francesco ottobre

Francesco Ottobre was born in Formia in 1956, he spent his childhood and adulthood in Milan where he graduated in technical subjects. He dedicated himself autonomously to the study and experimentation of new techniques and alternative styles (with the use of various materials: sand, paper, fabric, glass, wood ...) without being influenced by predefined academic canons and dedicating himself to the study of various artistic currents; from classical to metaphysical, from abstractionism to pop art, from surrealism to informal.

The informal impressionism of an artist in continuous evolution: In the extraordinary technique that distinguishes him there is everything: the perspective, the volume, the material, the scratch, the instinct. There is the great bucolic breath in the atmosphere that is often outlined through a material that has something of the plastic, that even has a painting-sculpture because it is truly volumetric. The use of sands and cements, paper, plastic, wood, combined with the scratch, bring out the fluidity between the figurative atmosphere and the purely informal atmosphere; in his works there is truly great taste. For some years he has been creating digital pop works.

Francesco Ottobre is the absolute protagonist of an innovative creative path. Since his debut he has experimented with multiple expressive languages to confront himself and to externalize, without any pre-established limit, the will to draw from new perceptions. The works show extraordinary creative results full of strength and personality, which offer the viewer the possibility of fully understanding the profound innovation that the artist's very free research and activity brings to the world of contemporary art, allowing a glimpse of an undeniable and rare poetic vocation. One cannot remain indifferent in front of his works. In them the vivid colors spread on the support used in a vehement manner and such as to become an integral part of the work, with the use of worked, scratched or superimposed material, do not take over the signs that continue to be, together with the forms, tangibly changeable and identifying, interactive, essential and variant. In some works a perfect union between informal and figurative is highlighted.