Copy of Roberto Fanari ENG
More information about Italian artist Roberto Fanari.
Roberto Fanari’s process is one focused on editing and cinematographic post-production, as the key objective is to harmonise existing visual sources in an unprecedented all-encompassing structure designed to elicit the viewer's perception.
The artist modifies individual elements, selected from the complex visual reality of the work, giving it a sense of articulated perception, which the individual segments were devoid of.
Fanari thus constructs a perceptual device, resulting from a clear post-production design process, in the sense referred to by Bouriaud, beginning with an initial selection of material, of “significant” visual sources or inputs.
The sources in question are selected from the repertoire offered by the history of Western art and, already (so to speak) accomplished or consumed, a culturally exhausted visual device deposited in the collective imagination.
This is also apparent as Fanari’s pursuit does not extend to primitive and virgin images, conscious of viewer’s expert gaze, incited by the pervasive rain of visual stimuli to which it is subjected daily by the so called image civilization.
Often, favourite images are those almost forgotten due to their excessive mnemonic layering and/or their association to exhausted cultural phenomena, if not classifiable as part of the minor arts.
Appropriation on the part of the artistic universe, perceptive of elements often exhibiting a purely decorative purpose.
Weakened visual elements, depleted of the potential involvement of the viewer, which as a result of a double displacement process – of de-contextualization and re-composition within the context of a new framework – attain a significantly new perceptual potential.
Elements that had outlived and exhausted their primary function of conveying meaning, now able to acquire a new perceptive significance as a result of the combination to which the artist subjects them.
The re-combination in question also provides for a material transformation, a so-called intermedial translation, which thoroughly frees the original elements from their overall referential and identifying remains .
This translation process, combined with a reduction in scale, also subjects the artistic matter to an optional ready-madeinterpretation, of a modified and rectified character, or rather a more correct assemblage of elements produced.
The viewer is thus subject to testimonials and symbols of the research that the artist coherently brings forward, concerning the dialectic between nature and culture, between observed elements and produced elements.
The ultimate goal is always that of engaging the viewer, freeing the mind from a purely passive and contemplative attitude toward the subject matter, in favour of perceptual and active involvement.
By way of this new stage of his research, the visual device designed by Fanari, represents a further element of perceptual activation.
The element in question is key in the solicitation of the viewer’s scopic function, a process by which the perceptive nuances are dissolved into black, rendering a visual journey only seemingly paradoxical.
Indeed, it is the excess of light that cancels the vision, while the shades of darkness compel a sharper outlook, responsible for articulating and completing the perceptive journey.
Fanari thus presents a path that the viewer is asked to compose subjectively, while the artist scatters intentionally dispersed elements designed to engage and activate the viewer (the English meaning of “beholder” is more accurate in this case) in their role of co-authorship.
The works in question also claim the independence of art from a real reference point, assemblies laying claim to the autonomy of expression, by way of a virtuosic process oficonic self realisation.
These, in truth, are recognisable subjects, but not contextualised to the sensory universe, rather existing as “perceptual locations”, the return to a primary experience.
This extensively studied and acutely calibrated symphony, a process of visual purification, a visionary “zero point”, forces the viewer towards a mirror-like process of recomposition, to that which has been presented by the artist.
In short, soliciting in loop, the scopic function.