Fabio Capitanio

Fabio Capitanio



Fabio Capitanio lives in Rudiano, near Brescia, surveyor and artist. Interested in the history of art, in particular he studied the "historical avant-gardes" and the influence they have on con-temporary art. Fabio Capitanio has always been fascinated by experimentation and artist re-search. After his studies, he began an autonomous journey within the complex world of art. He has deepened techniques and materials, overcoming the traditional canons of academic teach-ings. His expressive path starts from a strong and engaging Expressionism of clear and evident German origin, where large faces emerged as phantom apparitions from material and bubbling backgrounds, he then landed on Abstract Expressionism and therefore on a very personal and magical "Surrealism" expresses through the technique of the informal. A research, that of Fabio, conducted in solitude, far from academic schools and therefore free from standards and models. Exhibitions he attended since 2012
-January 2012 collective "artists of national importance" at the gallery studio C piacenza, curat-ed by dr. Luciano Carini
-April 2012 “20flowers” new artemisia Bergamo gallery, curator Maria Grazia Frassetto
-October 2012 “art, love and fantasy” collective exhibition in villa Serra, Genoa. Curator Loredana Trestin in collaborations with Caterina Randazzo (art historian)
-October 2012 “beyond appearances” personal exhibition at studio C Piacenza, curator Carini Luciano
-January 2013 “first biennial of Palermo” curators Paolo Levi, Alessandro Serradifalco. Inaugura-tion of Vittorio Sgarbi
-April 2013 “Biennale di Brescia” by Brescia art
-May 2013 "the magic of the informal", collective exhibition at studio C Piacenza, curator Luci-ano Carini
-October 2013 “chromatic scenographies” personal at studio C, curator Luciano Carini
-June 2014 “triennale di Roma”, via Eudossiana seat of the engineering faculty at Sapienza. Cu-rated by the group "the wind rose" curator Daniele Radini Tedeschi, presentation by Achille Bonito Oliva, closing by Philippe Daverio
-November 2014 “artifact worlds” exhibition at studio C, curator Luciano Carini
-June 2015 "grand canal of peace" former Costa Rica pavilion at the 56th Venice Biennale, cura-tor Gregorio Rossi (Palazzo Bollani Venice)
-October 2015 personal “passage of time” at studio C Piacenza, curator Luciano Carini
-October 2016 personal "the birth of chromomorphism" at studio C with the presentation of the homonymous manifesto "chromomorphism", curator Luciano Carini
-November 2016 arte Padova with the Orlando Arte gallery in Brescia
-March 2017 "Triennale di Roma", Vittoriano complex, curator Loredana Trestin, Gianni Dunil and Stefania Pieralice, previewed by Vittorio Sgarbi and Achille Bonito Oliva with the participa-tion of Daniele Radini Tedeschi (art historian)
-September 2017 “first biennial of San Leucio“ Caserta
-October 2017 "Grazie Italia" Palazzo Albrizi Capello (Venice) curated by Gianni Dunil and Ste-fania Pieralice (seat of the Guatemala pavilion at the Venice Biennale curated by Daniele Radini Tedeschi)
-May 2019 art fair in Montichiari with the Orlando Gallery in Brescia
-July 2019 Marbella art with the Toro arte Caserta gallery

Artist Statement
“Today we live in complex and in some ways very difficult times. Contemporary society is in-creasingly dominated by wild communication and massification, by rampant consumerism and easy careerism which, with the passage of time, have determined a worrying cultural disinfor-mation offering more and more space, and therefore power, to mediocrity. A reality so com-posed and conceived naturally tends to exclude and to feel as "foreign bodies" all those, and there are still many, who are bearers of ideals and convictions, of creativity and renewal. From this premise and from these reflections, Cromomorphism is born and comes to life, an artistic and cultural movement that understands artistic expression as a great and irreplaceable herit-age aimed at man understood in its deepest essence and globality and therefore as a spiritual entity, a precious treasure chest of dreams, emotions and feelings.
• Chromorphism was born as a peaceful and meditated reaction to the cultural contents pro-posed by contemporary society (see introduction) and has as its main purpose and objective the rebirth of a new man, culturally and intellectually up-to-date, free in his choices and beliefs.
• Chromorphism arises first of all as a cultural and spiritual path of inner renewal in order to identify stable and universal points of reference capable of giving meaning and meaning to hu-man existence by elevating it from the current degradation and flattening and sees in the "sleep of the chrysalis" of Chinese philosopher Lao Tse the most suitable image to describe and rep-resent this path to freedom. The butterfly is, in fact, the animal that more than any other is adapted to symbolize the transmutative work: first it is an egg, then a caterpillar, then a chrysa-lis and then a butterfly. As if nature had created this little Being to teach man the most im-portant mystery of life itself: transformation, the elevation from earth to heaven.
• Chromomorphism therefore bases its foundations on the essential concepts of research and discovery understood not only in a technical and aesthetic sense, but also in a psychological and interpersonal sense, that is, research and discovery of one's inner self, one's essence and identity to give meaning and purpose to the whole existence.
• Chromorphism, understood in its complete and total meaning of "color in the making", "col-or in change", "color in transformation", becomes a metaphor and symbol of life. As life flows, changes and modifies itself according to age and experiences, so too color, in its free and spontaneous flow, is subject to mysterious and unpredictable modifications and metamorpho-ses until the final goal which is the work of art entirely defined and completed.
• Chromorphism underlines and reaffirms the high moral and cultural value of the work of art. It is by no means a mere and sterile aesthetic exercise, much less a simple and pleasant decorative element. The work of art is never an end in itself, but a unique, fundamental and irreplaceable part of an infinitely larger cosmic whole which functions precisely due to the presence of all its constituent parts. In short, the work of art is something alive and throbbing because the soul of its author is imprinted in it.
• Chromomorphism reaffirms the total supremacy of color-matter over form and over any pre-established graphic or sign constraint. Color is therefore understood as an essential part of na-ture and its sensitive perception, as the only element capable of rendering and expressing all the artist's most intimate emotions and sensations.
• The artist who adheres to Chromomorphism will not be able to ignore the fundamental prop-erties of colors, binders, solvents and supports on the market and the result of the current great technological development in order to best conduct their own personal research and be to the end, a worthy and faithful witness of the Movement itself.
• In the philosophy of Chromomorphism a prominent role will be taken by the founding ele-ments of Nature itself and therefore Earth, Fire, Water and Air with particular attention to the Light and the Creative Energy of the artist understood as driving force, vital breath, soul and spirit of the artistic moment.
• The Chromorphism artist will still have to possess all the necessary technical preparation and the inner sensitivity to let the color flow freely and guide its natural trajectories without impos-ing his will and / or useless forcing that would take away the necessary freshness and immediacy from the work of art itself.
• The Chromomorphism artist must act with an anti-project spirit. Creative guides of his work will therefore be instinct, experience and technical knowledge but above all his state of mind, his emotions and his intimate sensations which, in the creative moment, will give rise to a state of absolute estrangement. from reality, to a state of total stillness dominated only by the con-trol of color, its flow and its natural and instinctive path on the adopted support.
• The Chromorphism artist, in his work, enhances the gesture and the control over the material-color. The practical execution of the work of art will therefore consist of various and diversified almost automatic actions managed by experience and creative instinct performed with speed and immediacy. The task of materializing visions, suggesting scenarios, giving body and soul to thoughts, ideas and concepts, is to color, understood as a real chromatic energy and authentic protagonist of the Movement itself.
It is also stated that Chromorphism is an apolitical and anti-ideological cultural expression, aware and convinced of the interdiscipline between the different artistic and aesthetic lan-guages.”