Glimpses of memories. A look on Morini’s silent images

Fabio Morini grew up in Viterbo, Italy. Known for its Medieval old town, the largest in Europe, the Italian city has been very inspirational for the painter. Morini, in fact, has gradually assimilated, in his mind, many images-memories of his hometown. It was the beginning of his creative process, an unconscious study about the surroundings.

Fig. 1 Fabio Morini, Medieval Village, oil on canvas, cm 80x70

Viterbo, known also as the “City of Popes”, is characterized by a harmonious monumentality and Morini has been one of the most devoted observers of its folkloric beauty. The artist moved to Magenta, near Milan, in 1971 but it was the memory of religious buildings like the Viterbo Cathedral, the Church of Saint Sylvester and the Papal Palace to condition his artistic approach. The painter, in fact, is noted for his enchanting Medieval villages, in which the shape of the buildings is deeply influenced by his birthplace’s panorama. So, each of his canvases becomes a “picture-memory” and his art turns into "painting of remembrance".

Fig. 2 Fabio Morini, Walls, oil on canvas, cm 50x40

Through a personal, and internal, elaboration, the artist let us grab frames of his memory and permit us to visit his artistic fruit, born from the union between the images-memories of the Italian city and the creative inspiration of the painter. Thanks to artworks like Walls (Fig. 2), in which is clear the reference to the fortified perimeter of Viterbo, we can overlook Morini’s architectural landscapes. In paintings like Medieval Village (Fig. 1), moreover, it is possible to perceive, among the contours of the buildings, an explicit connection with the dome of St. Rose Church.

Fig. 3 Fabio Morini, Church, oil on canvas, cm 40x80

The lavish artistic-cultural panorama of Viterbo is consecrated by a refined religious architecture and, in artworks like Church (Fig. 3), we can find shapes and architectural elements typical of the Saint Sylvester Church and the Basilica of St. Francis. Lastly, looking at Fountain (Fig. 4), in which is identifiable the portray of the Fountain of St Thomas, we suddenly find ourselves in the core of Morini’s villages.

Thanks to the aforementioned paintings, we can retrace the creative-mental process of the artist. Memory immortalizes an experience through a specific image that appears sharper than the others and around which the memory, in its completeness, takes shape. The artist transfers this process to his canvases, focusing every painting on particular elements like fountains, rose windows or arcades and creating around them a faded landscape. Author of a world permeated with metaphysical silence and free from any kind of human activity, Fabio Morini is able to reproduce graphically the intimacy of his relationship with his hometown.

Fig. 4 Fabio Morini, Fountain, oil on canvas, cm 40x70.