Born in Naples in 1986. While studing in Architecture at the University of "Federico II" in Naples she slowly get interested in photography deciding later to fully dedicate her time to it. Starting in the field of reportage, following several workshop with Mario Spada. In 2015 she was selected to take part to the second edition of Laboratorio Irregolare , the indipendent masterclass held by Antonio Biasiucci, in which she is developing a project on the self portrait, examining in depth the study of the body and the female identity.
Valentina De Rosa
Ivana Fabbricino, architect with a longstanding visual education, she clung to the LAB, where she found a mentor and started an introspective and patient work. The set is dirty, deliberately shabby, a physically and photographically claustrophobic space. The sole protagonists of the images are the body, the objects, a stand and a light. Fabbricino works on the self-portrait, with all the obstacles that come from photographing oneself, challenging perceptions of the self and of the image. The dramatic and oblique light makes the body material, sculptural, it satirises and dramatises at the same time. The image is stripped to the bone, the body in all possible positions in the fire, welcoming artificial extensions, alternately a wig, a silk dress, a pair of high-heeled shoes. Diametrically opposed to the image of femininity as conceived by men, the work is based on a process of liberation from social and mental superstructures, inspired by the tradition of performative self-portraiture, on one hand Pina Bausch’s experimentations, on the other the artistic production of Cindy Sherman and Francesca Woodman.
Fabbricino’s photographs are chips in a mosaic that allows for the creation of a bridge between the conscious and unconscious mind, disrupting reality, kindling a free, misshapen, irrational dream world. A mosaic that progressively builds upon the tension of exploration, the mirroring, the analysis and liberation from superstructures which condition the mind. Searching for its own shape, the image gets rid of the body, it performatively showcases a constantly changing identity, in tune with the reflexive gaze, surreal shape, that blends animal and mineral, natural and artificial, like the creatures in the paintings by Hieronimus Bosch.