Usually they are always third people to speak and decipher the language of an artist but, I would like to experience a simple and immediate way to communicate who my works are, or rather, what they say about me. I like to think that, in front of one of my works, its owner has the opportunity to mirror himself daily on it in search of new elements that grow with him because the human soul is always in evolution. And then it could be that in the work we often see something different because the mood of the observer is different. Here is why the representation of objects present in a constant way in the life and home of normal people .. Because I turn to them first, so that they can afford a little break in front of a work of art and can see through my eyes, what they have always seen but never observed.
And what about the horse or horse shape sometimes true sometimes game, metaphor of fiction that becomes reality or vice versa …. Being animals made of flesh and instinct is also a game, a game to which we humans are also subjected, in order not to run the risk of taking ourselves alone and only too seriously. But being “superior” animals because they are endowed with conscience and free will, is also a big responsibility …. we are not always up to it, and often animals (dogs or horses for example) prove to use their hearts much more than we humans. Here is the provocation of the represented hearts linked much more to the actions of the animals rather than those of the men …. I wish myself and anyone who observes these works to never stop traveling and discover new things in them. If this is the case, our evolution will be constant and we will not forget our true essence that goes beyond matter and lives in the daily rediscovery of ourselves and of the world in which we live.
Good trip to all.
WORKS ON CANVAS
When one enters Michele Fiocco’s studio for the first time, one has the sensation of crossing the threshold of time, to find oneself in a past with thin and rarefied boundaries.
Overwhelmed by colors, scents and symbols, you can breathe a dense atmosphere, pervaded by mythological and legendary elements with which the painter translates the results of his careful gaze on the human universe.
By privileging large-scale works, he breaks with his material art in the collective imagination, penetrates the archaic sacredness to convey contents of undoubted topicality, optimizing, in an expressive synthesis of great effect, the results of his existential reflections.
Fiocco, which has been painting for over thirty years, uses skill and condition to use different and refined techniques. Enamels, earth, tempera and oil on linen and jute; pencils and charcoal on paper and canvas; drawings printed on aluminum retouched with manual interventions to make them unique; also thanks to the application of various materials that expand the expressive functionality of his works.
The last works to which the artist is dedicating are particularly interesting and original; it deals with digital elaborations of drawings, sketches or photographs, printed, then, on aluminum plates. The author intervenes on each work, numbered, using different procedures; in this way, each realization becomes unique and unrepeatable.
There are elements that recur insistently in Fiocco’s works, they meet and move away following paths that are sometimes dichotomous, to emphasize the fractures present in human nature, other times unidirectional in search of unifying and optimistic connections.
When we speak of constant elements we refer, first of all, to equidae, which constitute the predominant component of Fiocco’s paintings. His horses, with their long and knotty legs stretched upwards to support heavy bulky bodies, embody the ambiguous duality of human life, sometimes fragile and insecure, sometimes coarse and insidious. This conflict seems to be confirmed also in those works in which a light-colored animal is contrasted with a black one, colors traditionally associated with the idea of good and evil, goodness and malice, peculiarities of human personality.
And here, little red hearts creep in, to mediate this disagreement, the second presence that characterizes Fiocco’s art; anthropomorphic traces that express the strength of feelings and positive emotions, essential engines of existence.
There are other human footprints to support this idea: sketches of buildings, pots of flowers and saplings the individual of rebirth and luxuriance, messages of hope for a human being that seems to have taken values and certainties to dive into the murky waters of egoism and incommunicability.
It is certainly not the randomness that moves the choices with the artist’s dentistry, but rather careful research into the depth of epochal roots. Numerous historical and literary sources characterize a horse as an emblem of human desires and tumors, a symbol of sacredness and the object of veneration in ancient civilizations, the protagonist of fairy tales and 20. I refer to the centaurs, to Pegasus, winged horse, to the unicorn , to the Iranian horse and the chthonic one and you have the numerous horses that animate the Celtic, Irish and Germanic legends.
In Fiocco’s works we find a little of these aspects. A kaleidoscope of images reflects the daily unpredictability, adversity in the joys of life; an alternation of lights, colors and figures that stimulate and invite reflection, to capture not only the naturalization of man but what this metamorphosis intends to convey, the deepest meanings attributed to it by the artist.
“Being animals in fact of flesh is also a game – the author specifies – to which we human beings are also subjected … But being” superior “animals, because they have a conscience and a free referee, is also a big responsibility … not always we are the height “.
A significant detail, which is not felt in the immediate visual impact but only after a careful and meticulous observation of the works, is the presence in many horses of a sort of glasses; they are metaphorical lenses that ask us to look beyond, not so much on the canvas as in the reality that surrounds us and of which, in large part, we are architects. It means going beyond the hedge of vague Leopardian taste, to discover new worlds, new ways of being, of relating and expressing ourselves. In this thought a further note of positivity can be seen, an atom of light that encourages our earthly journey.
To distinguish the artistic activity of Michele Fiocco and also the choice of the use of color. It tends to favor red, in all its nuances and in different intensities, an effect that loads the canvas with strong emotional tensions; but also clearly contrasting colors, such as white and black expressed in their dissonant value, while not neglecting light colors, pastel shades of pastel, the widest and most confident breath.
Alongside the large paintings, in the Verona atelier there are hand-painted vases and baked clay plates.
and some raku works, especially tiles.
These plastic works, with a linear and primitive configuration, give off an intense epic charge. They are modern realizations on which the artist, through engravings or figures in relief, imprints memories, imprints and stories of a past that is always alive and tangible.