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Introduction |
Visiting Info |
Anselmo |
Boetti |
Calzolari |
Fabro |
Gilardi |
Kounellis
Merz, Mario |
Merz, Marisa |
Paolini |
Pascali |
Penone |
Pistoletto |
Prini |
Zorio
Luciano Fabro
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Foot, 1968-71 Private Collection,
Turin.
Photo:Enzo Ricci
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Even in his earliest works, Luciano Fabro (b.
1936, Turin) was already dealing with fundamental Arte
Povera themes such as the contrast between the man-made
and nature, and the bringing together of organic and
inorganic materials.
He uses a diversity of media, sometimes in combination
with performance, to examine a range of themes. Cloth,
bed-sheets, garments and newspaper are often employed,
for example, to look at aspects of the everyday, including
domestic labour. Equally important are the flowing,
sculptural qualities of these materials. His series
of Habitats – human-scaled structures and
architectural interventions – explore our perceptual
experience and relationship with others. Similar themes
are investigated through his use of mirrors.
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In 1968, Fabro began his series of Feet. These resemble
the paws and claws of strange animals or birds, topped by
long tubes of fine silk fabrics suggesting legs. Made in sumptuous
materials such as carved marble, polished bronze, or hand-blown
glass, they refute a simplistic interpretation of Arte Povera
as an art of poor materials. Since Fabro wanted to reassert
the importance of crafts-manship (traditionally deemed 'low'
art) and sensuousness in art, he found these rich materials
highly appropriate. In the same year, he began another series
of sculptures portraying the familiar shape of Italy in different
materials such as fur, gold, glass chips or lead. The use
of an easily recognisable shape in these works allowed for
a full concentration on their texture and tactility.
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