Biography of the artist “Laurian”
Artista
italoamericano. Laurian Fabrizio Cugia, nato a Roma nel 1963, dove vive e
lavora.
Tra il 1982 e
1984 collabora con la galleria La Salita
di Roma assistendo nella cura e allestimento di mostre di arte contemporanea (Transavanguardia,
Burri, Vedova, Novelli, Notargiacomo). Allievo
del pittore romano Luciano Santoro, pittore figurativo e simbolico, legato alla
linea di pensiero che vuole l’arte e vita spirituale intrecciate insieme, tanto
da coincidere nella tensione verso la libertà della (e dalla) materia.
La sua
figurazione è “mnemonica”, tesa ad indurre l’osservatore a partecipare a giochi
refrattari inconsci evocativi di un tempo dilatato, forse scomparso.
Laurian is an
artist who paints for the third eye, the intuitive, seer-eye, capable of
transcending the visible from an out of time perspective.
Laurian portraits
moments, apparently ordinary themes that pierce time. The daily day by day
becomes supreme moment, an existential
answer between the relativism of the imponderable “tempus fugit” and the
eternity hidden behind the carpe diem.
For Laurian,
the daily reveals unexpected junctions, thematic choices or evocative
suggestions in an almost fairy-tale perception of nature.
It could be
said that in his art the instant is the victim of a machination, where man possesses
the key, the Ariadne's thread to find the true meaning.
Time becomes
impalpable, a crock pot even for man himself, stretched out between the dream
of Prometheus and the burden of post-relativism.Figurativism
is far from dead. In the age of digital cameras and 3D, Laurian still allows
the eye to access beyond the visible, as if the artist, like the shaman, still
possessed the key behind the mystery hidden in creation.
With Laurian
we soon realize that the art of composition and figure, drawing and
chiaroscuro, have much better access to the ego and to dream codes than the empty
abstraction of planetary seclusion.
The art of
Laurian arouses an inevitable reference, an impalpable link between the
portrait object and the observer.
It becomes a
matter of mutual trust between the observer and the painter.
A connection
is set, for which the viewer is projected into a prism of colors in the
labyrinths of his own memory, in search, perhaps unconsciously, of things
already seen but inexorably forgotten.
