Born in 1989 in Treviso, IT. He graduated in 2018 in Painting at the Academy of Fine Arts in Venice with professor Carlo Di Raco. In 2015, he attended the Lahti University of Applied Sciences, FI. In 2016 he was artist in residence at the Bevilacqua La Masa Foundation in Venice.
In 2021 he has been selected by curator Luca Massimo Barbero (Cini Foundation, Guggenheim Museum) for the project Venice Time Case, a traveling exhibition around Europe (among others: Tommaso Calabro Gallery, Milan; Galerie Italienne, Paris), that is still ongoing.
He is a member of the collective Fondazione Malutta.
He lives and works between Rotterdam (NL) and Venice (IT).
Statement
My artistic research explores the emotional relationship between objects, places, and the self. It is an active negotiation with the world, one that uncovers new values and surprising meanings. Over the past few years, I have been collecting various objects—drawings, studies, writings, photographs, and organic scraps—which have gradually contributed to my visual language. This collection forms an archive, a system of visual notes, and a strategy for harnessing the everyday, often shaped by chains of events and unexpected encounters.
In Viktor Shklovsky's "Art as a Technique" (1917), he quotes Tolstoy's diary, which speaks of the habitual gestures we perform without thinking, like cleaning a sofa. Shklovsky comments:
“And so life is reckoned as nothing. Habitualization devours work, clothes, furniture, one’s wife, and the fear of war. […] And art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony. The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects ‘unfamiliar,’ to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged.”
My approach to observation aligns with this idea of defamiliarization, a feeling that is activated through the pictorial process. Painting, for me, is a practice that has, over the years, trained and strengthened the muscle of my gaze. Through its rhythms and rules, painting shapes reality, giving new life to my observations and transforming them into more powerful visions.
F.Z.