Floriano Fabbri

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Carlo Franza

Nearly ten years ago I was interested to the sculpture of Floriano Fabbri, by this time one of the most interesting young of the artistic outline.
Neither I wasn't wrong when attention reawakened some constants that, more than referring to realism data, enlivened the soul of objects and figures, to disclose in the sculpture gesture the return of an inner self feeling, the sense of the interior atmosphere.
So, a long time after, the common values of this time have amplified themselves becoming concrete into lines and volumes structure along an expressionist growth.
A plastic figurative narration performed throughout the pictorial relief , by the sensitive increase of light flowing over surfaces, along the round lines, the inlets, the soft cave-in, that give timbre and colour to light.

There's not a reality representation tout court, but a re- presentation of reality, measuring himself against a portrait, inserting space and material together on the train of narration and emotion, joining seeing and feeling, the material tactility, this case wood and terracotta, so to make impressions becoming planispherical .
This artistic experience is brought to the top for being him a wood inciser or for the clay modelling, in those relieves that keep all the descriptive simplicity of the hollows and accentuate the innermost expression of figures and gestures, the several maternity representations, where it stands out the communicative value of the architectural and structural part of the form as a whole, instead of the care of the single elements.

Simplifying and never taking shortcuts, form purification, reduction to structure by essential ribbing, and interior breathing dilatation until defining the external limits, the surface, an elements economy that make more direct the form perception and the narration understanding.
The plastic element of Fabbri is an underlying classic narration, wherein the form is given to resume and express the ever-essential features of man.
Beautiful the masses as a whole, the figures, women, children, all suggest a listening to. Observe for example the natural painting of the wood, in the patinas which dialogues with musty zones, in the engobed terracotta by the chromatics interventions, a modern mention to the Italian golden age great sculpture.
Think about some terracotta of Arturo Martini or the sculpture of the Paduan Angelo Grilli, great medallist, who versed in Fabbri a time suspension, the reference to a rich humanism, a temporal suggestion aura, deep echoes, rousing innermost memories.
The sacred and the profane enter this sculpture body that makes Fabbri certainly an artist keeping on searching, versed to a complete composition and de-composition freedom, whose successful results are under everybody eyes, and overall investing the apparent directness and the wanted simplicity of the synthaxis by the means of an enduring artisan and artist experience

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