(Verona 1977 -)
BiographyMarica Fasoli was born in Bussolengo (Verona) in 1977. After obtaining the diploma of Master of Art at the Verona State Art School in 1995, sect. Accademia, in 1997 specializes in Conservation and Maintenance of artistic artifacts on wood and canvas with honors at the Santa Paola institutes of Mantua.
In 2006 he specialized in Artistic Anatomy at the "Cignaroli" Academy in Verona where, from the 2016/2017 academic year, he was a lecturer in the free course of hyper-realistic painting.
In the first few years after graduation, he matured a considerable experience in the restoration of ancient paintings, leading her to further refine her painting technique: among the main paintings of the school of Titian, paintings by Jacopo Bassano and Cignaroli, as well as school frescoes Giottesca damaged by the earthquake in the Basilica of Santa Chiara in Assisi.
Since 2002 he gradually abandoned the activity of restorer, devoting himself more and more to the main passion, painting, and measuring himself above all with reproductions of the masterpieces of the past, also obtaining numerous certificates of esteem and recognition in the local press.
Since 2006 he has embarked on an autonomous path that leads him to concentrate his expressiveness and artistic research in the hyper-realistic figurative context.
Since 2016, his inexperienced experimentation has led her to detach herself from a figurative and didactic representation of reality to focus her research on a process of creation / destruction focused on the manual construction, in many cases decidedly complex and laborious, of origami, they which, after being made, are "deconstructed".
The original and elaborate architecture, made up of a complex and laborious manual construction of folds, which characterizes origami is deconstructed by Marica Fasoli: the artist, after having made them, unfolds the paper on a two-dimensional surface, underlining with touches of painting the intricate lattice of lines and angles, the morphology of the texture of lights and shadows, defined by the chiaroscuro reflections of the reliefs, created by the folds of this oriental practice of delicate refinement.
Or reproduces the plastic and three-dimensional consistency of the origami in its shape in the texture of signs, structural and compositional lines that the bending has left imprinted on the now relaxed paper, painting them in oil on canvas, with a calligraphic and descriptive technical virtuosity in the rendering of phenomenal reality that derives from its specialization in Artistic Anatomy and from the experience in the restoration of ancient paintings, among which the frescoes of the Giotto school damaged by the earthquake in the Basilica of Santa Chiara in Assisi.
Origami is a metaphor, in Japanese culture, of the perennial regeneration of the life cycle in nature, as well as of the process of artistic creation, as well as being considered a benevolent practice, source of prosperity and joy.
Overcoming the purely formal and aesthetic aspect of the didactic reproduction of reality, of the hyperrealistic mimesis that characterized his early works, as a natural evolution of his pictorial experience in conservation and restoration, the artist's works are loaded with profound suggestions, unveiling, in the realistic representation of the linear plot produced by the folds on the paper, also the existential implications of his soul, his inner construction that is substantiated in an accidental geometry, dictated by the pleats and perennially suspended between mimesis and abstraction; a geometry that, sometimes, the artist loves to liven up, surmounting it with linear
sequences of marked chromatic shades, in order to underline the optical dynamism of the surface.
The structuring of the linear segments is developed proportionally, according to the logic of the progression of numbers in the Fibonacci sequence, which progressively approaches the Fidia constant, the golden section or divine proportion, whose mathematical-geometrical properties also characterize many existing configurations in nature.
Here then the abstraction of Marica Fasoli does not proceed to the schematic reduction of reality to a synthetic composition of forms, but prefers, using mimesis as a means of pictorial rendering, to focus on a detail of reality, analyzing it analytically, almost didactically and extrapolating it from the network of relationships that it maintains with the surrounding environment.
The artist suddenly brings him to an elucidating evidence, the cloak of an "aura", clearly defining a structured composition on the infinite spatial constructions created by chance from the paper of the origami stretched or painted, pattern of extraordinary plastic volumetry, composed of intertwining lines, marked by the always different hand pressure on the pleating, thickened by the depth of the incisions, left by the energy impressed by the hand to the strength of the paper.
The paper then becomes a sort of geographic map where the traces of the folding process that has undergone transformation into origami unfold and are defined, as well as the physiognomic features of a face, the wrinkles, the thickening of the skin are evidence of the lived life from a man.
But the origami of the artist is deconstructed, unfolded, the process of his birth is rewound backwards to reveal his purest essence, his soul, as well as the infinite perpetuation of the cycle of life and death. As the artist himself says: "... paper, with its extreme fragility and complexity, represents the end of things, aimed at a continuous rebirth."
Often his origami "had" the shape of animals, to evoke the cranes folded by Sadako in Japanese legend, become a symbol of immortality ... and the headlines remind him to the viewer: Donkey, Crane, Unicorn, Dog, Lemur, Nautilus, Basset hound, Angel...
The vital process of perennial regeneration of the shape and the experience of the paper leads us to think that in his soul there is a divine spark, that which the Greeks called Psyché, grafted into a body (Soma) that, permeated by it, by the breath of life generated by a divine or supernatural entity, it turns into pneumatikon spiritual matter, that is, the paper by Marica Fasoli, evocative, in its plots, of inifinite suggestions.
The artist has always been interested in the ripples and crumplings of paper as raw material, even the fabrics of clothes that evoke the presence of a body within them (invisible people), but above all of the paper as an envelope of "other", pervaded by the energy of the content and characterized, animated by its memory.
In fact, before devoting himself to origami, the artist aimed at the realistic rendering of the wood grain, the porosity of the cardboard boxes, the surface of the packs (3D boxes) as the primary interface of an object with the world.
With origami his hyperrealism contaminated by pop ideas has finally reached its full maturation, becoming the main means of a process of conceptualization, of profound reflection on the instruments of artistic research, capable of unsuspected metamorphosis, as, indeed, the paper, from always used as a simple two-dimensional support for printing, writing or drawing.
Marica Fasoli has finally managed to open it to a more profound dimension. Text by Guendalina Belli, Ivan Quaroni and Luca Beatrice