The content of my artistic practice is mainly geo-culturally located in Europe and its expression combines sculpture, drawings, videos and documented actions. The framework of my visual language is informed by minimal, conceptual art and visual poetry; instead, the surface part is influenced by pop elements and graphic design aspects, such as Internet memes, trap music, CMYK colours and typefaces. Taking inspiration from subjects as varied as religion, fashion, science, literature and internet #YOLO culture, I question established systems of knowledge and art, and I play with the authoritarian aspects of masculinity and dogmatism by adopting a tone of voice which alternates between sarcasm, profanation and the infantile. Moreover, my practice entails a fictional caricature, The Last Genius on Earth , who is a grotesque and questionable figure, obsessed with luxury brands, synthetic drugs, dating apps and being as beautiful as he is brilliant. This operation aims to both demonise and celebrate the western dramatic icon of the genius, who has been mass-constructed throughout the last century on three main traits: being white, male and tormented.
Within my artistic language, I utilise different techniques and material variants, each time responding to different projects or necessities. I cannot then define myself a “style-artist” and I’m not interested in developing a single medium or exploring one medium for the sake of itself. In general, I consider my artworks the reflection of an intuition, which is the core of the work, and even if I can clearly recognise and motivate related sources and primary influences, I cannot shape its exact meaning. I don’t consider this point a problem and I don’t accept as contemporary art everything that can now be fully explained. Apart from this starting instinctive and uncertain component of the so-called “intuition”, my process of making follows a methodology that involves research, plans, sketches, prototypes, samples and formulates the artwork at the very ‘end’. Another component of my practice is that I often re-adapt, re-read, re-title, modify and reconfigure earlier works. This modus operandi challenges the static idea of “finished artwork” and considers the temporality of making relevant for archival reasons only. For me, what subsists of my practice is not a series of singularities along a timeline, but rather the evidences of their changes and adjustments throughout time. For these reasons I propel a way of working that does not take genres and linearity into account. In other words, video, sculpture, performance, painting, installation... all artistic disciplines merge, becoming inseparable within an artwork or a network of artworks, unlaced from a linear temporal reading. This theoretical framework has been condensed in the form of a fictional user manual realised to introduce a manifesto, called Preuniverse.




Copyright © 2018 Fabio Dartizio, designed by Fabio Dartizio. All rights reserved.