Fabrizio Korfu
Fabrizio Bidoli in art Korfu was born in Palmanova, in the province of Udine, in 1963.
His artistic training took place in part in the paternal workshop of painting and engraving, attended by some of the greatest Friulian artists of the twentieth century.
From self-taught, since the 1980s, he has experimented with various pictorial and graphic techniques in media and heterogeneous materials. From plastics to fabrics, to more traditional forms on canvas, but always with a marked and decisive expression of the expressionistic matrix, in the quasi-matrix of the surrealistic sign, in the dreamlike and metaphysical dimension that pervades most of its productions. This, over time, forms itself within an expressive polyhedricity, creating a production of art objects, lamps, canvases and plexiglass works, all of which are strictly the result of a creative fantasy to trigger the ‘ Within the material itself, the figure of a semantics of the sign marked by expressive vigor and the diffused polychrome of the forms. Thus, in a stylistic periodization, objects of common and functional use, all marked by a well-defined and identifiable personality, where the expressive gesture and the figure of color intersect in an emotional vibration that tends to the recovery of the forms and styles of a twentieth-century matrix that can have like certain mentors, the names of Dalí, Savino, Max Ernst, as archetypal points of reference and symbolic acts from which to start. But it’s not a cloning of archetypes but much of a feeling of affinity within stylistic paths that always come to overtaking the objective data, for a happy blend between the experience and in the color and strength of the graphome, the symbol of almost gestational gesture, the iconological determination of appearance and the dream. Opened works, which declare their membership on several interpretive sides, modulated surfaces by tracts of rare and intense expressive vigor, metaphors, would say, of a substantial strangeness towards the most famous and beaten paths, in search of the unprecedented and of the ‘ Unpredictable, the trace that leaves “trace” in the relationship between text (whether it is a canvas, a plastic surface or a fabric …) and an icon, between the surface picta and interpretative history, between the emerging surface and the dialog of the signs.
Discover contemporary artworks by Fabrizio Korfu, browse recent artworks and buy online. Categories: contemporary italian artists. Artistic domains: Digital Arts. Account type: Artist , member since 2022 (Country of origin Italy). Buy Fabrizio Korfu's latest works on Artmajeur: Discover great art by contemporary artist Fabrizio Korfu. Browse artworks, buy original art or high end prints.
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Cogli la prima mela • 2 artworks
View allUna sorta di ricerca e dialogo senza fine con e dentro noi stessi; una possibilità di rendere visibile l'invisibile, di vero il reale e quotidiano il fantastico.
Le opere recenti • 8 artworks
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The artist has won prizes and awards
The artist participates in art shows and fairs
Exercises the profession of artist as a main activity
Biography
Fabrizio Bidoli in art Korfu was born in Palmanova, in the province of Udine, in 1963.
His artistic training took place in part in the paternal workshop of painting and engraving, attended by some of the greatest Friulian artists of the twentieth century.
From self-taught, since the 1980s, he has experimented with various pictorial and graphic techniques in media and heterogeneous materials. From plastics to fabrics, to more traditional forms on canvas, but always with a marked and decisive expression of the expressionistic matrix, in the quasi-matrix of the surrealistic sign, in the dreamlike and metaphysical dimension that pervades most of its productions. This, over time, forms itself within an expressive polyhedricity, creating a production of art objects, lamps, canvases and plexiglass works, all of which are strictly the result of a creative fantasy to trigger the ‘ Within the material itself, the figure of a semantics of the sign marked by expressive vigor and the diffused polychrome of the forms. Thus, in a stylistic periodization, objects of common and functional use, all marked by a well-defined and identifiable personality, where the expressive gesture and the figure of color intersect in an emotional vibration that tends to the recovery of the forms and styles of a twentieth-century matrix that can have like certain mentors, the names of Dalí, Savino, Max Ernst, as archetypal points of reference and symbolic acts from which to start. But it’s not a cloning of archetypes but much of a feeling of affinity within stylistic paths that always come to overtaking the objective data, for a happy blend between the experience and in the color and strength of the graphome, the symbol of almost gestational gesture, the iconological determination of appearance and the dream. Opened works, which declare their membership on several interpretive sides, modulated surfaces by tracts of rare and intense expressive vigor, metaphors, would say, of a substantial strangeness towards the most famous and beaten paths, in search of the unprecedented and of the ‘ Unpredictable, the trace that leaves “trace” in the relationship between text (whether it is a canvas, a plastic surface or a fabric …) and an icon, between the surface picta and interpretative history, between the emerging surface and the dialog of the signs.
- Nationality: ITALY
- Date of birth : 1963
- Artistic domains: Works by professional artists,
- Groups: Professional Artist Contemporary Italian Artists
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All the latest news from contemporary artist Fabrizio Korfu
1758 Venice Art Studio
Venezia
Sabato 23 luglio la galleria 1758 Venice Art Studio presenta una nuova mostra collettiva intitolata “Trasfigurazioni”, con le opere di Fabrizio Bidoli, in arte Korfu, Carlo Alvise Crispolti, Vania Perale e Oscar Guglielmo Romanello.
Il titolo della mostra si riferisce al repentino cambiamento di prospettive e linguaggi che si susseguono nel percorso espositivo. Dalla matericità all’astrattismo, ed ancora alla figurazione, questo mutamento è visibile nelle opere osservate nel loro insieme, ma in particolare nella produzione di ciascun artista. Forme non definite e sinuosità, le opere presentano un continuo mutare di colori ed emozioni. Infrangere le regole dei confini e dei contorni è il paradigma che accomuna la trasfigurazione intima di questi artisti. Valicare il limite della propria umanità per divenire un tutt’uno col proprio inconscio, senza mai frenarlo.
Classe ’63, originario di Palmanova, Korfu sperimenta lungo la sua carriera diverse tecniche e supporti, che caratterizzano la sua formazione da autodidatta. La sua produzione di matrice espressionistica con un segno spiccatamente surrealista dà vita a opere eterogenee e aperte, soggette a diverse interpretazioni.
Il dialogo che si crea tra la superficie e i segni presenti sulle tele porta il ricordo di alcuni grandi pittori del Novecento, creando un forte impatto emozionale nello spettatore.
Korfu
Per comprendere i dipinti di Fabrizio Bidoli è necessario anzitutto lasciarsi catturare da quello stream of consciousness che li anima dal di dentro, portando in superficie il processo di elaborazione di pensieri e percezioni di cui rappresentano l’intima essenza. Si tratta di un monologo interiore che affiora lentamente dal fondo indistinto dell’immagine e si rapprende, ad un livello superiore, in un viluppo di forme solo in apparenza indistinte, ma che ad un’osservazione attenta ed analitica si rivelano come oggetti, volti e figure costituenti, ad un tempo, l’immaginario dell’artista e il filtro attraverso il quale egli decanta e interpreta la realtà circostante.
Benché la sua formazione sia quella di un autodidatta, Fabrizio Bidoli trae gli elementi del suo linguaggio espressivo dalla più accreditata tradizione pittorica del passato, innestandoli su una struttura compositiva che gli deriva direttamente dalla cultura grafica del fumetto. Dallo sfondo di lontana ascendenza informale, ribollente di materia cromatica, l’artista fa emergere, a tratti, la componente segnica e razionale delle proprie visioni oniriche, con un intreccio di linee che configura l’immagine di un mondo futuribile e surreale ancora di là da venire, ma ben presente nell’immaginazione del suo artefice quale proiezione dei suoi più intimi desideri. Realtà e irrealtà si fondono e si confondono così in questi dipinti che, rifiutando ogni narrazione logica e consequenziale, si propongono semplicemente quali elementi di congiunzione tra la sensibilità individuale dell’artista e lo sguardo particolare dello spettatore, nel tentativo comune di creare uno spiraglio immaginativo che ci permetta di riscattare la materialità troppo spesso sterile della nostra limitata esistenza terrestre.
Vania Gransini
Vania Gransinigh, dottoranda in storia dell'arte presso l'Università degli Studi di Udine, vive e lavora a Udine. Si è occupata di storia della pittura e della scultura italiane tra Otto e Novecento. Nel 2007, con Gilberto Ganzer, ha pubblicato presso l'editore Alfieri di Milano la monografia su "Michelangelo Grigoletti", uno dei maggiori pittori italiani dell'Ottocento e il volume su "Darmo Brusini". Attualmente sta conducendo una ricerca sui rapporti tra scultura monumentale ed irredentismo a Trieste e nel Litorale nell'ultimo periodo della dominazione austriaca (1866-1919).
Visibili l’invisibile
Ricerca dialogo senza fine
Parlami dei campi e delle giornate di vento
Sottomarino
Korfu
In each of my works you can see the fusion of graphics and painting. The union of these elements is harmonious. The decisive element that refers to symbols and meanings: it means expressing and communicating pure energy that contrasts with silence, pause. Painting is what reveals the real in its subjective and dreamlike aspect.
Graphics and painting blend harmoniously.
In my works the graphic sign takes on its decisive connotation and refers to a plurality of symbols and meanings. It is a question, from time to time, of expressing and communicating energy in its pure state or a sort of pause, of suspension that refers to traces to be discovered or veiled, over time, in the cyclical nature of expectations, in the written dimension in which our existences. Painting is an elsewhere, a disenchantment that reveals and reveals the possibility of reality, in a subjective, dreamlike dimension, where our steps trample, naked, the echoes of our interiority.