Fabio Colombo

From my childhood I remember a good and responsible child, born in 1984, who traced the course for the restless adult with his marked duplicity, prone to overthinking and to inner conflicts. In my work there is the gesture first of all. Like a pi...

From my childhood I remember a good and responsible child, born in 1984, who traced the course for the restless adult with his marked duplicity, prone to overthinking and to inner conflicts. In my work there is the gesture first of all. Like a pit in the stomach, the nostalgia for the unknown, a fragment of happiness that tears and is hard to hold back. Speaking about the names of my works, the condemnation of the search for meaning is clear. The titles are a compass that I offer to the observer to delve into my unconscious, with its movements of suffocating immobility. In the series [Femmes] I praise femininity, its existence and manifestation. They are sinuous, soft, clear and fat curves that wrap and embrace. They hide cracks of experience in the background, and generate indomitable flashes. Each work of the series has a woman’s name, which makes it alive and unique: similar to them and identical to none. In the [Del tempo] series I am looking at the mirror, rediscovering myself different, regenerated. Not necessarily better. It talks about the time which passes over me, about the movement and about the limestone stillness. Of what changes and what remains unsolved. The dust accumulated in the corners, which is thought to be harmless. Bad habits, painful memories, missed opportunities: everything that I thought I had overcome, more or less unharmed, returns. Its manifestation on the canvases is an intimate, profound and instinctive reading of my personality. In 2022, my research led me close to the design ([Femmes] series and [Inconsistenze] series), always with the minimalist approach that distinguishes most of my work: color always little or absent, dosed and measured. Hence the title of my personal “Non_colore” at the gallery “La grande Bellezza” in Volterra. Because black with its shades and its thought absence, are enough for me. There is light and dark. Sum and void. Collection and cancellation. This is enough to live my time, or to survive. In 2023 I’m working on two main series: “Edifici Umani”, works taken from photographs of structures created by man and made brutal, heavy and austere in contrast with the colored and clear backgrounds that aim to give hope to the heavy passage of man on Earth. “Flowers”is a series mostly composed of small paintings, unique pieces on enamel and acrylic on paper, in which I abstract the floral figure which becomes geometric and irregular, minimal and in black and white. The typical color of the flowers is extracted and condensed into splashes, bursts and flashes as if it no longer belonged to the image itself. On the other hand, when the final result is satisfactory, I am pervaded by a kind of enjoyment. More mental than physical. A kind of mild orgasm that permeates my body and mind and which lasts for the rest of the day. It’s not always like this. There are a lot failures as well. After all “when you dip in color and you look at the blank canvas … you start with the first signs with a sort of faith in destiny”.