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Outlands by Tommaso Fattovich
$8,200
£6,198.25
€7,109.65
CA$11,431.14
A$12,443.73
CHF 6,605.13
MX$149,724.80
NOK 83,696.04
SEK 76,689.22
DKK 53,094.45
About the Item
Outlands, mixed-media. By Italian artist Tommaso Fattovich. Mixed-Media, signed bottom right corner.
Tommaso Fattovich was born and raised in Milan, Italy and he currently resides in Florida. His work shows a passionate intensity and spontaneity, focusing on brush strokes and use of canvas. Each painting is tied together by a unifying sensory theme of rusty, aged and destroyed surreal environments. His distinctive abstract mixed media on canvas captures fragments of landscapes and pieces of sky as if broken by time and elements. Each piece engages an internal conversation between painting and viewer; one that is personal. Ultimately the goal is to make an emotional connection that can be continually redefined by the viewer.
- Creator:Tommaso Fattovich (Painter)
- Dimensions:Height: 60 in (152.4 cm)Width: 48 in (121.92 cm)Depth: 1.5 in (3.81 cm)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:2018
- Condition:Wear consistent with age and use. New.
- Seller Location:Los Angeles, CA
- Reference Number:Seller: PGD13061stDibs: LU818832797862
Tommaso Fattovich
Tommaso Fattovich is an Italian abstract painter who deploys the Surrealist strategy of automatism to create raw, layered, emotive works that convey feelings of desolation and decay. He lives and works in Delray Beach, Florida. Works by Fattovich are in many private collections.Recent exhibitions include the Boca Raton Museum of Art, Art Boca Raton – International Art Fair, Coral Springs Museum of Art, Miami (Red Dot Art Fair, Art Wynwood, Eighteen: The Most Influential Emerging Artists - Blink Group Fine Art Gallery), Los Angeles (Downtown LA Art Show), and New York (AB Gallery). Fattovich calls his style Abstract Punk. He deliberately rejects traditional techniques in lieu of brut art strategies. Painting with a mixture of oils, acrylics and other mediums on large-scale canvases, he uses his hands and other tools, like plaster trowels and forks, adding rough textures and dimensions to his surfaces. “I use whatever I can use to make that mark,” he says. “It’s not even a brush stroke.” His compositions evolve according to a subliminal process in which he responds viscerally to the colors, layers, lines and shapes, coaxing each composition along until it reveals itself to him as being finished. This, he says, is the most rewarding part of the artistic process: discovering the moment when the work has become “what is was meant to be” then connecting with a viewer who responds to the work.
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