Fabrizio Ruggiero

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- Analytical Fresco Paintings-

Structure and Form- GRIDS-

In modern physics, the universe is thus experienced as a dynamic, inseparable whole which always includes the observer in an essential way.
(Fritjof CapraThe Tao of Physics, 1975)

.To explore the artist's work, click on an image below.

 

Rosalind Krauss in a well known essay states that in visual art, Grids and Lattices declare their  will to silence, their hostility to literature, to narrative, to discourse.

Bhogakkhandha data stream

Fresco on curved and shaped wooden panel
Two panels each: cm 85 x 125 x 3

Tuplet

Fresco on curved and shaped wooden panel
Two panels each: cm 75 x 150 x 3

The barrier grids and lattices lowered between the arts of vision and those of language has been almost totally successful in focusing the visual arts into a realm of exclusive visuality and defending them against the intrusion of speech.


Crossroads of strips and squares

Lime mortar and pigments on
wooden panel
cm 150 x 150 x 3



Sukha-vipaka data stream

Fresco on curved and shaped wooden panel
Two panels each:
cm 155 x 155 x 15

No form within the whole of modern aesthetic production has sustained itself so relentlessly while at the same time being so impervious to change, development is precisely what the grid resists. But no one seems to have been deterred by that example, and the  practice of painters like FR continues to bring forth the investigation on grid pattern, generating  ever more new interesting and  unseen instances of grids.

 

There are two ways in which the grid paintings by FR assert to be central to  Contemporary Art .
One is spatial; the other is temporal. In the spatial sense, the grid states the autonomy of the realm of art. Flattened, geometricized, ordered, it is antinatural, antimimetic, antireal. In the flatness that results from its coordinates, the grid is the means of crowding out the dimensions of the real and replacing them with the lateral spread of a single surface. In the overall regularity of its organization, it is the result not of imitation, but of aesthetic decree. Insofar as its order is that of pure relationship, the grid is a way of abrogating the claims of natural objects to have an order particular to themselves; the relationships in the aesthetic field are shown by the grid to be in a world apart and, with respect to natural objects, to be both prior and final. The grid declares the space of art to be at once autonomous and autotelic, having an end or purpose in itself.

 

Quietly walking through Nigredo

Fresco and pigments on curved wooden panel
cm 155 x 210 x 15
--1996
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Approaching Storm

Fresco and pigments on curved wooden panel
cm 155 x 210 x 15.
1996

In the temporal dimension, the grid is an emblem of Contemporary by being just that: the form that is ubiquitous, combined to precipitate the grid into a position of aesthetic preeminence. But once the grid appears it seems quite resistant to change, by depriving its world of development, one is obviously not depriving it of quality.
There is no necessary connection between good art and change, no matter how conditioned we may be to think that there is. Indeed, as we have a more and more extended experience of the grid, we have discovered its capacity to serve as a paradigm or model for the antidevelopmental, the antinarrative, the antihistorical.
 By "discovering" the grid, FR.. landed in a place that was out of reach of everything that went before. Which is to say, he landed in the present.

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Shere Khan

Fresco with lime plaster and natural pigments
on wooden curved panel.
Cm. 114 x 152  =  45 x 60 inches

Bagheera

Fresco with lime plaster and natural pigments
on wooden curved panel.
Cm. 114 x 152  =  45 x 60 inches


Mental landscape reflex

Fresco on curved and shaped wooden panel.
cm. 90x120


Mental landscape

Fresco on curved and shaped wooden panel.
cm. 90x120.

Reflecting on a shining expanse of water

Fresco on wooden panel.
cm. 90x120.

 

approaching twilight

Fresco on wooden panel.
cm. 90x120.

Possible

Fresco on canvas
cm 210 x 130
1992

 

Gravitational Magnet

Fresco on wooden panel.
Cm. 76x100


Rhapsody in blue-first movement

Fresco on wooden panel
cm 150 x 150 x 5
2012

Rhapsody in blue-second movement

Fresco on wooden panel
cm 150 x 150 x 5
2012

Texture
Fresco on canvas
cm. 118 x 198.

Ombroso
Lime mortar, pigments
on curved and shaped panel
cm 155 x 110 x 10
1988

Texture
Fresco on canvas
cm. 118 x 198.

My_Blaue-Reiter_J
Fresco on wooden panel.
cm. 165 x 220
2018

 

Mycenae-wave
Fresco on wooden panel
cm 80 x 110 x 3
2013


Feeling sensations raising and passing away
Fresco on curved and shaped wooden panel.
cm. 90x120.

Flock of Mental Birds
Canvas
cm 80 x 110 x 3
2013

My Deep Sea Aquarium
Canvas
cm. 100x70

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MONOCHROME & ANICONIC FRESCO PAINTINGS

 

A Carmine to circulate the blood happily
Lime mortar, pigments on curved and shaped panel
cm 185 x 185 x 5
2008

A cobalt blue for happiness
Lime mortar, pigments on curved and shaped panel
cm 185 x 185 x 5
2009

Fabrizio Ruggiero offers an insight into the practice of fresco painting in Contemporary Art through a series of "MONOCROMI"
 

A green moss to calm the restlessness
Lime mortar, pigments on curved and shaped panel
cm 105 x 105 x 4
2012

A pure white, purity
Lime mortar, pigments on curved and shaped panel
cm 185 x 185 x 5
2017

The very act of painting has a peculiar significance in monochrome. The themes of narrative and representation are removed, the focus is shifted to the real elements of painting, the support and its shape, tint and the way of building it up  by  the relationship of contiguity to the support.

Grids and Mono
Lime mortar, pigments on curved and shaped panel
Four panels each: cm 155 x 100 x 5
2015

Triple monochrome
Lime mortar, pigments on curved and shaped panel
three panels each cm 90 x 210 x 5
2018

The absence of figures, history and narrative in monochrome paintings is intended to provoke the mind of the observer at first to generate What-you-see, then for wandering into a territory that poet Giacomo Leopardi defined as the place where “ the soul imagines what it has not seen "and, after wandering at will, the soul  accepts the invitation of the monochrome and takes rest in the here and now of the unknown that surrounds it.

Cobalt blue fragment
Lime mortar, pigments on canniccio
cm 80 x 110
2013

 

 

Siena Fragment
Lime mortar, pigments on canniccio 
cm 80 x 110
2013
       

The retina communicates with the brain and "talks" to the mind of the beholder, the flow is in two directions; in this way, it restarts from where it came, back to where it started and going back brings along other images that  were not there previously.

" The transformative Power of Art" Exhibition, United Nations Headquarters, New York. June 2015

Awareness through the sense of sight is different from the word that describes it as well as can be distinct the appearances that reality assume, however, their substance is the same. In a famous Chinese tale, Chuang-tzu dreamed of being a butterfly, but who says that is not the butterfly dreaming Chuang-tzu?

    The description is not the described ,
    the word is not the thing it designates.

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“Family Resemblances” MONOTYPES

 

monotype is a print, but with one major difference from other printmaking processes:
the artist creates exactly one print, instead of multiples (called editions).
This is due to the way a monotype is made.

 

Ax_1

Arches paper cm 76x56

Ax_2

Arches paper cm 76x56

Ax_4

Arches paper cm 76x56

Ax_3

Arches paper cm 76x56

Four coloured fragments, double-face

T r a d i t i o n -M o v i n g -A h e a d

A project for Museo Bardini Florence 2015