Alberto di Fabio / Pulvere Reverteris
Alberto di Fabio in conversation with Editor in Chief Alice Zucca
The primary framework of Alberto Di Fabio’s creativity is the invisible infinity, from which he draws inspiration to show clearly, to himself and to the observer, what normally we could not see. In a nutshell, the artist provides us with a sort of virtual optical tool with which to investigate beyond the real and concrete world, beyond what our senses normally allow us to perceive. He does not paint the world as it appears but he distorts it with a perspective that is both intimate and cosmic, despising every trivial homogenization. After all, any categorization is nothing but a blameworthy expedient of analytical simplification that the mind elaborates to facilitate the understanding of realities that are too complex. The matter influences and dominates our understanding of existence. Being aware of this unavoidable condition, Alberto di Fabio does not dispute it, but testifies and strongly supports the importance of the invisible in the process of acquiring knowledge. We have senses that allow us to perceive matter, sound and light. But we do not have sensory organs that allow us to capture the energy in motion that surrounds us.
The works of Alberto Di Fabio possess the evocative power to take our soul into a parallel immensity, beyond time and beyond space, where is possible to embrace the quantum essence of the Universe, which in Di Fabio sublimates the divine concept of a cosmic dance. Voracious reader of scientific texts of various kinds, from physics to chemistry, from astronomy to biology, Alberto di Fabio transfigures his interest in science in relation to the spirit, in visions of astral systems, cellular structures, living creatures of the plant and animal kingdom, DNA chains, stars, globular clusters, creating vibrant chromatic schemes that embed complex abstract entities that belong to non-Euclidean geometry. The intent is to collect and explain the energy of the represented subjects that move in a reality devoid of space-time coordinates, in a meditative journey through the senses, in the desire to achieve an incomparable elevation of the spirit.
Starting from Rome at the end of the 80s with a collective exhibition at the Alessandra Bonomo
You tackle the creative process in a cathartic way, starting from a horizontal movement, but that is able to initiate a series of vertical motions. A meditative evolution that through a meticulous and methodical commitment to the Cartesian approach (from the order and the positioning of the mosaic tiles, to the embroidery and the pictorial gesture) is almost a ritual that, starting from the investigation of what is not ordered – the ‘”Unknown”, the “chaos”, the “cosmos” – has a clarifying function, elevating the mind. An elevation through the path of connections with the harmonies of space and time. Being methodical, you climb that mountain (an element that is present since the beginning of your production), analyze its composition, studying the peaks on which you rest while climbing, trying to understand the physical and non-physical laws thanks to which they could support you up until the summit, from
ALBERTO DI FABIO:
You are right when you say that the mind deceives us and the soul connects us with the quantum universe. How can we perceive and describe the invisible? Through the Elevation and Permutation of the spirit. My works are like vehicles of consciousness that introduce us into a parallel, dreamlike
AZ: The seemingly irreconcilable formal contrast between an abstract and gestural quality and the substantial pragmatism inspired by the scientific concreteness represents the most intriguing and suggestive peculiarity of your artistic production, which ranges from astronomy to biology, from macro to
ADF: “Pulverem Reverteris”. I am fascinated by parallel worlds and matter that we do not yet see and how to perceive them and how to represent them. I dream of becoming
AZ: A few years ago at the CERN, the world’s largest laboratory for Particle Physics, where scientists use particle accelerators to conduct experiments to research high-energy physics, you’ve managed to gain
ADF: I started drawing and painting landscapes as a child. Being born and raised in Abruzzo, the mountains represent for me the elevation from the earthly world, an image of purity, a divinity necessary for the elevation of the spirit. Later I devoted myself to reading scientific books, those of my mother Delia, teacher of science and mathematics, and of my sister Simona who studied medicine. From
AZ: What are you working on at the moment? News? Future projects?
ADF: I am dreaming of describing the existence of God with a mathematical formula… naturally painting it. For the years to