Fabrizio Tedeschi, born in Brescia in 1957, a passionate draftsman, attended painting courses in his city and studied art at the D.A.M.S in Bologna, participating in numerous group exhibitions.
From 1990 to 1993 he lived in Rome alternating his pictorial activity with cinematographic collaboration as self-director of Marco Ferreri and Christian De Sica.
Subsequently he was assistant director in RAI and Mediaset productions. He currently lives and works in Brescia.
After a first figurative experience he moved on to a gestural painting made of repeated abstract and anti-symbolic signs that underline the deepest cues of his unconscious.
The result is a use of traditional materials mixed with traces of residual newspapers.
Appreciated by private collectors, he now presents, after his last one-man show in 1997, a new exhibition at the Galleria San Michele in Brescia.

Fabrizio Tedeschi is the protagonist of an aesthetic research which, freeing itself from the constraints of realist painting, has conquered an absolute freedom of expression, based on the formal principles of bright chromaticism and material consistency.
From the thematic point of view Tedeschi insists on a symbolic and allegorical recognition around what he identifies as the spiritual contents of today's metropolitan reality;
the latter takes shape from the meeting of different ethnic groups and, for this reason, bears within itself the signs of civilizations that are geographically and temporally distant, but all crossed by a transversal spiritual and mystical tension, which is proposed again with prominence in the cultural debate of our days. It is no coincidence that his most recent production develops a creative discourse starting from the concept of the totem, a mystical and religious symbol that recurs in the cultures of the five continents, to which the painter also entrusts his own poetic message, resulting from the close internal confrontation between matter and spirit. To the totemic ancestral form, Tedeschi superimposes the extreme topicality of "modern" materials such as paints and plastics, which, on the one hand, allow him to obtain particularly brilliant chromatic effects and on the other to give maximum prominence to a refined play of contrasts, in turn clearly inspired by ethnic fabrics or oriental rugs. Even the painter's paintings seem to have been created through the "unrolling" of the decorated surface of the totem on the canvas. (g.g.)

From figurative art to abstract art, Fabrizio Tedeschi's painting leads, in its emotional and temporal development, to the phases of the transformation of art in the 20th century.
From youthful drawings and figurative oils, the artist moves on to a deformed representation of reality, to a distortion of figures and faces that leads to a dreamlike symbolism.
Therefore, focusing on meanings that go beyond the appearance of things, beyond the iconographic and linguistic repertoires conventionalized in descriptive art, following a historical and at the same time personal thread, Tedeschi arrives at a vigorous and original expression.
The strongly material chromatic composition (s), integrated by hints of everyday life, punctuated by dark grids, dilated in bright and elusive metropolitan lines, characterized by minute signs such as memories of fabrics, proposed in shadows and footprints of materials that invade and attack us , communicates the energy of color and line as interpretative forces of reality.
Emblematic in this regard is the statement by Paul Klee of January 1924 al
Weimar Bauhaus: "Colour is first of all quality. Secondly, it has not only a chromatic composition but also a degree of luminosity. Thirdly, it has its limits, its size, its extension, its measurability. (Annamaria Magri)