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My approach to art making has made me feel more deeply the extent to which spatial experience is the basis of perception, and that creating images is a form of making meaning from experience. My work stakes a claim for the role that image making plays in constructing our conscious relationship to our surroundings and explores our need to establish deep connections to the physical world.
Location: Long Island City, NY 11101
Email: fabozzip@gmail.com
Phone: 917 304 5654
Instagram: paul_fabozzi_studio
Paul Fabozzi’s paintings and works on paper have been included in solo and group exhibitions in New York, Philadelphia, San Francisco, Rome, Busan, and beyond. His work is included in numerous private and public collections, including the Weatherspoon Art Museum, San Diego Museum of Art, Neuberger Museum of Art, Frost Museum of Art, Samuel Dorsky Museum of Art, and New York Public Library. Awards include a fellowship from the New York Foundation for the Arts and the Café Royal Cultural Foundation. He edited an anthology of writings on contemporary art—titled Artists, Critics, Context: Readings in and around American Art since 1945—published by Prentice-Hall and is currently Professor of Fine Arts and Chair of the Department of Art and Design at St. John’s University in Queens, NY.
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Passaggi d’ombra: Mixed Media
During a two-week stay in the spring of 2024, I walked the atmospheric streets of Lucera—streets in this ancient hilltop city in Puglia, Italy, that have been inhabited for millennia and that manifest complex layers of history. Often these walks occurred early in the morning or in the middle of the afternoon, when the city was quite empty. The shadows that gathered within this urban form became my entry into a state of attentiveness. Shadows meandered along the streets, and up the sides of buildings, sometimes playfully and at times dramatically, overlaying physical objects and creating complex, palpable geometries.
Shadows are simultaneously physical and ephemeral. They are an unstable impression that flutters with temporality. Because of this, they presented me with a meaningful entry point to the process of making.
Shadows are simultaneously physical and ephemeral. They are an unstable impression that flutters with temporality. Because of this, they presented me with a meaningful entry point to the process of making.
.jpg "Lucera #42")
Lucera #42
Ink and colored pencil on
Mylar on an archival pigment print.
11x85. Inches, 2025
Lucera #37Ink and colored pencils on
Mylar on an archival pigment print.
11x85. Inches, 2025
Lucera #34Ink and colored pencils on
Mylar on an archival pigment print.
11x85. Inches, 2025
Lucera #5Ink and colored pencils on
Mylar on an archival pigment print.
11x85. Inches, 2025
Lucera #28Ink and colored pencil on Mylar on an archival pigment print.11x85. Inches, 2025
Lucera #6
Ink and colored pencil on
Mylar on an archival pigment print. 11x85. Inches, 2025
Lucera #40Ink and colored pencil on Mylar on an archival pigment print. 11x85. Inches, 2025
Lucera #2Ink and colored pencil on Mylar on an archival pigment print.
11x85. Inches, 2025
Lucera #10Ink and colored pencil on
Mylar on an archival pigment print.
11x85. Inches, 2025
Lucera #4Ink and colored pencil on
Mylar on an archival pigment print.
11x85. Inches, 2025
Lucera #15Ink and colored pencil on
Mylar on an archival pigment print.
11x85. Inches, 2025
Lucera #17Ink and colored pencil on
Mylar on an archival pigment print.
11x85. Inches, 2025
Reflection Point: Paintings
My creative process is fueled by episodic experiences of awareness, often inside architectural space. Body, location, temporality. Sensation, geometry, change. The direct experience of space fascinates me—how it acts as a field of operation for a mode of being, affirming that we participate every day in our conscious awareness of the world around us and recognize that the very act of making meaning involves an endless process of attention, awareness, and reflection.
MoMA #1aOil on canvas 48x72 inches, 2022
MoMA #1bOil on canvas 48x72 inches, 2022
MoMA #1cOil on canvas 48x72 inches, 2022
MoMA #2aOil on canvas 40x30 inches, 2023
MoMA #2bOil on canvas 40x30 inches, 2023
MoMA #2cOil on canvas 40x30 inches, 2023
.jpg "MoMA #3a")
MoMA #3aOil on canvas40x30 inches, 2023
.jpg "MoMA #3b")
MoMA #3bOil on canvas40x30 inches, 2023
.jpg "MoMA #3c")
MoMA #3bOil on canvas40x30 inches, 2023
MoMA #1a x9,
Oil on canvas
40x60 inches, 2021
MoMA #1b x9, Oil on canvas 40x60 inches, 2021
MoMA#1,a,b,c
Oil on canvas
Each 48x32 inches, 2021
Reflection Point: Works on Paper
MoMA #1a x18Watercolor/colored pencil on paper
32 x 29 inches, 2021
MoMA #1b x18
Watercolor/colored pencil on paper 32 x 29 inches, 2021
MoMA #1a x18
Watercolor/colored pencil on paper
32 x 29 inches, 2021
MoMA #2aWatercolor/colored pencil on paper 19x14.75 inches, 2022
MoMA #2bWatercolor/colored pencil on paper 19x14.75 inches, 2022
MoMA #2cWatercolor/colored pencil on paper
19x14.75 inches, 2022
MoMA #3aWatercolor/colored pencil on paper 19x14.75 inches, 2022
MoMA #3bWatercolor/colored pencil on paper 19x14.75 inches, 2022
MoMA #3cWatercolor/colored pencil on paper
19x14.75 inches, 2022
MoMA #1aWatercolor/colored pencil on paper
19x14.75 inches, 2022
MoMA #1bWatercolor/colored pencil on paper 19x14.75 inches, 2022
MoMA #1cWatercolor/colored pencil on paper
19x14.75 inches, 2022
Curved Locators: Paintings
Wandering in New York, Rome, Istanbul, Rio de Janeiro, London and Berlin. Using specific buildings as points of confluence for my urban drifting. Curved architectural forms have many specific articulations, formal, symbolic, functional. I found myself inside places of worship, entertainment, material consumption, contemplation, transit and governing. The works in this series, are a tactile and visual record of my personal reckoning with these spaces, a way of forcing them to look back at me.
Berlin, OS #1Oil on canvas 60x40 inches, 2019
Berlin, OS #2Oil on canvas 60x40 inches, 2019
Rome, Ivo #1Oil on canvas 72x48 inches, 2018
Rome, Ivo #1Oil on canvas 48x32 inches, 2018
London, B M #1Oil on canvas 72x48 inches, 2016
London, B M #2Oil on canvas 48x32 inches, 2016
Berlin, RT #1Oil on Canvas 48x32 inches, 2023
Rio, MC #1Oil on canvas 48x32 inches, 2021
.jpg "Berlin, Galeries Lafayette #1")
Berlin, G L #1Oil on canvas 60x40 inches, 2022
Berlin, G L #2Oil on canvas 60x40 inches, 2023
Rome, Pantheon #1Oil on canvas 48x32 inches, 2021
Istanbul, Kanyon #1Oil on canvas 32x48 inches, 2019
Curved Locators: Works on Paper/Mixed Media
Rome, Pantheon#3Ink and colored pencil on
Mylar /gouache on paper. 19x13 inches, 2020
Rio, MC #1Ink and colored pencil on
Mylar/gouache on paper. 19x13 inches, 2020
Rome, MAXXI#2Ink and colored pencil on
Mylar/gouache on paper. 19x13 inches, 2020
Rome, Ivo #2Graphite on paper 41x28 inches, 2016
Rio, MAC#3Graphite on paper 41x28 inches, 2018
.jpg "Rio, MC#3")
Rio, MC#3Graphite on paper 41x28 inches, 2018
Rome, MAXXI#2Graphite on paper 41x28 inches, 2018
Rome, Pantheon#3Graphite on paper 41x28 inches, 2018
Site Translations: Paintings
How can experience, bound by time, be located? How can image-making become a means for layering physical, emotional, and mental conceptions of space? By employing rigorous means of visually dissecting and translating photographic artifacts of my experiences of specific sites in several international cities, I am attempting, through the creation of images, to dissolve the linguistically determined dichotomies between external and internal, organic and geometric, presentness and memory, thought and feeling.
Rio, Petro #1x3Oil on canvas 48x72 inches, 2019
Rio, Petro #1Oil on canvas 48x32 inches, 2019
.jpg "Corviale#1 x3")
Corviale#1 x3Oil on canvas 48x72 inches, 2014
Corviale #1Oil on Canvas 48x32 inches, 2013
Corviale #2Oil on canvas 48x32 inches, 2013
Corviale #3Oil on canvas 48x32 inches, 2013
Ivo #3Oil on canvas 48x32 inches, 2015
.jpg "Ivo #2")
Ivo #2Oil on canvas 48x32 inches, 2015
.jpg "QBB #1")
QBB #1Oil on canvas48x32 inches, 2015
.jpg "LIC #1")
LIC #1Oil on canvas48x32 inches, 2023
QBB #1x6Oil on canvas 60x48 inches, 2015
Istanbul, HS #1x6Oil on canvas 60x48 inches, 2016
Site Translations: Mixed Media
.jpg "QBB #1")
QBB #1Colored pencil on Mylar/
gouache on paper30 x 30 inches, 2012
QBB #2Colored pencil on Mylar/
gouache on paper.30 x 30 inches, 2012
.jpg "Corviale #2")
Corviale #2Colored pencil and ink on Mylar/gouache on paper.30 x 22 inches, 2012
.jpg "Corviale #1")
Corviale #1Colored pencil and ink on Mylar/gouache on paper.30 x 22 inches, 2012
.jpg "Corviale #1 x3")
Corviale #1 x3Colored pencil and ink on Mylar/ gouache on paper.31.5 x 47 inches, 2012
Corviale #2dColored pencil on Mylar/
pigment print16.5 x 13 inches, 2011
Corviale #1cColored pencil on Mylar/
pigment print.16.5 x 13 inches, 2011
Corviale #2cColored pencil on Mylar/pigment print,16.5 x 13 inches, 2011
Porta Aurea/Yedikule #3Colored pencil, ink on Mylar/
gouache on paper.30 x 22 inches, 2012
Porta Aurea/Yedikule #1 x2Colored pencil, ink on Mylar/
gouache on paper 46 x 30 inches, 2012
Porta Aurea/Yedikule #2 x2Colored pencil, ink on Mylar/
gouache on paper46 x 30 inches, 2012
Ivo #1 x4Colored pencil on Mylar/
gouache on paper.30 x 94 inches, 2012
Spectral Variants: Mixed Media
These works feature ruled lines and bits of opaque geometry confined within the outlines of sets of shapes culled from photographs I took while walking in New York City. I then used these forms as the building blocks for further drawings, made by separating colors, shifting scales, layering and so forth— in a continuous process of generative translation. My goal is to push down underneath the appearance of the visual environment to articulate something more basic about the mental and physical rhythm of moving through space.
Spectral Variant #1a .4Colored pencil and
gouache on paper30 x 22 inches, 2008
Spectral Variant #1b .4Colored pencil and
gouache on paper30 x 22 inches, 2008
Spectral Variant #1b .4Colored pencil and
gouache on paper30 x 22 inches, 2008
Spectral Variant #1 .12Colored pencil and
gouache on paper31.5 x 47 inches, 2008
Spectral Variant #2b. 8Colored pencil and
gouache on paper38 x 29.75 inches, 2008
Spectral Variant #2a. 8Colored pencil and
gouache on paper38 x 29.75 inches, 2008
Spectral Variant #2 .12Colored pencil and
gouache on paper31.5 x 47 inches, 2008
Spectral Variant #3b .4Colored pencil and
gouache on paper30 x 22 inches, 2008
Spectral Variant #3a. 8Colored pencil and
gouache on paper38 x 29.75 inches, 2008
Spectral Variant #3c 4x12Colored Pencil on Mylar42 x 92 inches, 2008
Spectral Variant #1 8.5Colored Pencil on Mylar42 x 92 inches, 2008
.jpg "Spectral Variant #3b 4x12")
Spectral Variant #3b 4x12Colored Pencil on Mylar42 x 92 inches, 2008
Data Walks: Paintings
Walking around New York City with a camera in hand and hooked to a pedometer allows one to collect a lot of data. Shapes that are culled from the photos taken and numbers counted by the pedometer are the raw material of this series. As the information about every conceivable part of our waking lives from every angle mount and the structures of organizing this data become more complex, the body retreats. This work mirrors that retreat but at the same time celebrates what, for me, is the cornerstone of being—the simple act of breathing as I move through space.
.jpg "Astoria #1")
Astoria #1Oil on canvas 48x60 inches, 2005
.jpg "Queensboro Bridge #1")
Queensboro Bridge #1Oil on canvas 48x60 inches, 2005
Fifth Avenue #1Oil on canvas 60x48 inches, 2005
Astoria #2Oil on canvas 48x60 inches, 2005
Chelsea #1Oil on canvas 60x48 inches, 2005
Midtown #1Oil on canvas 60x48 inches, 2005
GC to AL #1Oil on canvas 60x48 inches, 2005
.jpg "Data Walks, Gallery Siano, 2006")
Data WalksInstallation viewGallery Siano, 2006Philadelphia, PA
Data Walks: Mixed Media
Steps#1Etched. Clear extruded acrylic 48x96 inches, 2006
Steps#1Etched. Clear extruded acrylic 48x96 inches, 2006
Local Shapes, #1Stainless Steel 20x30 inches, 2006
Data#1Handmade book30.5x 220 inches, 2006
Rust PathsRust on paper and raw steel Dimensions variable, 2006
Distance RubbingsNine handmade artists books Dimensions variable 2006
Rust PathsRust on paper 42x42 inches, 2006
Marking TimeGraphite on paper 42x96 inches, 2006
Rome Series: Paintings
The works in the Rome Series are based on historically significant locations and buildings in Rome that I have visited regularly. They are created using three distinct methods of mark making that can be read as metaphors for the varieties of experiences of place—from the organic, intuitive, phenomenal to the geometric, rational, theoretical. What is particularly fascinating for me is the connection between experiential and theoretical interpretations of place.
Il Tempieto #1Watercolor gouache and colored
pencil on paper18x15 inches, 2001
San Pietro #1Watercolor, gouache and
colored pencil on paper18x15 inches, 2001
Sant’Agnese Fuori la Mura #1Watercolor, gouache and
colored pencil on paper18x15 inches, 2000
Colosseo #2Watercolor, gouache and
colored pencil on paper18x15 inches, 2000
Catacombe #1Watercolor, gouache and
colored pencil on paper18x15 inches, 2001
San Stefano Rotundo #1Watercolor, gouache and
colored pencil on paper18x15 inches, 2000
Domus Aurea #1Watercolor, gouache and
colored pencil on paper18x15 inches, 2000
Pantheon #1Watercolor, gouache and
colored pencil on paper18x15 inches, 2000
Rome Series: Works on Paper
Santa Maria del Popolo #3Graphite on paper 22x15 inches 1999
Campidoglio #3Graphite on paper 22x15 inches 1999
Piazza della Repubblica #3Graphite on paper 22x15 inches 1999
.jpg "il Tempieto #1")
il Tempieto #1Graphite on paper 22x15 inches 1999
Santa Sabina #3Graphite on paper 22x15 inches 1999
San Carlo #1Graphite on paper 22x15 inches 1999
Villa Giulia #2Graphite on paper 22x15 inches 1999
EUR #3Graphite on paper 22x15 inches 1999
Select Exhibition Views
You Are Here, with Inliquid Park Towne Place, Philadelphia, PA, 2022
You Are Here, with Inliquid Park Towne Place, Philadelphia, PA, 2022
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Recent AcquisitionsNeuberger Museum of ArtPurchase, NY; 2020
Place, Translation, VariationLycoming College Art GalleryWilliamsport, PA,; 2019
Place, Translation, VariationLycoming College Art GalleryWilliamsport, PA, 2019
Place, Translation, VariationLycoming College Art GalleryWilliamsport, PA, 2019
QBB#2 Lobby CommissionRise LICLong Island City, NY, 2022
Art Busan, with Gallery HoBEXCO Exhibition Center IIBusan, South Korea,2015
Curved LocatorsSeraphin GalleryPhiladelphia, PA, 2016
Curved LocatorsSeraphin GalleryPhiladelphia, PA, 2016
FoundationsSeraphin Gallery at The YardPhiladelphia, PA, 2017
.jpg "Place: Exterior/Interior/Body/Mind")
Place: Exterior/Interior/Body/MindMunson Williams Proctor Art Institute, Utica, NY, 2019
Spatial TranslationsLeonard Pearlstein GalleryDrexel UniversityPhiladelphia, PA, 2013
Site TranslationsL.G. Tripp GalleryPhiladelphia, PA, 2012
Site TranslationsL.G. Tripp GalleryPhiladelphia, PA, 2012
Spectral Variants: New Large WorksAtrium Gallery at 153 East 53rd Street, New York, NY, 2009
Spectral Variants: New Large Works Gallery at 153 East 53rd Street, New York, NY, 2009
Data Walks: The PaintingsGallery SianoPhiladelphia, PA, 2006.
Data Walks: The PaintingsGallery SianoPhiladelphia, PA, 2006.
Center for Biological ResearchUniversity of Pennsylvania
Documentary Film Links
Reflection Point: MoMA
Spectral Variants
Select Bibliography
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Salvatore,
Alessandro. Lucera, May 27, 2024.
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Mattera, Joanne. Italianità , 2023.
Papi, Liza, The Aesthetics of Art, 2017
Marcello, Neil. Paul Fabozzi at Seraphin Gallery, 2016
Curved Locators catalog, 2016.
A Gathering of Memory and Light, catalog, 2013
Noble, Alastair. Paths, catalog, 2013
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Newhall, Edith. Paul Fabozzi at LG Tripp 2012
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Wagner, Amanda. Paul Fabozzi at LG Tripp, 2012
Il Tempo di Corviale, 2011
Essay
Dantzic, Cynthia Maris. 100 New York Painters, 2006
Data Walks, catalog, 2006
Sozanski, Edward, Paul Fabozzi at Parallels Gallery
Davidson,
Margaret. Contemporary Drawing
Fabozzi, Paul, Artists, Critics, Context. 2002
Parrish. Matthew, Paul Fabozzi at Paper Plus
Markings, catalog, 2000.
Paul Fabozzi: Selected Bibliography
