They wrote

About the importance of Brajo Fuso in art

Giancarlo Politi - La Fiera Letteraria (10.5.1964)

…unconsciously and with an even fatalistic consistency, he simultaneously (and completely unaware of what was happening outside) went through the European and American avant-garde. At the same time as Pollock, Brajo Fuso in Perugia was experimenting with dripping and action painting techniques…

André Verdet (1984)

…Umbria can be proud of having had as children three exceptional artists, peremptory brilliant, as there are few in the centuries: Alberto Burri, Brajo Fuso, two old friends, and Gerardo Dottori, the first “futurist” aero painter. All three of them have surpassed many others.

Francesco Scoppola - MIBAC regional Director (8.11.2010)

Brajo Fuso was an artist that, with his creativity, gave life to new models of artistic expression, whose experimentation anticipated ideas and styles later proposed by other important artists internationally renowned. Although less known, he must be juxtaposed with other great artists such as Gerardo Dottori and Alberto Burri, with whom he forms a triad of exceptional and world-class Umbrian artists.

With the kind permission of authors, an article published in the QUEST magazine on September 1981

Reproduced by kind permission of the authors. QUEST Magazine, September 1981 THE WORLD OF BRAJO FUSO by ROBERT CREASE and CHARLES MANN ROBERT CREASE teaches contemporary civilization at Columbia University. CHARLES MANN is a free-lance writer in NewYork. [DOWNLOAD THE ARTICLE IN PDF]

About the language and literary production of Brajo Fuso

From a Rai interview with Giulio Carlo Argan (8.5.1980)

…in addition to this place where these discarded, eliminated, destroyed, killed objects are regenerated, on the other hand there is, and this has not yet been sufficiently explored, the language side: definitions, through words that are not invented, but deduced from an imaginative transformation of the word, of the common lexicon. A type of Joycean process that for me must be considered integrative: those names, those titles that Fuso has written at the foot of the exhibited objects, especially those exhibited outdoors, constitute an imaginative integration and a revivifying operation brought into language.

From: - Il dottor bricoleur - by Giulio Carlo Argan - L'Espresso (17.8.1980)

… However, there is another fact, less conspicuous: the linguistic side. Those strange object-images almost always have equally strange names, made, like them, of trunks and fragments (of words, though) stitched or welded together as in a grotesque assemblage. They return to nature bringing with them a name that is also unnatural: and here too, there is a fund of humour, as in the names given to dogs or cats. And Fuso, it must be said, is also a writer of fairy tales.

Giulio Carlo Argan - Presentation conference of the Fuseum (16.6.1983)

... the work of artist was linked to another literary one - of children's literature - which proceeded almost in parallel.

Francesco Curto

Man of his time To say beyond what has been written by influential critics would be superfluous for an artist as authentic and original as Brajo Fuso. He presents himself with his organic and articulate production as a man of his time, always present to record and catalogue the product of man, to the point of elevating it to works of art through creativity. A perceptive observer, a sensitive soul, an enchanting storyteller, he seems to have a conversation with others in his works through that “rational disorder” that reveals emotion, involves entirely through that subtle play of small and simple things retrieved from everyday life. Uncontested father of an art that has no precedents, B.F. exalts himself in the patient real recording of the perimeter of things found/rediscovered over time. Thus, the indissolubility between the finite element: man and time: the infinite. The synthesis for both is the spiritual modification and the strain of material repeatedly overwhelmed by the action of becoming and therefore by the hand of the artist. Disordered pieces of inert mechanisms are concepts of a research “philosophy” of a man deeply immersed in “his” time and conscious builder of fantastic works that offer flights of liberation and launch messages/predictions to be read in the right sense anyway. Particular attention is paid to children to whom Fuso dedicates some tales to the point of involving the reader in completing the work and making them co-protagonists. However, no one except a few close people knew about the poetic activity of Brajo Fuso. A handful of poems preserved by Marcello Fringuelli are complementary to his artistic activity. For those who know about the art of our Brajo, there is no surprise in reading these verses. However, the text contains another key that certainly opens up doubts and clarifies the confusion of those who have not yet identified with the work of Fuso. The verses reveal the other side of that unseen soul and make us inhabitants of the artist's world, perhaps in Monte Malbe, in the Fuseum, where the dreamer moves into the artwork and keeps himself uncontaminated far from the noise of the daily big and small wars. I am not going to talk about style or contents and I will leave this task to other, but some mention about verses, I think is necessary. Even in the simplicity of expression, his voice becomes loud and clear when he comes out and accuses the warmongers and questions himself about his journey as a lonely man, among many, but alone: full of faith but insecure, he is saddened by the “degradation” within and without himself. But Brajo Fuso is young in spirit because he loves and suffers with young people and their problems: with those who are victims of drugs, with those who starve in the opulent welfare society. The poet sings about the nature in the incessant rhythm of the seasons and notes the passing of time without being victim of it, he faces the storms of life like a ship captain, playing with his ship/life that, if he knows how to steer it, will certainly land in a safe harbour, safe from the temptations of leaving everything and everyone behind. Love is the leading and predominant leitmotif in the Fuso’s work, a feeling that always emerges from that happy bond of colours and materials in a poor art made of scraps, but especially is the expression of a break with the old way of making art. Finally, special attention must be paid to the use of word, always simple but incisive, comprehensible but charged with the potential to leave a mark because full of its true meaning. The word that becomes a game and that, as in his paintings, allows itself to be broken down and used in a geometry that makes the body of the poem an artwork itself. There is no violence but respect for form and entertaining game where the poet and his product are the uniqueness of that sign that is part of the History of man and the World. Brajo Fuso is the spokesperson for those who suffer the harassment of power and cries out against their excessive power; he defends the diversity of skin colour and sides with those who suffer, suffer and die for an idea of justice.

About the uniqueness of Brajo's art

Cesare Zavattini - 1960

Brajo Fuso is never peaceful, and even in games, amusements, he shows the most astonishing restlessness. For example, he makes puppets in his bushes, and one day he sticks a spoon in their heads, the next day a bottle neck, a shard, a piece of iron, everything he can find with a desire of mixing, trying, daring, comparing in his heart the object with the raw material, the evolved with the wild; he is one for whom everything is nature, as for children, grass and a comb, and he enjoys everything so he tends to enter the galaxy soiled with colours and objects and disappear there with only the pleasure of movement. One day, this great excitement found its rule precisely in the so-called informal art, and within the geometric calm of the canvas, I saw that he searched for transparent material similar to a chrysalis and the eye pierces it like a glass, but remains a throb of jellyfish in us, I have seen that he seeks the second the third the fourth layer of material, he goes down like a mole not to escape the light but to see at any cost what comes after. He is not the type to turn down what this adventurous drilling will offer him, I mean if he comes across it, maybe on the tenth layer, he will not avoid old clowns with ulcers, red horses, figures, but maybe, resurrected when there will be the transition of Brajo through all that is possible in the life of things (sacks, woods, threads, seaweeds, or anything else whose name I really do not at the moment) his old myths will make them reappear to us different and same, as we will be when we come out of our long experience.

Italo Tomassoni - 1969

… Fuso sees, does not visualise; he feels, does not express; he “is” in action, does not represent; the sign come firsts the idea of sign and linguistically, the structure of his works can only be understood at an infra-phonemic level…

André Verdet - 1975

I will focus on that phenomenon that is Brajo Fuso. I dare, writing freely, without preamble, to declare that I consider him one of the most fertile, most singular innovator artists of the contemporary Italian art; I fully agree with my friend Argan when he states that we must place the importance of this artist at a European level. He is undoubtedly a painter, sculptor, “oggettista” , hoarder and assembler of a sumptuous plastic delirium, with a tireless “verve”, whose abundant and rich work in its multiplicity is placed in a position of infinite “provocation” with respect to the usual criteria of creation, however advanced it was in the avantgarde. Unusual art that falls is part of the extremes of a modern baroque, in which the slightest object, whether new, old, used, industrial or handcrafted, the smallest tool, rich, poor, miserable or unused, practical or luxury, will acquire, through the ingenious manipulation of Brajo Fuso, an astonishing artistic glory in the totality of the accomplished “assemblage”. And yes, it would seem that Brajo Fuso, in many of his creations, has amused by confusing the gods themselves and at the same time showing himself to be a demon angel.

Massimo Duranti - 1984

…The new interpretation of many works makes it possible to meditate again on the figure of an artist whose genius has created a new way of artistic expression, through an unscrupulous use of poor materials and industrial society waste materials. A creativity that has in many cases reached elevated forms of art and that the artist himself wanted to collect in an exclusive place: what has become the “Fuseum”; a villa, warehouses and many open spaces where sculptures, installations and inventions of all kinds are positioned.

About the poetic of the object

Dante Filippucci: Mobloggetti by Brajo Fuso - 1967

Brajo Fuso has been working in silence for years, in the attic of a building full of everything from vermouth and mineral water caps to strange objects, wood, glass, etc. Sometimes we talk, and talking is not idleness but negotiation, of our work, our unqualifiable situation and of critics, very rare animals unknown to us. I have followed his work until his very last effort, that I would like to mention, giving proof of his “combinable” works obtained by assembling pieces made of things, different from paint, brushed and panels. My interest immediately went to the fact that the assembly of elements can be carried out, says Brajo, by anyone: by the public, by friends, by their children and their wives; this seems to me of great interest if we considers that groups set up in Italy today are often nothing more than cooperatives for the safeguard of their own interests, instead of being a convergence of operations on the same object… Brajo later created the Mobloggetto, usable as an object and at the same time a participation in arranging, organising any objects in the interior space. The Mobloggetto represents the culmination of an astonishing work outside of all speculation, without making noise, giving a purpose to the material, following the technique of listing or accumulation - Umberto Eco would say. The operations of Brajo consist precisely of re-dimensioning elements, after having demythologised and given them, in turn, a semantic value. In other words, the Mobloggetto or whatever it is, is an object whose constitutive elements have been taken by the artist at the end of their historical parabola and placed in another context. This is briefly what I wanted to say, precisely because the Mobloggetto can made by several individuals, implies a very relevant consideration. It is sufficient to say, for example, that in the Italian art school it is not possible to work in a group, in fact it is the personal virtues explained separately that count; in other words, there is a lack in the ability to form the creator of objects. The didactic proposal of Brajo, if I have understood, consist of that his Mobloggetti are the result of a meeting, a dialogue. He proposes no less than the training of the user. It is a lesson of methodology both regarding the structure of the object, and the preparation of the user, as I have already mentioned.