FABIO MASSIMO CARUSO
"THE BEAUTY, IN ART, IS NOT CONSUMED IN HASTE. IT HAS ITS TIME AND ITS PRINCIPLES THAT MUST BE RESPECTED"
Fabio Massimo Caruso is an artist (born 1954) from Orvieto, a town in Umbria, Italy. He began to draw and paint when he was very young. In the 80s, he worked in a space of the Scala Santa adjacent at the "Galleria Sala" in the city of Rome. This space was granted to him by the artist Tito (painter, sculptor, and engraver of international fame, as well as the protagonist of the renewal of sacred art in Italy). His artistic path officially launches in 1986, and since then, he has had many solos and collective exhibitions in Museums and galleries, throughout Italy.
"My work is my strength!"
As an artist, Fabio Massimo Caruso feels the need to represent with his work the time in which we live in, and the spirit within the energy that fuels it -interpreting its moods and changes with geometric forms, and the vitality that runs between textures and the plots with precious colors. Infusing in it are the personal qualities of exuberant energy, poured into a painting of tense gestural strength, through a stratification of pictorial matter which, with a long perseverance process, completely fills the space, gradually unraveling plots and weaves like pieces of an ancient mosaic. Mysterious geometries at their appearance that, tracing a path, compose a set of palpitating readability. The kinesthetic effect that flows from the composition through the connection of the signs, generates organizing an immense biological organism in continuous growth and evolution. A geographic network of signs that proceed order, keeping the route to follow, modeling shape in the progressive development. A pictorial process that in its dynamic
meets and weaves relationships with other signs, constantly creating forms, determined to travel a space without limits that fuels it, trying to interpret its moods and changes with the geometry, the intrigue of the signs, the vitality that runs between textures and the plots between forms and colors.
Q. Do you remember the first work of art that you have made? What was it and how old were you?
A. In elementary school, I was not a very attentive student, and often, my teacher reprimanded me for drawing, instead of writing down the class activities. I was very fond of such activity and my teacher gradually ended up letting me do it. My drawings were usually of cartoons and fantastic characters. But since then, they already showed an inclination towards the geometrical forms, distorting the shape to try something unusual in unnaturalness. In the unnaturalness, I was looking for balance and future forms. I did not study art, but I cannot say to be fully autodidact because at some point in my life, Tito Amodei changed it all. I remember I brought the work on paper made with ink (black and white) and he noticed my inclination towards the forms to which I wanted to find a balance, rhythm, harmony, and fullness. Tito Amodei saw in my work talent, and he immediately started me to explore my talent through daily rigorous practice in his studio. The valuable learning period was also enriched by meetings with artists,
intellectuals and art historians who in large number attended his studio. Tito, in turn, had as Master, a great character Primo Conti (Italian painter, composer, and writer), one of the last futurists. I have always found in them - in their history a great affinity, in the rhythmic and dynamic execution of their work.
Q. What does success mean to you?
A. The freedom of being an artist.
Q. In addition to making art, what do you like to do?
A. Traveling and teaching art to my six-year-old grandson, he started with me when he was two years old.
Q. If you had not chosen to be an artist, what would you have dedicated to?
Q. What does your work aim to say?
A. My main purpose is first of all, oriented to meet my search until my strength is successfully projected. Then, to "kidnap" the eye of the viewer. This way they can fully savor the ingredients that make up the painting- the flavor, the only way to make sense.
Q. What is the best advice you have been given?
A. Not to put my left hand in my pocket when I paint.
Q. What advice would you give to the next generation of artists?
A. Never stop until you become a true master.