Fabrizio Cotognini, Kronos e Kairos, i tempi dell'arte contemporanea, installation view, 2019
Fabrizio Cotognini, Reversed Theatre, installation view at Fondazione Sandretto Re Rebaudengo, 2018
Fabrizio Cotognini, Reversed Theatre, installation view at Fondazione Sandretto Re Rebaudengo, 2018
Fabrizio Cotognini, Reversed Theatre, installation view at Fondazione Sandretto Re Rebaudengo, 2018
Fabrizio Cotognini, A true story full of lies, 2018
Fabrizio Cotognini, No Monster's Land, 2018, 250 X 80 cm, Biacca and gold on black french paper and artist book, installation view at Manifesta
Fabrizio Cotognini, No Monster's Land, 2018, 250 X 80 cm, Biacca and gold on black french paper and artist book, installation view at Manifesta
Fabrizio Cotognini, No Monster's Land, 2018, 250 X 80 cm, Biacca and gold on black french paper and artist book. Detail
Fabrizio Cotognini, parallelo 42, giardini 2
Fabrizio Cotognini, parallelo 42, giardini 4
Fabrizio Cotognini, parellelo 42, giardini
Fabrizio Cotognini, Wings of desire, 2017. Red pencil, biacca, gold, ink, pencil and Mylar on original 1700 etching and black paper, 65 cm x 78 cm
Fabrizio Cotognini, And why do you worry about clothes? 2017, red pencil on mylar, 50x70cm
Fabrizio Cotognini, Europa, 2017, biacca, blue pencil, red pencil, copper and Mylar on original 1700 Etching, 58 cm x 48 cm
Fabrizio Cotognini, Otto studi sui teschi, 2014
Fabrizio Cotognini, Otto studi sui teschi, 2014
Fabrizio Cotognini, Darwin, 2019, drawing on etching, 50 x 70 cm
Fabrizio Cotognini, Belisario, 2020. Pantone, ink, biacca, watercolor, pencil and Mylar on original XVIII century etching, 75x85 cm
Fabrizio Cotognini, Orazi e Curiazi, 2020, pantone, ink, biacca, watercolor, pencil and Mylar on original XVIII century etching, 65x85 cm
Fabrizio Cotognini, The Saturday, Tribute to Abraham Joshua Heschel, 2020. Pantone, ink, biacca, watercolor, pencil and Mylar on original XVIII century etching, 65x85 cm
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Fabrizio Cotognini

Fabrizio Cotognini was born in Macerata in 1983, lives and works in Civitanova Marche.

Characterized by a constant reference to the ancient revisited in a contemporary context and by the privileged use of drawing, a key element of a research that also makes use of new possibilities and new media, Fabrizio Cotognini's work captures within it various declinations of the archaeological horizon and the historical-artistic. Time, memory and history are, in his research, majestic figures, turned upside down, twisted or curved into a scenic apparatus aimed at suspending stability. It is a discourse where the word merges with the image in a close dialogue between sign, design and writing that becomes a place of contemplation and, at the same time, of reflective concentration. But also apparent - and only apparent - a side note reminiscent of the intimate delights of an ancient book. Even a late-gothic miniature or a rare decoration that reveals the scrupulous care for every single detail.

“My artistic research is based on a contamination process conceived as a matter of interactions, trepassings and fusions between images and word-sign. Through this I want to create new icons using cautiously a “verbal painting” idea: with words, colors, architectures, pictures and maps I’m trying to force the image into imagination. Thanks to this contamination forms are then changing and developing in an construction process. The verbal element with is physical presence doesn’t exist anymore in the sense we know: no more descriptive, in my works it becomes structure architecture. The aim of my work stays then in the link between writing and anti-writing.” F.C

www.fabriziocotognini.com