About my presentation "Fabian Marcaccio"
Fabian Marcaccio is an Argentinian artist that has lived and worked in New York since 1986. Marcaccio earned a degree in philosophy and has carried that critical mindset into an investigation of the limits of painted space. He examines the place of craft in the digital era. Marcaccio has had numerous solo museum shows over the past decade, especially in Western Europe, as well as regular gallery exhibitions in New York and Germany. He's using variety of techniques - digital, manual (painting, textile, ctafts, sculpture). Marcaccio pushes the boundaries of the painting medium. He creates hybrid works like painting beyond the stretcher, off the wall, mixes digital, pixelated forms with crafts (rope, paint, plastic, foil, textil). He's conceptually dealing with the nature of a painting.
Interview with Fabian Marcaccio
Question: Was that when you started showing canvases that had manipulated stretcher bars?
FM: That was my first recognizable body of work in America. I called it The Altered Genetics of Painting. I was trying to create a new situation where painting would forget the reductivist period of the ‘70s and the pastiche and simulacra periods of the ‘80s. I was proposing an animated or complex or macromalist period for painting. Painting would have to deal with all of its levels of complexity from context to size to materiality and still be painting. Not just technically painting, it could involve photography, printmaking, and sculpture to become an amalgam. At that time, I used the titles Altered Genetics of Painting and Mutual Betrayal Paintings, which implied elements fighting with each other.
"There are all of these generic ways of saying that you’re going from canvas to shaped canvas or from two dimensions to three dimensions, but for me it was never about the radicality of doing those things. It was more about the paradox. Wherever you apply a limit, you have to cross that limit. Many of those paintings with the three-dimensional stretching of the canvas or running around of the stretcher bars were manipulating the surface. (...) It was more related to working the paradox that if there is a superstructure in painting, one of the most superstructural things is a drip (*a small drop of a liquid), something that just happens by chance. You have the wall that holds the whole thing. But what happens if they can relate to one another? How is it possible that a drip can understand a wall? It’s a total paradox, playing with the impossible or unpaintable side of painting. In relation to genetics, I could deal with organic matter in a totally different way, as a constructivist activity. That idea of an animated, organic constructivism is very important to me — all of my work is highly organic, but it’s also highly preconceived."Interview with Fabian Marcaccio