Fresco as Process

In Fabrizio Ruggiero’s practice, fresco is not approached as a technique to be conserved, but as a condition in which painting comes into being. The work unfolds within a temporal field where matter and time coincide: pigment binds to wet lime, and the image appears through a process that admits no return. Fresco situates painting within the irreversibility of becoming, where each gesture exposes the work to the risk of its own emergence.

The surface is not a passive support, but a site of appearance. The image does not stand before the viewer as a finished object; it emerges as a trace of a process in which presence and withdrawal are inseparable. What comes into visibility is inseparable from what resists full disclosure. The painted form thus operates within a horizon of unveiling and concealment, where appearance is never complete, but always situated.

Within the ART_HUB constellation, this research axis frames fresco as a dispositif of practice: a material regime in which gesture, time, and constraint configure the conditions of visibility of the image. Fresco becomes a field in which the limits of control do not restrict form, but expose the conditions under which form can appear. Painting is thus understood not as the production of images, but as the articulation of a space in which seeing becomes possible.