It only takes some concrete and wire mesh to build statues with human features. The artist asks the visitor to take a seat next to the statue and feel free to identify himself with this artwork, in a space suspended between reality and fantasy.
[audio src="/wp-content/uploads/2022/07/ENG_Custode-The-guardian-1960.mp3"]A fairy tale world, with mushrooms made of stones and recycled objects sprouting from the undergrowth. This is a demonstration of the artistic freedom of Brajo Fuso.
[audio src="/wp-content/uploads/2022/07/ENG_I-cappelloni-1965.mp3"]This sculpture is composed of elements resembling the human body, (hands, arms, heads) together with artificial elements, such as pipes, metal foils and wrecked cars. It expresses a strong desire for playfulness. Bodies in the sculpture are twirling and guide the visitor through the magic features of a childlike world, free from the horrors of war.
[audio src="/wp-content/uploads/2022/07/ENG_Working-for-peace.mp3"]Brajo Fuso uses the Ready-Made technique, converting everyday objects into artworks. In this case, plastic hydraulic pipes recall wind instruments and, using these empty pipes, the wind plays the symphony of nature.
[audio src="/wp-content/uploads/2022/07/ENG_Plastic-1958.mp3"]This artwork includes both traditional elements and breaking points in Brajo’s art. This vase is made of glazed ceramic, a technique that the artist learnt from the artisans of Etruria, a historical company of Perugia. Bright colours and an unusual shape recall Picasso’s style.
[audio src="/wp-content/uploads/2022/07/ENG_Vase-similar-to-a-totem-1950.mp3"]The Etruscolidi collection is a representation of the Etruscan origin of the Umbria region. This collection of artworks is made of plastic pipes used for electrical systems, papier-mâché and other materials. Brajo Fuso, with this collection, pays homage to the Etruscan archaeological ruins in Umbria.
[audio src="/wp-content/uploads/2022/07/ENG_Etruscolide.mp3"]Accumulation of wood scraps recalls the French artistic genre of Nouveau Réalisme. With this artwork, Brajo experiences freedom of shape and colours, finding balance among the elements composing this artwork and making it independent and deeply descriptive.
[audio src="/wp-content/uploads/2022/07/ENG_Algeria.mp3"]Collecting wrecked cars is a recurring feature in post World War II art. From the French artist César to the American Chamberlain, until Brajo Fuso, artists collect wrecked cars and try to convey them a sense of beauty that can be found in simple things.
[audio src="/wp-content/uploads/2022/07/ENG_Incidente-stradale-Car-accident.mp3"]The Crucifix of Brajo Fuso represents the sense of poverty connected to the symbol of Christ. In this case, poverty is represented by rusted iron scraps, enhancing the sense of simplicity of this artwork. At the same time, chains represent the tragedy of martyrdom.
[audio src="/wp-content/uploads/2022/07/ENG_Crocifisso-Crucifix.mp3"]In 1946, Brajo Fuso tests the dripping technique, recalling the psychical automatism techniques of surrealists. In this case, the image recalls the figurative debut of the painter, but at the same time, the abstract gestural expressiveness makes this painting a transition artwork to the mature artistic period.
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