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Italian American, Laurian (Fabrizio Laurian Cugia) was born in Rome in 1963, where he lives and works.
In the eighties he collaborated with Gian Tomaso Liverani at the La Salita gallery in Rome assisting in the preparation of exhibitions by Burri, Vedova, Novelli, Notargiacomo.
A pupil of Luciano Santoro, with the beginning of the new millennium he embarked on his own personal, figurative and symbolic artistic journey.
He has participated in national and international group exhibitions, including: Arte in Fiera (Reggio Emilia, November 2008), Open Art (Rome, January 2009), Premio Italia (Turin, April 2009), Luxembourg Art Festival (Grand Duchy Luxembourg, September 2010 and June 2023).
He is the author of articles, essays and short stories.
His l'Ultima Carta (ed.
Vertigo, 2008), was a finalist in eight literary awards.
He prefers traditional techniques (oil, tempera or ink on canvas or wood) and evocative representations made through extensive chromatic backgrounds, games of contrasts and large sizing.
Its figuration is part of the "mnemonic" art: it induces unconscious refractory games with the eye of the observer, sometimes through allusive historical representations or supposed or simply imagined collective recollections.
In the eighties he collaborated with Gian Tomaso Liverani at the La Salita gallery in Rome assisting in the preparation of exhibitions by Burri, Vedova, Novelli, Notargiacomo.
A pupil of Luciano Santoro, with the beginning of the new millennium he embarked on his own personal, figurative and symbolic artistic journey.
He has participated in national and international group exhibitions, including: Arte in Fiera (Reggio Emilia, November 2008), Open Art (Rome, January 2009), Premio Italia (Turin, April 2009), Luxembourg Art Festival (Grand Duchy Luxembourg, September 2010 and June 2023).
He is the author of articles, essays and short stories.
His l'Ultima Carta (ed.
Vertigo, 2008), was a finalist in eight literary awards.
He prefers traditional techniques (oil, tempera or ink on canvas or wood) and evocative representations made through extensive chromatic backgrounds, games of contrasts and large sizing.
Its figuration is part of the "mnemonic" art: it induces unconscious refractory games with the eye of the observer, sometimes through allusive historical representations or supposed or simply imagined collective recollections.
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