Giovanni Faccioli - Untitled

The "Still Life" genre emerged in the early 17th century. It consisted of the depiction of compositions of inanimate subjects, most often flowers or fruit. While initially it was an opportunity for painters to experiment with a naturalistic or photographic reproduction of reality, with contemporary art the "Still Life" also became a way of interpreting reality. Indeed, as happened, for example, in the Cubist avant-garde or in Giorgio Morandi, the in-depth exploration of objects was aimed at a conceptual representation, taken beyond the mere sensory element. Given the very nature of Giovanni Faccioli's painting, the "Still Life" represented an appropriate research tool. The arrangement of concrete objects in a concrete space, in fact, constituted a perfect stimulus for those who, like Faccioli, based their pictorial language on a formal guise of geometric purism.

This work is particularly interesting for appreciating how Giovanni Faccioli's exploration of the "Still Life" genre also moves in directions other than an exaltation of form and geometry. Indeed, in this case, we witness, almost paradoxically, the reverse process: a profound effort at synthesis that reduces objects to their essentials. However, we can see that Faccioli's purist nature is in no way denied: even in this minimalist style, in which the objects and the surface on which they rest are constructed with a few light, impalpable signs, we can sense the structure of things and their concrete presence. Indeed, drawing on the profound research conducted by masters like Giorgio Morandi into the "Still Life" genre, the reduction to the essential makes the objects even more alive, imbuing them with existential vibrations.

Giovanni Faccioli was born in Colognola a Colli, in the province of Verona, in 1942. From a young age, he trained with the engraver Dante Broglio, learning life-reproduction techniques and a passion for figurative art. His long exhibition career began in 1997 with a long collaboration with the Kass Gallery in Innsbruck. He has subsequently held several solo exhibitions, both in Italy and abroad, especially in Austria, Germany, and Luxembourg. He has always been acclaimed by critics and the public, and his works are held in public and private collections. Giovanni Faccioli's artistic practice stems from a profound study of 14th- and 15th-century Italian art, particularly that of Mantegna and Piero della Francesca, expressed through a strongly metaphysical contemporary sensibility.

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