piccola storia in inglese
MOROF (Fabio Moro b.1972) lives and works in Genoa (Italy). From 1998 he works as a tattoo maker. In 2004 he opened a studio in the historical center of Genoa known on an international level thanks to its presence to some of the most interesting European tattooconvention.
MOROF also carries on a wider artistic research that involves painting other than his usual pencil style and the collaboration with young contemporary art galleries.
His works on canvas are always characterized by a fine ironic conception.
I imagine my creative process as the structure of tree with its multi-ways of branches and roots.
The perception is that we are also living trees, it can bring correspondences in our intimate, and not by chance that the tree evokes meditation, contemplation, concentration, it’s the first partner/companion that the nature offers.
The tree is also considered a symbol of union between/among continuous and discontinuous.
A lot of times I take roads that I don’t exactly know where they lead, other times I have the feeling to have opened an endless road and full of light!
-I'm attracted by painting as first expression form (again,
-I'm first painter then tattoo maker) and mostly I love switching between different things all the time; mixing languages, making experiments, letting myself flow with the streams naturally. Art is a discipline but here I don't mean getting forced but getting firm, having a good time, getting amused not bored.
It's difficult to explain my activity in few words, I walk on a very polyhedric artistic path.
From the matter/subject to the spirit, Jean Dubuffet and ''l’art brut'' have influenced may artistic run.
I have always considered poor elements, and I love to let my carry a little from their inherent characteristic in the same material.
I love recycling unconventional materials and also to see them under the lens of the technology, always preferring a manual solution, handicraft of making, absolutely not losing the tactile contact with the matter.
After a first mental elaboration (connections of remote memories, meditate), I step to a visual exercise made to see images and of contamination, to move on to a third stage that I define it of ‘sedimentation’ and of inner listening.
At a convenient time there is a need to come up with this internal vibration (view) that shakes me and excited me for all the creative action and here that arm and the hand become allies to follow the [dictation of sights], gestural that comes from inside.
