About Fabiano: the Maestro
Fabiano Amadi (Venice, 1962), of Murano adoption, went to the important school of glass maestros that across the centuries, through their work, their inventive nature and protection of their knowledge jealously guarded, have contributed to the development of artisan activities that have, in time, succeeded in renewing and finding harmony with concurrency and new applications.
Just like all arts of the last century, the art of glass has also granted its executors the possibility of working with wide margins of creative freedom and independence, characteristics that were prevented in the past by iconographic models suggested by clients and technical instructions that were not to be opposed.
This broad independence in terms of expression found its true application in a legitimately closed system, traditionally bound to the silence of a method, the art of glass that consists of rules, delicate details and gestures that are repeated identically throughout the centuries with wisdom and passed down from one generation to another.
Fabiano Amadi has conceived the art of glass as his own personal and independent form of expression, far from being declined from standard production. Therefore this vases take on different shapes, they differ in terms of style, form and colour; they now emphasis the glass density of black and then its golden transparency.
Just like many other glass experts he combines his artisan design with his artistic sensitivity, he creates from that in the opalescence of golden crystal welcome a feeling of dynamism according to a spatial conception of movement and, on the other hand, he concentrates the same peripheral forces that tend to escape, in an agglomerate of intensive black glass.
The twisted yarn vase, homage to Virgilio Guidi, the tribal vase, indicate the desire to act in a dynamic sense of shape, moving the surface with inserts that move sinuously.
Perhaps his intention is to highlight, within the limits defined by the nature itself of glass and of the limited extension of a vase, an informal poetry by overcoming the threshold of the surface in order to penetrate the surrounding space.
In the homage to Virgilio Guidi, clearly taken from the cycle of eyes, the specific characteristic of radiant light of gold is added as a complementary element to a diffusing poetry or a spatial poetry of shapes.
In opposition to the vitality of the distorted surfaces, Amadi experiments another type of current: he withdraws the material from the outside towards the centre, he portrays and freezes the expansive nature of the glass paste in order to concentrate it into single panels. In this way the black surface is extensively scattered with large tips, sometimes squashed into semi-spheres so as to represent a peripheral extension.
These vases are partial heirs of the ‘lens’ vases of Ercole Barovier or those in the shape of a mine with panels applied by Vernini based on a design by Carlo Scarpa.
In my opinion Amadi operates a synthesis between opposing extremities. On the one hand the ductility and softness of the shapes that slide towards the periphery, on the other hand it summarises the shapes in a less malleable dimension, forcing them into tidy and pungent layouts.
They are two aspects that confirm the complimentary nature of the artistic action of Fabiano Amadi and that can help us to highlight the specific qualities of his research.
Written by Michele Beraldo
