By incorporating found objects and autobiographical artifacts like old photographs or rusted tools, Grasso is both evoking and evading narrative. Deracinated from function or context, familiar objects and his own identity are equally drafted into the abstract universe he is mapping.
The human brain itself has dedicated hardware for seeing the face and the body. When this hardware is consistently not put to use in a culture's art, the art and the culture engage in a battle. The art loses first, and the culture second.