Poesia del Corpo, 2002 - 2004
print on wood, variable dimensions
"Qual che tu sii, perdonami (dice)
O spirito umano, o boschereccia dea
(Ludovico Ariosto, Orlando furioso, VI 26-33)
Fabian portrays dancers and develops her work on wood panels through a special technique: the panel emulsion, so the works are intentionally unstable. In the reddish wood a new shape will be revealed as a slow decal. The combination of time and space of this partially verified process is complex: we have the super imposition of the technique of painting and the plastic effect, and two visual arts in contact, photography and dance. One is dynamic, three-dimensional and ephemeral; the other a two-dimensional and corruptible movement. The rhythm in dance (culturally associated with continuity and musical value) is broken and the succession of the sound material is divided into levers, lines of body force and in inherent coordinates. Before the photo, the outer space coordinates the time; bodies that were ready to move, to release the weight, to diminish or increase the distance are now shadows which, withdrawn in a rarefied atmosphere, in a dreamlike joy, float on a gradually damaged, impalpable, distant surface and weak sounds, after leaving the space that they ruled in harmony, remembering a whole of figures amplified by the silence and the penumbra. They move backward, following the mystical marks of the metamorphosis of the flora where poplars, willows and other trees are like men and women wounded by a loss while myrrh, hazel and hazelnut serve as inspiration, but not as desired love. These motifs, where an old fable speaks of a possible world in an unlikely universe, are elements of a plot where everything fits, and whenever reason escapes us the fable returns.
The indefinite has already been the subject of complex reflections in art and literature. The unknown masterpiece of Balzac is related through a dense web. The vain pursuit of the perfect picture and signal, standing in front of the trends in the arts. Hofmannsthal walks the boundaries with education, raising the sense of form and the norm as a shield against the taboo and decadent appeal (Claudius Magris), and in the letter to Lord Chandos he is obliged to justify the literary silence of a writer surprised by the uninterrupted epiphany which leaves you amazed at the letter. Affalatus's repentant writer of the fables and mystical stories that were passed by the ancients and of which the sculptors took a great delight (P37 letter from Lord Chandos Hofmans Thal bur Bilingue). But the geometry of infinity is represented by a special coordinate system, as well as a margin in the artificial product, while indetermination predicts probability rather than certainty in opposition to the idea of ex nihilis creation and the realization of a possibility. Fabian does not clarify its concept, it leaves the physical nature of the body even without movement to surrender to the materiality of support; like fallen angels lets us see the discobulus, even if shooting up and down is unpleasant or an Adonis (of a wild mother product of an incest). It is a graft that stands between an ancient and a modern place with the nostalgic spirit of possible realization, even if indeterminate. Fabian leaves as legacy a series of synopses of the time. Someone has already worked intentionally in support and with some materials capable of changing the transitoriness and short life of the original form, however here it occurs like never before."