SCANNER ART ©

The advent of the new technologies has forced many artists to rethink their own creative means. Set aside the paint-brush, that still remains the most used tool, lots of artists went searching for the perfect instrument for their own requirements.
Fabrizio Musa, after years of painting, has uncovered the scanner's aesthetic power.
Used in a process of slow photographic reading, which exactly is the scanning, reality transforms in an object that the artist can dispose of freely, like a menu of iconic options where is possible to choose between absolutely freely.
Musa, always resident in Como, prefers as work's subject some fragments of bodies (mainly coming from his own body) and daily life objects.
Positioned on the scanner glass and shaked while scanning, a clock can melt, as it happens in Dali' pictures, it can divide itself in a variable series of profiles, thus like a face can acquire an unlimited number of physical variations.
The great surrealist painter's citation doesn't have to drive you wrong: although the works seems sometimes result of unconsciousness emanations, Musa is faithful heir of pop art's tradition. His images never lack homage to media dimension, to communication's world symbols and to showbiz world.
The father of this art, Andy Warhol, supported that the technologies would have widened, and not cancelled, the expressive power of the painting.
This has happened in Musa's case: the painting, temporarily suspended, is transformed into description - half between hyperrealism and fantastic reality modifications - waiting to be integrated in the technological instrument.
The bright burlaps' colors have been replaced by the shining inks of the scanned objects, or by the black and white of cg's gradient processing.
The pictorial look has acquired some photographic fury, choosing to focus on the details, on the body hair, and also on the keys of an electronic calculator.
The result of this choice is an operation that sure Warhol wouldn't dislike.

Roberto Borghi