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Tommaso FattovichSquabble Up (Abstract painting)2025
2025
$8,845.17
£6,500
€7,636.42
CA$12,151.75
A$13,566.29
CHF 7,108.53
MX$166,064.71
NOK 90,278.43
SEK 85,121.10
DKK 56,991.39
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About the Item
Squabble Up (Abstract painting)
Oil and Pencil on Canvas — Unframed.
This artwork will be shipped flat within the US. If shipped outside of the US this work will be shipped rolled in a dent-resistant tube.
This method is especially safe for large works, and provides lower shipping costs as well.
Rolled works can be easily stretched (for canvas works, i.e. placed onto wooden stretcher bars) and/or framed by a local framer upon arrival.
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.
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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