Fabio Angelo Bisceglie

Biography

University Education: He studied in different faculties like Jurisprudence, Dams, Philosophy and he has a degree in Educational Science, synthesizing the various studies through a thesis on pedagogy in relation with child psychoanalysis.

Artistic Education: He studied in New York and Turin; he graduated as a performer at the Lee Strasberg Institute in NY, where he also worked as a researcher. He completed a Master in performance and research at the Michael Chekov technique studio in NY. Also, he studied pictorial and drawing the Pictor Academy in Turin.

Extended Education: He has also studied psychoanalysis on seminary at the Freudian Institute and the Ipol Antenna of Lacanian psychoanalysis, in Milan and Turin. It carries out for three years a seminar on analysis and criticism on the human psyche; he worked also in a team of psychologists and psychiatrists in a therapeutic community, where he could do research about process and art.

Artist works: Stage director Axial theater NYC -USA. Researcher at Lee Strasberg institute NYC- USA. Actor Coach Tres Artis NYC USA. Teacher and stage director of theater at Sant Paul Catholic School NYC - USA. Researcher and art-Educator at Villette therapeutical clinic VC - ITA. Work shop for the Anthropological studies of the Rutgers University of Newark with the teacher Erika Tom for the shaman researches NJ -USA. Scenographer at Tres Artist NYC- USA. Groups of steam of consciousness with Aedi group TO-ITA. Researcher and art-Educator at Aletosfera TO - ITA. Performance “EFFE a Bi-Undire ereticonell'atto” at the art gallery Weber e Weber TO- ITA. Represented as a Painter form Patrizio - contemporary Art gallery PD -ITA .Parma Art-prize ITA Paris Art-prize FRA Salzburg Art-prize AUS. Art and

Educational Group: He founded the theater company La Bottega - NYC He founded the Production company Lives-inspired - NYC He founded the art and education process Gli Aedi - Turin ITA

Artist Statement

He is an assiduous researcher as a scientist of novelties, through explorations on different artistic languages, going beyond the theater and the performative arts. He arrived as a self-taught artist in the world of pictorial and sculptural arts and then attended courses in painting and drawing at the Pictor Academy in Turin, to continue his solo treasure hunt with a guide in parallel, a Virgil called Psychoanalysis. With this, he manages to put every piece of himself to work in order to work the language that inhabits it and with art to translate the tracks into informal constructions and (out of regular road), to invent his own unique sign and style on many off-piste routes of creativity as painting, drawing, writing and reading. Jacques Lacan, a thinker who fascinated him in consonance with Jorge Borges and Francis Bacon, crowned by German Expressionism and informal art with a leap in Art Brut - all these influences contributed to a before and after, to an edification in him, which perseveres with tenacious heretical choices one after the other, more and more radical. A particular poetics: to show the unfinished, the failure, the feminine, and the knowing how to exercise oneself from the error to the new that emerges if one puts oneself into play in games that are always serious. Before coming in this world, it is possible to consider the human being as a part completely merged within a condition of gnostic plenitude. Let’s say a prelapsarian condition where language is the same things of the being. Once born, we lost a part of this completeness, and a fracture is created. This opening/fracture can be seen in the use of the language and using a particular lent to see it>> The structure: Imaginary, real and symbolic is useful to see how language is an act that is trying to solve a problem, it’s trying to recover a missing element. The urge to life, and the expression of ourselves that we all constantly need could be a reflection of this aspect. Most of the life, psychoanalytically, can be seen as a research of this lost union. Therefore, the origin and consequent fall, lead us to an eternal nostalgia for the unity in language and with language. So, language here, is the instrument and the atmosphere of our discourse, that clearly affects the reality of any life. One of the arriving point of his work in general, and especially in this exhibition (see the book with topologic form) is to show the object that entails the fracture between language and what we consider reality. The object that the artist is talking about is not made but conceived, generated by a process that is not only manual, but it also works absence. It is not a discarded or waste object, is a removed. Creation of the removed as an object of the Freudian Es. It is an attempt to relate parts of the world with the world’s parts that are usually lost in the unconscious without body. The artist proposes to give static form to this object of the removed. To reify this moment of creation.

About the works:

His artworks are a bit polymorphic and multiverse, but this is exactly how he consider the missing element of language to be. What he wants to show is very complex and trying this through painting alone may seem impossible. Showcasing parts of a non-object, his work wants to be a hyperrealism of the voice - not of the voice, but of the voices. The item is the empty object. The artist stages the multiplicity of the same voice, which takes different forms. different epistems. The different colors and layers of the paintings generate multidimensionality of meaning. There is a perceptive dematerialization, for example: the representation of a body (always mutilated) is not its voice, not even its representation. It's hearing the voices that say that body. It is the vocal body that speaks and is spoken about. Metaphor of voice and color. Metaphorical portrait of the voice to color. The object that constructs / deconstructs is the object of lack, which we try to see between the faults of the different elaborations. Multiform object, anthropology that cannot be seen, but exists. Like any paradigm or ideology, you don't see it, but it exists and it works. Like the eye, it exists, it works, it feels, but nobody sees it working. So, is the lost object of language. The viewer must speak to the picture instead of looking at it. The lack is every time different, is dynamic. It’s not a thing of the discourse, is the void where the discourse expel itself, but it’s not just the void, let’s say it’s the magnetic power of attraction that is constantly trying to stuff the walls of this void with signifiers, denoting just the significance of nothingness. It is subjective. It depends on the position of the subject. He tries to overcome the technique and overcomes it, in order to achieve a new innovative semiotic, more derived from the language of the desert of the real more that the common established reality. Asking him about his work compared with the speculation expressed by Francesco Arena says: He recalls through symbols (sign). I forgot toward traces.. He gathers.., I leave, I abandon a things that is not. That is expelled and removed and sublimated in something completely invisible, but that is there anyway. The Lack, is every time different, is dynamic. It’s not a thing of the discourse, is the void where the discourse expel itself, but it’s not just the void, let’s say it’s the magnetic power of attraction that is constantly trying to stuff the walls of this void with signifiers, denoting just the significance of nothingness. Is subjective. It depends on the position of the subject.