| Envisage individual moments seized by some anonymous invasion of a private physical boundary. See in a film each frame expand in narrative, through time, every one slipping elusively past like a painting lost to the flux of energies colliding over urban landscapes. Inspired by media-saturated environments, video, and other time-based media, artist Andrea Facco produces a narrative of cosmic dimensions through his photorealistic painting style. His cinematic eye captures honest moments and brings new complexity to photorealism. | 
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Elizabeth Kimball on Andrea Facco
Envisage individual moments seized by some anonymous invasion of a private physical boundary. See in a film each frame expand in narrative, through time, every one slipping elusively past like a painting lost to the flux of energies colliding over urban landscapes. Inspired by media-saturated environments, video, and other time-based media, artist Andrea Facco produces a narrative of cosmic dimensions through his photorealistic painting style. His cinematic eye captures honest moments and brings new complexity to photorealism.
Over the past few years, Facco has explored the realities of everyday life in their raw fullness, often through a bird’s-eye view. Every canvas that he paints models video frames, producing an autonomous image that connects both visually and conceptually to the frames preceding and following. Today the eyes of the world are sedated by an overflow of digital imagery. Facco’s subtle technique is effective because of the non-linear sequencing of his images.
His technique alludes to a much deeper philosophy of the interconnectedness of humanity through the simple plots of daily life. A gaze that produces snapshot stories that are elusive with the complex possibility of a thousand stories, and yet charmingly ordinary in composition. In his films, stories fracture after each slow frame and begin anew as some small element of the scenery introduces the next.
Stringing together temporal moments Facco constructs a narrative in which perspectives zoom in and out. Sublime in their raw simplicity, each image captures a heartbeat, a pulse in the surge of milieu that exists in reality, on the streets, and in the private moments of urban landscapes. The moments Facco chooses to portray are like television loops that are cyclically consumed and embedded randomly in our subconscious, recalled spontaneously, subconsciously in our perceptions.
His recent participation in the Artists In Residence/Work-In-Progress Exhibition at NY Arts Beijing showcased a video installation comprised of a painting series he did based on his other bodies of work, a mature interpretation of a dynamic and foreign environment. Facco speaks of his show in Beijing: “My painting is influenced by the surrounding realities. Not only influenced, but it is the portrayal of everything that is surrounding it.”
Facco’s inspiration is not derivative, rather it is informed by his own imagined “urban video-supervised landscapes” of major cities as he spends time in them. Imagine teleporting your gaze to an infinite array of private and public moments, as if you could place your own camera anywhere. This is precisely how Facco works, as an observer with an impossibly curious gaze.
Visual dialogues created by his meticulous hand produce feelings of serenity, anxiety, curiosity, suspense, and surprise. He is an artist who pushes the dynamic qualities of human interaction and everyday experiences.
