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2:23
Fab3's Floating Red Multi media Installation Buzzing, Barcelona, Spain, 2007. Images are from fab3 digital painting - www.fab3****
19 Jun 2008
258
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2:23
Fab3's Floating Red Multi media Installation Buzzing, Barcelona, Spain, 2007. Images are from fab3 digital painting - www.fab3****
19 Jun 2008
224
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1:19
The Modern Football Player (2007) Modern Football Player represents the fashionable, current way football players are seen by people. They are considered to be the new Gods; leaders whom to follow and copy. Focus of this installation, definitely severe and boundary-setting in its communication, is to draws a parallel between religion, more specifically Catholicism and modern, somehow distorted- sports leading figures. As the football player, contemporary icon and god-like figure, raises the ball above his head to signify his control over as well as his possession of it, and his glory over success during public exposure, so does the priest raise above his head the holy wafer during the consecration liturgy, to indicate the strength he absorbs from a power not everyone can partake in, the apogee of his divine sharing. Control lays in the hands of the chosen few, who can act as entertainers, guides, icons, figures into which everyone can project their frustrated narcissistic phantasies of omnipotence and glory, of being part of an elite, of being extolled for their much envied uniqueness. In Church, as in the stadium, Fab3 suggests that one can bask for a while in the spotlight/divine light of those who are above, unreachable, those who cannot be antagonised but are there to impose an agonising standard, not to be reached but to be feared. Like paternal figures, seductive, potent, powerful, yet castrating, football player and priest cannot but be celebrated, thus relieve those in their presence of either their inferiority concerns or of their own fantasies of divine rule over others. The spectators/church-goers are stripped of their individuality by being portrayed through stick-figures, smaller in size, naked of any humanity, standing begging for meaning, for the glorified father to blow the air of life into them, to acknowledge their right to existence. Partaking in one's glory makes them glorious, protects them from the potential fury of those who seem so overpowering. Being their admirer secures a VIP ticket to "heaven". The spectators/believers are there precisely in order to highlight the divinity of the superhuman, whom they both envy, desire, need, and fear. There is no real relation between spectators and the superhuman figure of the football player, other than a fantasy net, knitted for different purpose on each side, to support the distance between them. The crowd needs to be hypnotised, for no other state of mind could tolerate that segregation. They, football player and priest alike, have access to the divine mother, the super-model wife, the wealth of glory, fame, and paradise. Here the phrase "if you can't beat them, join them" best describes the committed disavowal of one's own uniqueness and placement of it on a figure outside the self that can be safely loved or hated, act as a protector, entertainer, or demagogue. The interdependence of crowd and superhuman figure is astounding, as is the understanding that one can be on either side. Fab3 brings us through this installation to the peeping hole that offers view to our own relationships, public and private, sexual and political, religious and racial, familial and social.
7 Jul 2008
743
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0:53
The Modern Football Player (2007) Modern Football Player represents the fashionable, current way football players are seen by people. They are considered to be the new Gods; leaders whom to follow and copy. Focus of this installation, definitely severe and boundary-setting in its communication, is to draws a parallel between religion, more specifically Catholicism and modern, somehow distorted- sports leading figures. As the football player, contemporary icon and god-like figure, raises the ball above his head to signify his control over as well as his possession of it, and his glory over success during public exposure, so does the priest raise above his head the holy wafer during the consecration liturgy, to indicate the strength he absorbs from a power not everyone can partake in, the apogee of his divine sharing. Control lays in the hands of the chosen few, who can act as entertainers, guides, icons, figures into which everyone can project their frustrated narcissistic phantasies of omnipotence and glory, of being part of an elite, of being extolled for their much envied uniqueness. In Church, as in the stadium, Fab3 suggests that one can bask for a while in the spotlight/divine light of those who are above, unreachable, those who cannot be antagonised but are there to impose an agonising standard, not to be reached but to be feared. Like paternal figures, seductive, potent, powerful, yet castrating, football player and priest cannot but be celebrated, thus relieve those in their presence of either their inferiority concerns or of their own fantasies of divine rule over others. The spectators/church-goers are stripped of their individuality by being portrayed through stick-figures, smaller in size, naked of any humanity, standing begging for meaning, for the glorified father to blow the air of life into them, to acknowledge their right to existence. Partaking in one's glory makes them glorious, protects them from the potential fury of those who seem so overpowering. Being their admirer secures a VIP ticket to "heaven". The spectators/believers are there precisely in order to highlight the divinity of the superhuman, whom they both envy, desire, need, and fear. There is no real relation between spectators and the superhuman figure of the football player, other than a fantasy net, knitted for different purpose on each side, to support the distance between them. The crowd needs to be hypnotised, for no other state of mind could tolerate that segregation. They, football player and priest alike, have access to the divine mother, the super-model wife, the wealth of glory, fame, and paradise. Here the phrase "if you can't beat them, join them" best describes the committed disavowal of one's own uniqueness and placement of it on a figure outside the self that can be safely loved or hated, act as a protector, entertainer, or demagogue. The interdependence of crowd and superhuman figure is astounding, as is the understanding that one can be on either side. Fab3 brings us through this installation to the peeping hole that offers view to our own relationships, public and private, sexual and political, religious and racial, familial and social.
7 Jul 2008
808
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2:36
Video clips recorded during Fab3's Floating Red Multi media Installation Buzzing, Barcelona, Spain, 2007. Images are from fab3 digital painting - www.fab3****
7 Jul 2008
293
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0:22
Fab3's Floating Red Multi media Installation Buzzing, Barcelona, Spain, 2007. Images are from fab3 digital painting - www.fab3****
7 Jul 2008
827
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0:33
Fab3's Floating Red Multi media Installation Buzzing, Barcelona, Spain, 2007. Images are from fab3 digital painting - www.fab3****
7 Jul 2008
917
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0:52
Fab3's Floating Red Multi media Installation Buzzing, Barcelona, Spain, 2007. Images are from fab3 digital painting - www.fab3****
11 Jul 2009
2684
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2:26
I love this....Lovely and calm place is this countryside, isn't it? Maybe common and boring?... Not for everyone I believe. Just have a look! Video Installation. Music by Fab3 www.fab3**** infofab3****
1 Dec 2009
1228
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3:34
Digital Lights: The yellow Forest 2008. Multimedia installation Zerologico Gallery, Milan, Italy for MiArt -International Art Fair 2008.
19 Jun 2008
195
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3:04
The Yellow Forest, Installation as wallpaper design for Janelli&Volpi, Milan, Italy for I Saloni, International Furniture Fair 2008
19 Jun 2008
399
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1:49
The Yellow Forest, Installation as wallpaper design for Janelli&Volpi, Milan, Italy for I Saloni, International Furniture Fair 2008
19 Jun 2008
457
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1:58
This installation, a mixture of photographic material as well as different other materials and tools makes the connection and provides the link between the artist, builder, performer and his/her audience who comes to revel in, enjoy, or even destroy the fruits of the worker's labour. A builder will use, mix, apply, and arrange material in a way as to create something gold. Gold here represents the finalised outcome of long labour and evokes in the mind images of an unrefined, unworked metal that only becomes gold when shaped, melted, cleaned away by "debris" given meaning by artistic, commercial, emotional, communicative or other intention; an outcome though that will very much depend on it's viewer/recipient. The messy skeleton and platform of the building and the roughness of the workers, a scenery set against a green and peaceful environment, shows precisely the process of making something new out of materials already there and making it such so that it stands without it's makers physical presence. Like an artist that first creates and later separates from his work to leave it to others to use and make meaning of it, so the builder leaves behind a house to be made a home or even to turn to ruins if that is what users will make of it. The gold is in the making as well as the receiving; it lies in the intention of creation which cannot stand without the intention in the use, the interpretation. It is the interchange of the two that creates the ever-changing outcome, the gold, and renders it organic rather than cold. The viewer, like the future inhabitant of the building structure, is left outside the "building site" but is invited to participate in the meaning of it, leaving always the maker in complete solitude.
7 Jul 2008
450
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1:27
Video clip for: Digital Lights- The Yellow Forest. Multimedi
7 Jul 2008
413
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2:26
Video clip for: Digital Lights- The Yellow Forest. Multimedi
7 Jul 2008
475
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