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Tommaso Fattovich Future Diptych (Abstract Painting)2019
2019
About the Item
Future Diptych (Abstract Painting)
Mixed media on canvas - Unframed.
This work is sold as a diptych, each artwork's dimensions are 152,4 x 121, 9 cm/60 x 48 inches.
Fattovich calls his style Abstract Punk.
His compositions evolve according to a subliminal process in which he responds viscerally to the colors, layers, lines and shapes, coaxing each composition along until it reveals itself to him as being finished.
Fattovich is motivated by a deep inner need to express energy and spontaneity.
The imagery in his work is a reflection of what he calls “destroyed surreal environments.”
The rust and rabble of the decaying urban environment, both in his hometown of Milan and his adopted home in Florida, finds its way into his compositions. Fragments of the modern world seem to appear and then disappear in the work.
- Creator:Tommaso Fattovich (1977)
- Creation Year:2019
- Dimensions:Height: 60.01 in (152.4 cm)Width: 98.43 in (250 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU65938250192
Tommaso Fattovich
Tommaso Fattovich is an Italian abstract painter who deploys the Surrealist strategy of automatism to create raw, layered, emotive works that convey feelings of desolation and decay. He lives and works in Delray Beach, Florida. Works by Fattovich are in many private collections.Recent exhibitions include the Boca Raton Museum of Art, Art Boca Raton – International Art Fair, Coral Springs Museum of Art, Miami (Red Dot Art Fair, Art Wynwood, Eighteen: The Most Influential Emerging Artists - Blink Group Fine Art Gallery), Los Angeles (Downtown LA Art Show), and New York (AB Gallery). Fattovich calls his style Abstract Punk. He deliberately rejects traditional techniques in lieu of brut art strategies. Painting with a mixture of oils, acrylics and other mediums on large-scale canvases, he uses his hands and other tools, like plaster trowels and forks, adding rough textures and dimensions to his surfaces. “I use whatever I can use to make that mark,” he says. “It’s not even a brush stroke.” His compositions evolve according to a subliminal process in which he responds viscerally to the colors, layers, lines and shapes, coaxing each composition along until it reveals itself to him as being finished. This, he says, is the most rewarding part of the artistic process: discovering the moment when the work has become “what is was meant to be” then connecting with a viewer who responds to the work.
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