The sign of the material

In the midst of todayis art scene, there are artists who develop their entire artistic portfolio in relation to the contemporary debate on art and on art critique, allowing themselves to be influenced, while others approach their expressive work through more sequestered means, independent of the mainstream system of thought and publicity a dissemination of styles and propensities. Likewise, we have to so-called champions of conceptual art, with its focus on thought and design, a process detached from the actual artistic production, standing ready in the trenches to protect the true defenders of craftsmanship and handwork, from the contamination of expressive contemplations.

This technique does not alienate the traditional artisanal know-how approach but rather assimilates its characteristics often incorporating them into the conceptual processes. It advances according to programmatic parameters that allow room for any co-authorial interventions that may be necessary, in particular providing a synergy between the design and implementation aspects of the creative process between theory and practice, between conception and execution, between intelligible and perceptible. This synergy implicates process and product; design and production (commissioned or self-realised); conceptual development and various traditional production techniques as well as those requiring a high technological competency. Within this frame of reference, we bring into consideration Roberto Fanari’s expressive work. As the focal nucleus of artistic creation, Fanari has structured a complex and articulate design, execution and implementation mechanism, in order to orchestrate an expressive course, in itself inseparable from a connected metalinguistic analysis. Thought that precedes creative action during the design phase and accompanies the artist throughout the execution and implementation process. The objective is therefore a desire to substantiate the approach and to capacitate a reflection on the process and on the why of the artistic production, from the point of view of linguistic and technical solutions of a formal nature. A course of action that in its various manifestations contributes to the creation of a device intended to facilitate a perceptive process, bringing into focus inductive dynamics that force the observer to assume an active attitude towards the artistic work. Perception is the key theme and the primary purpose, a purpose that translates into the satisfaction associated with the innate scopic drive of the process. To achieve this ambition, Fanari produces (…)