Alberto Di Fabio was born in Avezzano in 1966, he studied at the Fine Arts Academy of Urbino and later at the Academy of Fine Arts in Rome. He currently lives and works between Rome and New York. The representation of the natural microcosm is the heart of his poetics, to be understood as the tension of the look that obsessively passes from the micro to the macro in a continuous relationship that abolishes the boundaries. His work is developed in cycles that narrate environmental and scientific themes, playing with the reality of forms to reveal implicit and hidden values ​​that overturn the perception of images in the spectator. Starting from the idea that abstraction is nothing other than a different view of reality, the meeting place between external reality and our vision conditioned by experience, Alberto Di Fabio guides us in his observation of mysterious and fascinating phenomena of nature, composing incursions into the cellular world, in the chains of DNA, in the aerial panoramas of mountains: a journey into the synthesis of the universe that becomes painting.

To get into the poetry of the author, we asked him some questions.

Matter and spirit; how do you manage to combine these two words?

Matter is energy in movement, matter is body of light. For thousands of years this energy has been traveling in sidereal space: divine interstellar fusions have given life to solid, gaseous and liquid forms that form the basis of life, earthly and spiritual. With my work, I have always devoted myself to explaining how biological or solid matter becomes astral matter, a source of light.

Kandinsky spoke of a “categorical imperative of inner necessity; do you think this is still current?

In a period like ours, where visual art is, so to speak, fashionable, and where everyone has become an artist, curator, gallery owner… and we only talk about sales in the top Art Fairs and records of auction awards, of the parties made by the big fashion houses that are engulfing the art world… I think it is imperative to work to find a deep personal philosophy, an inner light.

In your works there is a sense of expansion and infinity: it seems that your paintings have no boundaries…

The Metaphysics of Quanti has no boundaries. I try to describe what we perceive and cannot see. It is precisely the infinite expansion of a dream that crosses human boundaries. A single canvas is not enough to describe the vast geography of the mind, it is never enough to reveal the veiled enigma.

Your brushstroke embodies the power of thought. It almost seems like a maximum Zen… Is there a debt to the East somewhere?

The brush running on paper or canvas, the ripples of water colors that dissolve in other glazes, remind me of the movement of the earth, of rivers, of neuronal synapses. Meditation through the practice of painting, stopping the mind and achieving enlightenment, are very popular practices in the Far East. Elegance and harmony unite with the instinct and intuition of the brush-bearer, who is by definition something indeterminate and indefinable: an observational and at the same time visionary cosmology.

Usually you work horizontally and also use a “dripping” gesture: can all this be matched with Pollock’s action painting?

I often paint in a horizontal position, as if I were performing a mandala. In this position I try to meditate, I pray to gather all the energies, the emotions of spirituality, science and art, three constant elements for a long prayer like the creation of the work itself. They are like species of elevation and permutation exercises for the knowledge and revelation of the absolute dogma that I try to convey to the observer. Painting vertically is different, you see and study the painting with optical range, you have time to think, while painting horizontally means painting by instinct: space and time expand, blood goes to the head, the breath becomes infinite, poetry it flies up in the sky.

Ultimately, is it possible to talk about a kind of dance-painting that becomes painting-hypnosis?

My dream is, in fact, to involve the viewer in extrasensory kinetic visions for a progressive loss of self-consciousness, a sort of visual trance, traveling towards distant parallel worlds, closer to the quantum essence of the Universe.

Quantum God, Divine Aura, Astral Body, Physical Body, are works that refer to an art in which you place science and spirit in search of dialogue: do you think there may be an answer or do you remain in the world of hypotheses?

The titles of my works are like “vehicles of conscience” that introduce in a dreamlike way, of beauty, mathematical energy and spirituality. We are not made only of matter, we are not just physical, we are also energy in movement. We are bodies of light composed of different layers that revolve around the physical body, and these layers vibrate at various levels of frequency and intensity and radiate up to a certain distance from the physical body.

Info:

www.albertodifabio.com