Fazzio has been exhibiting her work since 1988 in Argentina, Italy, Norway and USA. Recent exhibitions include: Embodying Space, Space bodies an exhibition curated by Andrea Spaziani TransArt Institute, New York (2016); The Tower, a web cast project at ACSF during Basel week; My memories, his memories, ACSF W@W; Gender & Patterns: An Unanswered question, Art Center South Florida (2015); Emotions, ACSF W@W; and Ceremony of the air (for H2mbre), Adrianne Arsht Center for the Performing Arts, Miami (2014). She graduated in Fine Arts at Escuela Nacional de bellas Artes of Buenos Aires and in Photography and Audiovisual Techniques in Avellaneda. Fazzio received her MFA in Visual Arts at AI Miami International University of Art & Design and is pursuing her PhD of Philosophy in Creative Practice at Transart Institute & Plymouth University, UK
A contemporary, multimedia, interdisciplinary artist, Veronica Fazzio’s primary interest is to facilitate social sculpture’ situations by exploring memory and emotions from different groups of transgenerational subjects. In her work the viewer participates in a controlled vs uncontrolled playful situation to create a space in which all participants experience or contribute to the creation of the art work. On her social sculptures Fazzio becomes the material for the participants, she surrender her self to them in a lost of control and vulnerable role. In her exploration issues about authorship are questioned as well.
Art and Research Interests
My areas of inquiry are transgenerational (I use the term ‘transgeneration’ for my research to describe the collision between transformation and generation in order to convey the complexity and plurality of subjectivities and their transformations during the interactions in my social sculpture making), interactions, emotions and memory. I explore them through my practice by composing social sculpture pieces with participants from different local communities in Miami. I use language as an aesthetic element and as material together with other more conventional materials. My social sculpture works are constructed through using language, my own body, sound collections of the participants talking and other possible props or materials (for example, fabric, cotton, clay, and a chair) all construct my social sculpture pieces. At the same time I am also material for the research, so my practice becomes a mirror and reflection simultaneously. The production of art works is integrated into social situations and experiences where the participants creates while I take a more passive attitude to let myself be material for the participants. In my research methods I will include the use of video, photographs, recording and writing. I will be transfering my social sculptures experinces after a process of reflective practice (Donald Schön’s concept) which will happen during both the moment of the experience with the participants and the post experience during editing the material in my studio. Katie McLeod’s ‘seesaw’ method will be fundamental during my practice-based research. The methodology I will use is Nietszche’s triangulation: how to use diverse approaches, measuring the data from different perspectives, an interdisciplinary approach that relates with my practice as well.
Social Sculpture, Social Engaged Art, performance, action, transgenerational, transpedagogy, emotions, situations