LIGHT, fundamental characteristic of the whole job of Daniele Lorenzo Fumagalli (Milan-1957), is the title of the book taken care of by Sabrina Arosio, that describes the ample field of search on which the artist has been hocking him for some years. The edition, divided for chapters, introduces various matters, from the analysis of the innovative technique of painting to 200 degrees, that as artist of thickness imposes above all it if the technological complexity of this job is considered, to the sublimation, system that allows to transfer the image on different types of materials. The visual work fixes the shapeless one with archaic accumulations, animistic visions in which it is set us as spectators of the arcane existential mystery. In the chapter Subject the Arosio affirms: " When the subject is 'flood' the bright bundle breaks him, but since it deals with pure spirit it doesn't perish; rather it multiplies him ending up going to vivify other presences". You also introduce in the volume frame of video in which shapeless masses of colour appear that poetically they loosen him going to create of it other in movement, fortified by choices of music new germination. An elegant edition and refined that shows as the artist must encounter with the world of the ideas to the purpose of the fatiguing and fantastic search that brings him to the source. The edition also uses of an introductory text of Afro Somenzari
From Zero to Fuma
“From Zero to Fuma” is a text jointly written by the critic Afro Somenzari and the artist Daniele Lorenzo Fumagalli about his own "Glory and Misery in Art".
The book begins with a biographical note on the artist. Readers are led through his childhood years in his homeplace Bulciaghetto, alternating low attendance and results at school with the growing workload within his father’s carpenter workshop. After he finishes high school he tries to manage his father’s activity, but soon he feels he has to abandon his job to follow a dream.
His home garage is soon transformed into a creative laboratory, quickly animated by manufactured items and various artwork: “Shoes and flasks , colored cardboards, magnetic videos and turned-off lampposts, masterpieces” as Somenzari lists.
The alchemist Fumagalli uninterruptedly produces within his magic Wunderkammer, originating a bulk of apparently useless or ordinary objects which are nobilized and transformed into poetic objects through their landing into the world of art.
He makes “shot” works entitled “SparArt”, created with the help of a typical “image” of Brianza, the hunter, that through his shots brings an “acoustic life” the autumn Sundays along the river Adda banks and forests. The hen often appearing in the pictures or within the artist’s video productions recalls a pristine world, away from the technological progress, but it is a spotlight as well on the human beings stolen of their intelligence and dignity. The “whimsical” burr is perfect in its helix-like movement, dynamic spiral irradiated into space. Colored plastic forms are Fuzzy’s soul, their beauty is definitely their overwhelming irregularity.
Who can understand Fumagalli’s art without filters and prejudices better than the veal Baffo? Why can’t a goat be the author of a work-in-progress such as CaprArt, always under further elaboration and modification by an “animal agent”?
Why invent a technique which is the opposite by title and procedure to the famous “fresco”?
If Michelangelo and Raffaello became unmatchable geniuses thanks to their fresco virtuosism, Fumagalli is the father of “Accaldo”, that transfers onto the wall not solid but gaseous pigments.
“From Zero to Fuma” is concluded by a variety of testimonials, known and unknown, from housewives to his son, from the editor to an entrepreneur, to finally end with…the goat
I Isabella Maggioni
(Traduzione Liliana Rossini)