Fabio Giampietro was born in 1974 in Milan, Italy where he still lives and works. Through his unique technique (he paints subtracting the color from the canvas) he expresses a powerful and intense figurative painting. He had several exihibits in Venice, Milan, Bologna, Padua, Berlin, Paris, Istambul and Shanghai. At the moment is one of the most sought-after young Italian painters.
Fabio Giampietro paints and dreams a world that we are not able to touch, but that we can only imagine, wondering the reason of things. His painting in colors and technique evokes representatives symbolism. To shine lights and contrasts he spreads the matter to give emphasis to the forms, without adding white, he eliminates the pigment from the canvas. Dull colors remind symbolically to the memory of time experiences, of emotions and feelings.
Yves Klein states that a new world needs a new man. Nowadays, the opposite urgency is equally authentic and inescapable: a new man needs a new world. This last statement may not depend on the first one, but the current life dimension compels a radical awareness and an immediate u-turn. According to Aldous Huxley, it is probably high time to choose if try to reach the New World1, come hell or high water, or not to try. New World that is a privilege of a society outwardly without concerns, happy, in good health, where there is no poverty. But that actually had to sacrifice its love, culture differences, art, family, philosophy, science, religion and literature to achieve these outcomes.
Let's then choose where and how we want to live our lives, "which future we would like to be" so that we can intensely enjoy it.
Let's start from a new point of view and welcome Fabio Giampietro's invitation to leave the normality behind, the dull sight of the ordinary life. Let's look up and change our point of view, sailing towards free unknown. The main role is played by the city, exactly by the skyscraper, status symbol of the XX century and main character in our everyday movie: the life.
The plot' starting point is Babele, exemplification of the human desire to reach and gain unheard-of peaks, irrepressible wish to cross every bound. Nevertheless, it is common knowledge that the result was not good, but, probably, thank to the consequent dispersion and confusion, today we can benefit from the different singularities typical of every individual.
The world through which Giampietro guides everyone who wants to experience the vertigo, the bravery, the unusual, is a raised trip among the metropolis' arteries, into a body made of concrete that daily throbs and tells the story of who walks and lives down to earth but thinks and dreams above the line.
It has been few years now ever since Fabio Giampietro chose to tell about Coney Island, ravished by the beauty of its landscape. He throws us into the first Luna Park of the history and makes us savour that particular atmosphere. However, this is more than a fun fair: the Wonder Wheel and the delight places are pervaded by dull atmosphere, crumbling sometimes, as if they want to recall the devastating fire in 1932, which changed this magic territory's destiny. Giampietro starts from this very place, genesis of the urban experimentation, new way of looking at architecture, that will lead to Manhattan' skyscrapers. It is a radical change in the way of conceiving the city, so very well described in Delirious New York2 by Reem Koolhaas, source of inspiration for the artist from Milan to enter into the meanders of his megalopolis.
If at that time New York was an unicum, an extraordinary case, a laboratory of artificial, technological and futuristic research, nowadays the town planning concerns abigger number of cities, where the border between artefact, reality and nature seems to be vanished.
Fabio Giampietro' sharp look is not limited to the bird's-eye view and the consequent feeling of dizziness. In his last artistic production, he guides the observer's eyes beyond the ostensible limits and he urges him to pass the painted layer, reaching the pigments' texture.
The metropolis becomes an image-maker thanks to its structure, its buildings and streets; it embodies an alive shape, it takes the features of a living being. As the physical presence of the citizens and their thoughts have enlarged so much to totally pervade the space. The artist's dreamed city not only welcomes and tells the human being' stories but it deeply shares these so that it takes human features.
The city does not change its architectural structure but it changes its identity, becoming impregnated with human spirit. Giampietro is aware of the fact that today that the caos reign supreme over the city. But caos is not only mere disorganised disorder; it is, above all disinclination to put yourself to the test, loathing to the risk of experimentations. The human being cruises in a space that he does not know, where he does not find himself and is not acknowledged. This imbalance reduces the two identities man and city, outwardly in step with each other, to an alien level, unifying and disintegrating at the same time.
There are gestures, strong draws that suddenly become weak and less intense, like memories. If the artist chose colours like sepia, black and white to tell the American dream, today it is the city itself that produces easily and in big amount a useful pigment for the artist: the smog. The city's products – defined by Giampietro as "the colours of everyday's life" - are pieces of that mosaic swarming with no life.
Giampietro's city is a fractal- metropolis, conceived, born and endlessly reproduced so to become a city into a city. More and more often the one who lives this world made of concrete, feels his body and mind caught in the grip of "mural thoughts". We cruise looking for nothing but hoping to meet the fractal of ourselves sooner or later.
Organic status became inorganic, where the concrete is the only fellow traveller, suddenly find again the meaning of their err in a beam of light. This is an intuition that, urging to go over one's physical nature, reveals to the mind the perpetual becoming.