Fabrizio Corneli is an Italian artist who works with light.
Fabrizio Corneli was born in 1958 in Florence. He studied at the Academy of Fine Arts in Florence and at DAMS in Bologna. In 1979 he participated in his first show The Alternatives of the New at the Palace of Exhibitions in Rome with works of light and shadow, elements that will mark all his work. In 1993 he moved to Colonia, in Germany, where he created his first large solar installation called Augenblick.
In 2000 he inaugurated his first personal exhibition at Mssohhan Gallery in Kobe, in Giapon. Here in 2001 he had two personal shows at the Metropolitan Museum of Photography in Tokyo and at Yokohama Portside Gallery (Yokohama). For his personal exhibition in 2005 he created a large piece Micat in vertex with artificial light. In 2006 he exhibited Grande Volante III in a public space in the Anderlecht area in Brussels, the first large permanent outdoor installation with sun and artificial light. In 2007 he created the Duet piece with sunlight on an outer wall of the Sannomya Tower Skyline in downtown Kobe, Japan.
In 2012 he inaugurated the personal exhibition JETZT Archaologische Schatten in Frankfurt and the personal Rayon d’ombre at the Espace d’Art Contemporain André Malraux in Colmar in France. The following year he took part in the Cadavre Exquis exhibition dedicated to the artists of the Mediterranean area, as an artist representing Italy, inside the Granet Museum in Aix-en-Provence, France and inaugurating Foreshadow at the Gallerie Artiscope in Brussels. In 2017 Aria Art Gallery presented the artist with the exhibition Light deep green in London and, in collaboration with Rose & King Gallery, the collective Timelessness, in which Corneli took part.
From the outset Fabrizio Corneli upsets the presumed reliability of eyewitness testimony with minimal structures capable of generating striking plays of shadows and lights that, observed from precise angles or at certain times of the day -in the case of artwork done for the exterior-, are transformed into images. These visions, suspended like mirages on the point of disappearing, substitute the sensitive body of the work with an immaterial emanation that represents its end and the most authentic essence, subverting the usual hierarchy between reality and illusion. Although what is concrete and tangible (the meticulous carvings on copper, steel and aluminum plates placed inside or near the light sources that produce the images) does not seem at first sight to relate to what is perceived at the sensory level, the effectiveness of the work derives precisely from this discrete hardware matrix that bears the sophisticated mathematical and scientific competence that allows its perceptual functioning.