Caos

Fanara is a protean artist, whose art ranges from digital techniques to painting. Within his wide-ranging expressivity the series of paintings named “Caos” shows probably the most intense concentration of a psychic energy coming directly from the life experiences of the artist.

It is in the nature of Tachisme, term which was given by Michel Tapié in 1951 and then widely adopted, to create this extraordinary link between the mind and the hand of the painter. Tachisme aims to achieve a significative form, beyond the signifier, that can never substantiate itself in the semiotics. It is a form of psychic automatism, in which the world of images is substituted by libido-energy. I mean that the artist doesn't draw on the world of representation but on his subconsciousness. It is the only way not to alter pure energy until it becomes visible through the materials of colours and the gestures of strokes.

Earlier, Fanara also aimed to preserve the direct connection between mind and hand, namely a basic painting action, that is the expression of an almost existential need. Surely in his latest works his approach keeps on following the informal experience, that implies, in its traditional meaning, a progressive detachment from the sphere of visual and rational organization. Just in a propaedeutical sense, it encourages a further developed instinctive vision. The reality, perceived as a germinal cell, shows only its potential in psychic energy, that aims to express itself through the magic of the artistic gesture. It is clear that in “Caos” Fanara allows himself to be inspired from the obscure region of the “epithalamus” of art. His painting wants to be nothing, but itself and searches to present itself impulsively on canvas. Need, necessity and other abstract elements are to be found between the instinctual approach to determine his poetics and the capacity of making painting become a mirror, able to reflect the obscurity and the intensity of the artist's soul. After all the pursuit, Fanara attempts to find the reasons of this form of painting, although dynamics and also ultimate experimentalism are present. Painting is intended not just as a secret diary but also as a sketchbook of a psychic decline and simultaneously as an anchorage. It is a mirror, that shows chaos too. In this case chaos doesn't represent any negative value, on the contrary, it corresponds to a search, that leads to light and to clarity.

Fanara seems to prefer painting creatively inspired completely by intuition, namely a poetics of making and of allowing shape to form freely almost spontaneously but never casually. It results in a sort of incubation of what is going to disclose itself. Fanara's works are linked to his mood, influenced by emotional relationships and individual visions. These visions come from a special sensitivity, always capable to go beyond imagination. His paints are full of dynamic energy. It becomes clear observing the rotatory movement of his painting. When you are looking at his works you don't need to focus your eyes on the centre of the canvas because there are not formal values to notice. However it is important to note that his style of painting gives vitality to a total abstract signification resulting from the relation between body and soul. Fanara seems to stress, that this artistic experience is more important to him than his relation to history. The way he paints is intense and dynamic and aims at capturing the moment, in which the thought of art gives way to emotions. His powerful and dramatic style of painting is a maelstrom to be attracted to and a tool allowing you to find a door , through which you can reach a deeper and more true understanding, where details are insignificant. His style of painting goes beyond materialistic things and puts emphasis on what remains after the sublimation process of his sensitivity, namely the ultimate substance. Although senses played a significant role for the development of his psychic energy, during the creative process they are no longer present. This process draws its strength from energetic source that you are able to use only in the more difficult moments of your life. That is a typical element of Fanara's poetics. He is always able to free his expressivity and let it become art, also in very extreme situations because this process is considered to be experience and as such it becomes part of the artist's life. Then his canvas becomes a flow of lava with its thickness, volume, plasticity, organicity and chaos. Therefore: pure existence.

Valerio Dehò