Fabio D’Aroma was born in Pescara, Italy in 1973 and graduated from the Accademia di Belle Arti in Rome in 1997, with his thesis studies concentrated on Caravaggio. Since 2001, he has been working primarily in the United States, mostly in New York although also spending periods in Chicago, Miami, and Houston.
In 2008, he began to work on Retrocorionica, a project in which he scans and digitally assembles his similarly formatted oil paintings to create a frieze that combines historical techniques but could only be created with the use of technology.
He has exhibited at galleries between the United States and Europe. Fabio is currently living and working in New York City.
Retrocorionica is a series of paintings that are scanned and then digitally assembled to create a procession. After the preliminary drawings are transferred on canvas, the paintings are realized in the traditional oil technique. They are then shipped to a photographic studio where they are scanned to obtain large 500 MB files. Finally, they are joined together in a frieze.
In a parallel way, the thematic focus is on how we dismantle and recycle symbols through time. The starting point is an assertion that seems to hold value and truth (either positive or negative), which is programmatically contaminated until a metamorphosis has been achieved.
The format of the procession has always been a vehicle through which artists define community, from ancient friezes, religious sagre, state-sponsored military parades, to Fellini’s cinematic processions. Retrocorionica employs a deliberate awkwardness that seeks to give a realistic depiction of the modern day cult of personality and its grotesque exaggerations.
The project sabotages the historical baggage associated with figurative painting through the combination of the distortion of the figure, the annulment of the background, and the challenge of the assumption that a painting is autonomous.
Influences include Leonardo’s physiognomic studies, post-war Berlin painters, Paula Rego, and Philippe Petit.