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Painting: Enamel, Acrylic on Canvas.
Painting: Enamel and Acrylic on Paper.
THE EMPTY AND FULL SPACE
Une autre facon de voir les arbres
by Piergiacomo Petrioli
When you draw a tree, you have to feel you are lifting up
It is clear that the genuine artist by using his sensiblity and genius can reveal a new perceptiveness of the world. That is the real enchantment of art. In fact, art shows that things exist and shows a new way to see them too. For that, the painter teaches to see the world, to understand various and new aspects of the universe. Fabrizio Monetti, with his last works, shows a new way his own one - to observe trees.
Monetti is a versatile artist: he is painter, sculptor, actor, performer (his monologue Il Signor Pirandello desiderato al telefono by the well-known Italian writer Antonio Tabucchi is still perfomed successfully in Italy and abroad).
Monettis artistic research started from paintings full of vitalistic dynamism kind of Russian futurism exhibited in Milan in 1994. Then that research has developed, following an exact inward way; and the apparently confused chaos of colourful scratches, in his early works, thickens into determinate shapes.
In sculpture, the artist created the Towers, polychromatic and vivid obeliskes by painted wood. From these towers a fairy tale, Il costruttore di torri (The tower-maker), was written by Guido Quarzo, one of the most relevant Italian authors for children. And that novel became a performance for theatre played by Monetti. That reveals a continuous change of different media: sculpture, theatre and finally a fascinating object of contemporary art, expressly made for children or for people who can still be astonished... just to remember Oscar Wilde...
These Towers, all gatherd in a brilliant wood in Monettis studio, look like imaginary trees. And the Trees are the last topic of the artist. Tiny groups of colourful signs, like buzzing bees around a beehive, gather on the empty space of a background - clear blue, orange, blue...-, they make dust geometries, combining circles, ellipses... finally trees. We notice in these trees, deprived of any wooden heaviness, a whirr of tones, a frenetic impetus of atoms, a Democritean explosion of colours; white, yellow, red and bleu seeds (semina rerum) sympathetically clot and make the shape of the object, the tree itself in its proper substance. Particles of brush-strokes crowd and break up in an endless motion, that it is springlike joy, natural alchemy of love, because from that infinity of signs the shape comes, the object (the res) is generated.
Also, relevant element in that creative game is the empty space, where these chromatic atoms play with assiduous energy. It seems that Monetti is thinking about eastern ideas, from Chinese art; for instance the choppy stroke (the tsun); a brush-stroke made by very short flourishes, small curves and little angles, that creates the object, by using the empty space as a Less