Firstly, Fabrizio is a great researcher, and his inclination for culture and history of culture is a natural instinct. He is never satisfied and, burning with curiosity, he studies, collects, researches and searches for immersive situations which would allow him to understand even more and even deeper. He is always busy increasing his knowledge to complete his vision, and that is the reason he combines different elements for: classical authors and mediaeval bestiaries, myths, basilisks, hydras and dragons, theatre and science, art and music.

Fabrizio extracts from them the necessary elements to be charged with energy; with them he builds his works and generates his art. 

Secondly, Fabrizio is an experienced designer with a clean, precise and fast stroke.

But experience and knowledge, even if essential for the art, are not sufficient; they just are not enough. Something else is needed, it is necessary to go further. 

The knowledge consisting of a temporary combination of our intellect and an external subject is neither good or sufficient; knowledge is sterile if experienced as mere erudition. Our intellect must take real possession of the known things, take control of them and add them to the aware spirit as its inalienable heritage. Knowledge is defective if it does not involve other human faculties, and it becomes evasive and insufficient for human need or completeness if it is not led by action.

Knowledge must be distinguished from pure erudition which is unproductive.

In this way, every single piece of written paper risks the solitude when it is only an end in itself; the consequence can only be depletion of humanity. The culture is soul and feels the necessity to give life; it produces and generates a continuous flow, a vital stream that encourages humans to cross every barrier. The culture sets the spirit of the artist on fire.

The Big Bang happens in the library: the reader takes everything from written pages and dusty shelves: vital dust, periodic table elements as results of past lives, myths, popular legends, historical characters, past philosophers and scientists; all of a sudden here it comes the palingenesis.

This time it is the human rauch (Jewish word meaning “spirit” or “wind” as in Genesis) that animates the past and gives it a new interpretation.

Fabrizio’s work, drawings and incisions are not just representation of this baggage of knowledge and information. He surely faced art mystery as well and, as an artist, he knows that he must be careful in the innovation of himself. Fabrizio’s works are the visualisation of the cultural and biographical path of a man who faces big questions and big answers, searching for his personal position through the contemporaneity lens. Knowledge only needs the definition of a starting line: the sprint, the effort on the way and the destination are personal and unique. 

His drawings create a strong visual impact and clearly show the observer the artistic ability and knowledge of the artist. They are ready to converse with both the observer and the surrounding environment. The pieces engage with the former, while their characters seem more interested in the latter.  

The artist develops these spatio-temporal dynamics daily.

The sharing gesture of his pieces is an extended hand ready to accompany and throw the observer into a generous world that shatters the divisions between past and present, introducing a dimension that, maybe, is not new at all. It is like finding news and the old things in our cities: a routine, a habit. The cellars of the most recent buildings wherein we live are the millenary bases of previous buildings. 

Does this mean that art has the same duties of archaeology and memory? Not really; it means much more and maybe it involves the characteristics of constant and productive care. A prerequisite that needs a development: sometimes unnecessary, some others necessary.

Cotognini makes clear what is most hard and difficult for me to write and tell.