Fabrizio Breschi, born 1950 in Livorno, Italy, is enjoying a major exhibition at FRG OBJECTS & DESIGN / ART, 217 Warren St., Hudson. He works predominately in brush acrylics with futurist themes of alienation, mechanization of society, society evolving into an abstract networking of connecting and disconnecting pipes. An ethereal glow emanates from the colors employed in his work. This is his first solo exhibit in America.
Soon after studying at Liceo Artistico and the Academy of Fine Arts in Florence, Breschi became a professor of art. A beloved teacher and respected artist, Breschi was later the youngest professor to be appointed to the painting chair at Brera Academy, Milano. Since then, he has exhibited in Italy, France, Spain, Germany, Switzerland, Greece, and the United States. In August 2017, his 25-foot metal sculpture, Grande V, was installed in central Livorno’s Piazza della Vittoria.
This exhibit features two of his main styles: his clean and deceptively simple abstract art revolving around pipes. In these paintings, designed I would say for corporate offices, he presents depth of perspective as a subtle paradox with minute gradations of color shadings. The paintings demand to be observed and meditated upon. These abstract paintings occupy the main, marvelously lit gallery room.
A smaller room presents his series of robot paintings; these have a greater variety of personal statement despite the fact they depict robots. These robots freight the irony of the human condition. For example, there is a haunting depiction of a baby robot being neglected in a middle-class crib. The delicate degree of desolation stamps this work as a masterpiece.
The painting of two robots, ironically entitled “Romantic Dinner,” consuming junk food sloppily freights amusing differences. The robot on the left is male: ever so-slightly taller with a deeper shade of color and less empathy in his eyes—this robot is just as wasteful as his female companion with her slightly more compassionate eyes. The slimmest of lines in the painting is actually the focus point: a crescent new moon born to watch (and rebuke) a dehumanized society oblivious to Nature.
About the robot series Breschi has said: “I amused myself depicting the human race in the guise of robots, adding a surreal note to observed daily activities. I sought to glimpse the ultimate destiny of a technological society.” Despite his mechanical themes, Breschi displays an authentic affection for tranquil beauty.
A recent self-portrait, “Prisoner of Love,” depicts a robot sporting a huge yellow heart that appears to humanize the robot in a transcendent manner. There is one example of his style of personalized paintings that he creates for friends where he sets a large bold alphabet letter in a surreal landscape that offers hints about the personality of a friend. Archaic stones remain the hallmark of this series and the stones portray the subject’s soul. The one displayed is “A,” yet he may have a complete alphabet.
At the cordial opening I chatted with Tony DeMattia of The Italian Center in Poughkeepsie. Noted artist Fausta Pesarini was also there, as well as Parisian philanthropist Phillipe Lerch, co-founder of Surgeons of Hope, which performs advanced heart operations in third-world countries.
This remarkable exhibit runs through November. Breschi is currently featured in Main Street magazine (out of Ancramdale). His website features examples of his work. Yet photographs of artistic work remain suggestions: seeing is beleiving in this case. Warren Street in Hudson is a stroller’s delight with its many cafes, bars, antique emporiums, unusual shops, and good restaurants.