv-

ing at an act of love with every atom of mind, heart and might:

one example is the 2013 I ragazzi che si amano [Kids Who Love

Each Other].

There is no doubt that Assunta Cassa has liberated her perspi-

cacious, creative art to be able to speak, declaring love. The

woman with the light step (Con passo leggero, 2015) becomes

synonymous with mysterious, elusive beauty. The instant that

movement and light spring from the train in the 2016 Joie de

vivre. Happiness that appears similar to this reaching out to life

when the joy and happiness of a girl appear in a pictorial glimpse

of light in a foretaste of the bliss of the journey as a synonym of

freedom but also of escape, of reconciliation, of peace: nothing

is more beautiful than the anticipation of the trip. For the artist,

departure is a bold, magical gesture, which will engender joy in

the soul of those who know how to afford value to freedom. Her


painting is full of whirlwind, thrilling inner reverie, as in the 2014

Fuga [Flight], where the protagonist of the canvas was never

assertive and adamant but in the awareness of the act seems to

show she will become so.

Unwittingly, in the 2017 work Restare [Stay], the artist wants to

engage us in a difficult, thorny decision. Made, perhaps, with

pain in her heart and in complete paradox knowing exactly what

she flees, but not what she is seeking. And in this case desires

are like trains. Traveling is like dreaming ...

Valigia [Suitcase, 2014] contributes to strengthening the reflec-

tion of how life continues its mysterious, predetermined course.

We do not want to imagine the girl worried by the uncertainty of

tomorrow, but desires are now her affectionate friends. She sees

the future every day as she looks out of the “window” of her soul

in an effort to give birth to the “freedom of becoming a woman”.

The most beautiful place is one’s own heart.

But the real journey begins in the mind and in having new eyes,

explained so well in the orange 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. Nonetheless, sometimes our eyes are

blind or what we see often exists in an unapproachable light. So

our hurting eyes want to seek the splendour of what surrounds

us, since contemporary humanity in its everyday life recogniz-

es before all else the sense of inhuman tragedy and gradually

opens the eyes of the mind to discover new aspects of life, in

a quagmire of contradictions, happy or adverse circumstances,

joys or sorrows.

A world that Assunta Cassa declares loudly with bold colours

and vibrant compositions in the fascinating Non Solo Tango

[More Than Tango] red pictorial section, which speaks of the

urgency of recovering identity, greatness that lies in simple

things, sublime nature, aspirational desires. The eager chro-

matic strokes emphasize passions and impulses perfected in

a rarefied atmosphere preannounced from the first pictorial

compositions. Assunta Cassa is often inspired by the theme

of dance, showing a flurry of mixed feelings, romantic twilight

visions, primordial references, the eyes of the subjects full of

disturbing doubts, or compassionate gazes, eloquent silences,

anguished solitude, universal redemption. The beauty of bodies,

shown in the plastic splendour of the gestures and silhouettes of

dance, the metaphor rebelling against the grim grey of their lives.

These works combine beauty and passion, and classic tango

moves expand connaturally, intellectualizing the moving bodies

of the dancers, simulating the quivering folds of cloth in tradi-

tional tribute. In both cases, there is old and new beauty, quietly

suggestive because it can ignite desire for something new by

overstating pixels and the indefinite, spurring the imagination to

map out magical places. 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 mo-

ment 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. So over the years, works like Tango metro-

politano (2012), Tango on the Street (2013), Travolgente pizzica

(2013), Tango del cuore (2014), A tempo di tango (2014), Molo

sud (2014), Iloveyou (2015) have taken it in turn to reveal Assun-

ta Cassa’s love of dance, casting the magical spell of form and

colour over viewer’s heart. She returns to conjure up that en-

chantment of line and hue again in the small works found in the

blue section, Le cassette. Prêt-à-porter works in which the artist

casts onomatopoeic accents on her surname and creates small

canvases placed in handcrafted caskets of different colours.

Hence the name, which means “small cases”, and the artefact

they hold becomes symbolic art: the images are bright, arche-

typal universal metaphors made into paintings, thus becoming

absolute elements that mark the course of her artistic research.

The pages of this catalogue tell the story of Assunta Cassa’s

artistic research and how it is enfolded in ordinary virtue, open

to setting foot on new shores, in the knowledge that every the-

ory remains an assumption and we must not confuse it with

the truth, especially assuming that any theory, even the most

elaborate, can be useful at times, but can also shows its lim-

its because human nature has complex origins and is subject

to constant change. Mind and body are an inseparable unit:

our every gesture or expression, including stillness or silence,

take on their own meaning. We can express emotions and feel-

ings through non-verbal language which means it is impossi-

ble not to communicate. The inner world of Assunta Cassa is

expressed through mediation of the body, externalized in the

gesture of painting that becomes the means by which the most

complex psychological manifestations are rendered visible, in-

volving cognitive processing and subjective experience, which

we call feelings or affections. Emotions lie behind affections and

we become aware of them psychologically only through a sym-

bolic and mental process which anticipates what the artist will

then produce. 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.

Interacting with contemporary times we become experts of

extraordinary things in art, pushing the human horizon further

– hence the title of the exhibition Oltre l’orizzonte, Beyond the

Horizon – in order to plunge deeper into artistic creation.

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.


Assunta Cassa - Biography

Puglia native and Economics and Commerce graduate As-

sunta Cassa now lives in the Marche region. Her open mind

and outgoing character are the driving force for her ongoing

quest to find new ways to express her talent. Over the years

she worked in a number of areas until she was recruited by

Musei Piceni and here she discovered her calling for art, a

pictorial art that allowed her to express and explore her inner

self. Coming into contact with artists she discovered her own

strong grasp of form and colour, and she experimented with

figurative and informal style, but the former was the true mag-

net. The resulting unique fusion of line and palette allows her

to express her own personal vision of modern, metropolitan

life, where image is all that seems to matter as she enfolds

her subjects in a pixel-bound reality. Conversely, her spatula

unleashes deep nuances of colour allowing glimpses of an

inner self seeking balance and freedom. Assunta Cassa’s first

solo show was held in 2011, in San Benedetto del Tronto.

More exhibitions followed in the Marche, Veneto and Tuscany.

She has also been invited to many different art events in Italy,

including Rome, Florence, Ferrara, Piacenza, Macerata, and

Barletta. Overseas exhibitions began in 2014 and continued

in 2015: in Paris, at the Carrousel du Louvre’s 13th Salon Art

Fair Shopping, and in Bratislava’s prestigious Pallfy Palace,

as well as in Tokyo at the Minato Mirai Gallery. Cassa has

also garnered national and international awards from art con-

tests: joint third place at Cormano’s 3rd International Painting,

Colour and Matter Competition (2016); the critics’ award for

colour research and original technique at the International Art

and Territory Biennial in Umbria (2015), as well as being voted

one of the top eight participating artists by Japanese visitors

at IAT Tokyo 2015. In 2013–2014 she won awards prizes in

the La Spadarina International Competition.



I have always considered my life as a movement, progress, a per-ennial journey toward a destination that is itself in progress.

“Do not settle horizon. Search infinity,” said Jim Morrison and I took his words to heart, made them my own because I felt that they summed up my beliefs, my philosophy of life.

For me what counts is going ahead, always, looking for new desti-nations, never thinking I’ve arrived. My horizon is never still, it moves with me, my gaze goes beyond it to look for the next horizon and the next, and the one after.

I don’t believe in what I see on the surface, because what some-thing appears to be is often not what it is, not the essence. I always try not to impose limits on my knowledge, I don’t stop, because stopping is another way of imposing limits. I think it’s vital to address what you don’t know at any given time, what is different from me, which may seem unattainable. I think personal enlightenment is in-finity; the finite is a limit.

Painting, for me, is the most effective way to look beyond the in-finite.

16 - Assunta Cassa - Oltre l’orizzonte

Fuggi dalla gabbia del tuo quotidiano rassicurante, esci dal recinto delle tue convinzioni inamovibili, sciogli le ca-tene dell’ignoranza, taglia i cavi dell’intolleranza, elimina le corde dei pregiudizi, apri la finestra al mondo e mettiti in cammino. Il tuo orizzonte cambierà e aprirà a nuove strade e nuovi paesaggi dell’anima e volerai verso l’infini-to con le forti ali della libertà.

Flee the cage of your comfort zone, push down the bar-riers of your irremovable convictions, shake off the shack-les of ignorance, cut the wires of intolerance, remove the ropes of prejudices, open your window to the world, and start walking. Your horizon will change and show you new paths and new landscapes of the soul, and you will fly to infinity with the strong wings of freedom.

Assunta Cassa - Oltre l’orizzonte - 17

LibertàFreedom


Why2016, olio su tela, cm 100x100





Metaphors. Alphonso Johnson 2017, olio su tela, cm 80x80

Copertina del disco “Metaphors” di Alphonso Johnson, USA 2017

Dietro le sbarre2016, olio su tela, cm 30x60





Dietro la finestra2016, olio su tela, cm 60x80

Visitare i carcerati2016, olio su tela, cm 40x70



Fuga2014, olio su tela, cm 120x80


Fuga2014, olio su tela, cm 120x80



La Valigia2014, olio su tela, cm 60x80


Orizzonte2017, olio su tela, cm 80x80




Piove2015, olio su tela, cm 60x80Collezione Ridel, Massy, France


Con passo leggero2015, olio su tela, cm 60x80



I ragazzi che si amano 2013, olio su tela, cm 80x120



Restare2017, olio su tela, cm 80x100




Joie de vivre 2016, olio su tela, cm 70x100Collezione Pinto, Vicenza


Icanfly 2015, olio su tela, cm 120x100

Colllezione Paola Clementi Art Et Parfum San Benedetto del Tronto



Oltre l’orizzonte muovo il mio sguardo e ti vedo, altro da me, e sono consapevole che tu esisti. Coesisto con te e ti accetto così come sei, nella tua diversità. Né tento di trasformarti in una persona simile a me. Al contrario, vengo ad incontrarti nel tuo territorio, comprendo il tuo spirito. Non mi limito a guardare ma ti vedo e sancisco con te un legame indissolubile, un autentico legame con la terra e con tutti gli esseri viventi.

I shift my gaze beyond the horizon and I see you, diffe-rent to me, and I know you exist. I coexist with you and I accept you as you are, in your diversity. Nor will I try to turn you into a person like me. Instead, I will come to meet you on your own ground, I understand your spirit. I will not limit myself to looking but I see you, and I en-dorse you with an unbreakable bond, a real bond with the Earth and all living beings.


Io ti vedoI see you


Io ti vedo - 22016, olio su tela, cm 40x40












Il tango è per me metafora di vita, è ricerca spasmodica di armonia, che si realizza in un dialogo tra partner sen-za proiettare l’uno sull’altro i propri desideri, le proprie aspettative, senza pesare sull’altro o prevaricarlo.Il tango è incrocio di anime che si esprimono attraverso due corpi che tentano ad ogni passo di diventare uno.Il tempo di una tanda è una relazione in cui si investe tantissimo sapendo che tutto finirà lì. E’ vivere l’eterno presente. Sapere che esiste solo l’attimo e coglierne la preziosità.

For me the tango is a metaphor of life, the sporadic quest for harmony, which takes the form of a dialogue betwe-en partners who do not projecting their own desires and expectations on the other, without impacting or encro-aching on the other. The tango is a rendezvous of souls expressed through two bodies that seek to become one with every step. The time given to a tanda is a that of relationship in which much is invested while knowing it will go no further. It is an eternal present. Knowing we must grasp the precious fleeting moment.


Non solo tangoMore than tango


Tango Metropolitano 2012, olio su tela, cm 70x100



Tango on the street2013, olio su tela, cm 70x90



A tempo di tango2014, olio su tela, cm 80x80



Molo sud2014, olio su tela, cm 100x120



Travolgente pizzica2014, olio su tela, cm 80x100



Tango del cuore2014, olio su tela, cm 100x100

Collezione Groppi, Parma



Iloveyou2015, olio su tela, cm 100x100



L’abbraccio2015, olio su tela, cm 60x60

En tus manos2014, olio su tela, cm 18x24



Anima che attraversi la vita 2015, olio su tela, trittico cm 20x20 x3



Moon2014, olio su tela, cm 70x40Collezione Angelini, Macerata

Libertango, Antonella2017, olio su tela, cm 80x60Collezione Salerno, Foggia



Perdersi per ritrovarsi2016, olio su tela, cm 100x100



«Prêt-à-porter works in which the artist casts ono-matopoeic accents on her surname and creates small canvases placed in handcrafted caskets of dif-ferent colours. Hence the name, which means “small cases”, and the artefact they hold becomes sym-bolic art: the images are bright, archetypal universal metaphors made into paintings, thus becoming ab-solute elements that mark the course of her artistic research.» (Giuseppe Bacci)

«Opere prêt-à-porter in cui l’artista, ironizzando sul suo nome di famiglia con accenti onomatopeici, crea piccole tele racchiuse in teche artigianali di diversi colori. Da qui il nomignolo (Le cassette) e il cimelio che esse racchiudono diventano arte simbolica, co-sicché, le figure dell’artista sono luminose e archetipi metafore universali fatte pittura, diventando così ele-menti assoluti che segnano il corso della sua ricerca artistica.» (Giuseppe Bacci)


Le cassette



Rose2016, olio su tela, cm 20x20


Il bagaglio dei ricordi2014, olio su tela, cm 20x20

Collezione Vegliante, San Giovanni Rotondo


Titti2016, olio su tela, cm 20x20Collezione Cassa, Bologna


Travolgente intesa2014, olio su tela, cm 20x20

Collezione Botarelli, Bologna


Sorriso2016, olio su tela, cm 20x20


La valigia 22016, olio su tela, cm 20x20

Collezione Botarelli, Bologna


Profumo di rosa2014, olio su tela, cm 20x20Collezione De Meo, Vicenza


Desiderio2014, olio su tela, cm 20x20


Fuoco e ghiaccio2014, olio su tela, cm 20x20Collezione Fioravanti, Verbania



Dance with me2016, olio su tela, cm 20x20

b e y o n d t h e h o r i z o n

Documents

ASSUNTA CASSAAssunta Cassa - Beyond the horizon - 5 Sensuality, movement, technique whose gesture, form and matter are scented with the carnal thrill of dance it conveys, compelling