Notes on work of Fabrizio Corvi

by Angela Madesani

 

Fabrizio Corvi is a picture director. Each photograph comes first and foremost in his mind, in his thoughts. He then creates a scene in which they appear objects, characters, situations, full of implications, of metaphors, which is then immortalized through photography. Each of his works is a story that attracts us and plunges us into a series of definitely existential issues, but also social, artistic. Needless to say, because it is an obvious aspect, how many references to art history, classical sculpture, but also to classical culture, to Mantegna and his reinterpretation offered by Pier Paolo Pasolini, to Baroque painting and sculpture, to Velázquez, to Magritte, to a specific Surrealism. His are the tableaux vivants of our time in which color plays a strong symbolic value. The colors of the images are dramatic, drama in the classic sense of action, often the tones are deliberately trod.
He calls himself a "fatuografo", with a play on words that perhaps only works in Italian, convinced as he is that a picture can not change the destiny of the world. In a world of bloody images, strong, such as those that every day there are proposals by the media, the only way through which an artist can talk things is perhaps the game. His is a choice only apparently easy: in fact, it is not, not at all easy to be able to deal with complex issues, tall, with a playful language, sometimes even funny as he does for some years now. Each of his images is a world, a large or small building of theatrical flavor.
Fabrizio Corvi wants to generate an operation dense and light at the same time, in which the viewer can dive without fear, in order to live different experiences and each one can undertake the journey. For his part there is no claim to offer solutions, to provide the essential judgments. His images are something more, something different.
The construction of each work requires a great commitment with precise attention to detail. Do not be deceived: his works are not born from a wise photoshop task, indeed. They are scenic constructions in which the role of light is crucial. We find ourselves in front of a photographer, in the fullest sense of the term, which has worked for years with this medium in key professional and now does research taking into account the specificity and complexity of the means by which it expresses the spontaneity and strength of his existential nature. The protagonists of his images are mostly the traveling companions, with which you face each day on the themes of life, which often happen to transform into images.
In his work it comes to photography, there is no pictorial array voltage. His is a methodology that could postpone rather, taking into account the time spent and certainly not in vain, the researches of English Julia Margaret Cameron. The intention is to address a pictorial subject in camera key. With its images we are faced with subjects that we have already found in painting and here were read back through another language, which gives them a different face.

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