Ivana Fabbricino
Born in Naples in 1986. In parallel with her studies in Architecture, she dedicates herself to photography as the main means of expression. In 2014 she attended a masterclass with the Neapolitan photo-reporter Mario Spada, approaching, at first, reportage photography. She with him she participates in the 'Sangue della Madonna' workshop on the procession of the Madonna dell'Arco in Naples. In 2015 she was selected to become part of the second edition of Antonio Biasiucci's Irregular Laboratory.
Here she produces 'Inverso', a personal research project focused on self-portrait in which she focuses on the perception of the self and the search for identity through the performative body. In 2017 'Inverso' is exhibited with a collective exhibition of the Laboratory, 'Epifanie', at the SMMAVE Center for Contemporary Art in Naples, at the Galleria del Cembalo in Rome, at the Festival dell'Erranza in Piedimonte Matese and at the Arcos Museum in Benevento.
All the exhibitions were curated by Antonio Biasiucci and under the matron of the MADRE - Museum of Contemporary Art Donnaregina. In 2016 a photo of her became part of Luciano Benetton's collection for Imago Mundi Collection, a project that brings together artists from all over the world and was exhibited at the Spazio Zac in Palermo and at the MADRE Museum in Naples. Between 2016 and 2017 she was assistant to the Neapolitan photographer Vera Maone.
She currently engages in personal and commissioned research work. You live and work in Naples.
Contact: e-mail: ivanafabbricino@yahoo.it
web site: ivanafabbricino.tumblr.com
"Reverse"
Ivana Fabbricino, an architect with a long basic visual training, is anchored in the laboratory, finding a mentor and starting an introspective and patient work. The set is a dirty, deliberately neglected studio, a physically and photographically claustrophobic space.
The only protagonists of photography are the body, the objects, the stand and a lighthouse. Fabbricino works on self-portraits, with all the difficulties of photographing oneself, questioning the perception of oneself and of the image. The theatrical and cutting light makes the body material, plastic, ironizes and dramatizes at the same time. The image becomes increasingly thin, in the fire the body with its possible configurations, able to accommodate artificial extensions, in turn, wigs, a silk dress, a pair of shoes with heels.
Diametrically opposed to the female imaginary conceived by men, the work elaborates a process of liberation from mental and social superstructures, drawing on the tradition of performative and self-portrait investigation, on the one hand the experimentation of Pina Bausch, on the other the production of Cindy Sherman and Francesca Woodman.
Fabbricino's photographs are fragments of a mosaic capable of creating a bridge between the conscious and the unconscious, disrupting reality, lighting up the world of dreams, free, deformed, irrational. A mosaic that gradually settles the tension of research, reflection, analysis and liberation from the superstructures that condition thought.
In search of its own form, the image frees itself from the body, performatively represents an identity in constant change, in tune with the reflective gaze, a surreal form that blends animal and mineral, natural and artificial, like the creatures in the paintings of Hieronimus Bosch.
