Monograph dedicated to the artist Igor Grigoletto (Sanremo, 1972).
After the initial informal pictorial parenthesis, in which right away, however, his energetic expressiveness has shown his propensity for a more intimate and rigorous visual dimension, reasoned and measured, voltage, Igor Grigoletto has abandoned the path of painting of "chromatic substance" to land, step by step, series after series, to a language that fully belonged to him and responded to his desire to define arguments and narratives within an objective space and time, increasingly suitable for universal sharing. […]
That of the reduction of the superfluous and of the "decorative" body was a fundamental point to be able to fully free its gestures. This allowed him not only to focus on those narrative resources more suited to his ideas and considerations, but also to be able to open his inventiveness to a chorus of materials that went beyond the most canonical combination, in the painting, made up of canvas-loom. The fear of not certifying the painter's artistic assumption with the "painting" has admitted all those "exceptions" that have become a founding rule for him: here then appears crusher cases, metal nets, boards, glass, metallic shapes, a different set of supports that welcome every slightest variation of his artistic action. In some cases, the development of color has also embraced metallic forms, minimal and simple, which formed the basis for a series of sculptural works.
From the text “Igor Grigoletto. From gesture to sign: the minimal alphabet of geometry "by Matteo Galbiati.