The young, promising artist masters the métier of painting in all its variations to perfection. Virtuosic in a realistic manner, he paints his subjects, but immediately spills over them, oversprays them, to rob them of perfection and make destruction a fixed part of the overall process. His pictures are grippingly striking, technically perfect between photorealism, comic, graffiti and abstraction wandering and captivate the viewer, do not let him go and pull him literally into the sometimes chaotic image events.
Thus, somewhere between realism, abstraction, comic and graffiti, a battle between order and chaos, between conservative feelings of home and destructive subculture breaks out on the canvas.
Fabrini Crisci has worked as a magician in the greatest cabarets of the world, such as Crazy Horse/Paris, Wintergarten/Berlin, Casino of Monte Carlo and MGM/Las Vegas. Recently he has started a career as a painter and illustrator, and has already edited a cartoon book in Paris, "Magicartoon"/ediçoes George Proust. In 2006, Fabrini exhibited his paintings in Monte Carlo and Prince Albert selected one of these works, which became a postage stamp of Monaco.
Fabrini shows in his paintings his world of magic and illusion. Impressions of these stages, cabarets and dressing rooms of the whole world are his inspiration. Each of his characters has its own story. His dreams, nightmares and enthusiasm for this profession are interpreted pictorially.
The relationship between man and nature is the central aspect of Michael Dohr’s work. In his often large-scale works, he addresses the merging of nature and technology. While considering this central theme, he works in an exciting alternation between abstraction and figuration. This is accompanied by deliberately contrasting pictorial elements, which are executed in a photorealistic manner, and non-representational, gesturally applied color sections. Grisaille elements that convey a metallic coolness are accompanied by bold colors and are unmistakably influenced by street art. Between the stencils, paste ups, and graffiti, the viewer can identify brushstrokes that reveal a dynamic application of paint. The paint drips and blots follow the principle of coincidence, and all the pictorial elements together evoke an emotional intensity by referencing the essential intention of street art: the disruption of public order as an indication of injustice.
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