... is a sculptor. We could stop there. His work speaks for itself. Any work created by the imagination and the heart of man, speaks for itself. It depends on the moment of sensitivity, mood and maybe time. Bevilacqua's sculptures also speak. Sometimes they sing, sometimes they scream. They know they have to whisper and have the courage to remain silent, speechless, watching you like an old shepherd under the shade of a beech tree. That will depend on you, that will depend on them, that will depend on the beech tree.

The universal understanding of art hardly exists; there is no single language to talk about art and the arts. This does not mean that there is no alphabet or there are no graphic signs that guide us in our pronunciation.

Here are some of the letters found in the pages of Bevilacqua. He starts his journey with sculpture in the late 70s in Zurich. He continues his journey to Florence where he graduated at the International School of Ceramics. Then he begins exhibiting. In Paris, he works with Pascal Rosier and learns the techniques of molding. In 1982, he meets Régine Heim, a major artist in Swiss sculpture movement of the time. He works with her until 1997, particularly in large format sculpture. Their collaboration is intense. Fabiano and Regine, with time and in time, speak and share not just about sculpture. During insomniac nights or walking in the woods, just a hand a gesture is enough for them to understand each other.

In 1984, and during three years, Bevilacqua lives in Apulia, Presicce; he is appointed by Pro Juventute Switzerland to open and manage an alternative social center to prison to reintegrate young adults into the community. A hard journey that also passes through sculpture. A sculpture that realizes to be a means and not just a means to an end. The way of communication; is the same way used from 1984 to 2002 in his work as a teacher in sculpture workshops with adults with learning difficulties. Professional and social experiences that have enriched and continue to mark his vocabulary by creating pages of books that turn every day .

Fabiano Bevilacqua grew up a few steps from the house of Jean Arp in Locarno in Switzerland, where he found his inspiration which can be seen in the forms that reappear in his sculptures, which are deprived of educational and celebratory rhetoric. They are full of childish passions, arising from games and dreams.

He seeks, through his personal techniques, the archetypal form. An essentail form that is the beginning and not the end; a form that is full and empty, that is yesterday, today and perhaps also tomorrow. Just as shipwrecks at the bottom of a timeless sea,  tell the labour of the waves; remembering the works of the masters who created these forms, both as solid shapes to float, and empty shapes to sink. An apparent death that fades into memory, and in the slow but continuous transformation into something new. The beginning and end of the same typewriter ribbon. Thereby, his bronze pages tell the story of those that they reflect. Each fragment a thought, a pleasure, a pain, each page an emotion. Written or still to be written in the continuous game of space and time.  

Also his characters, whether it is the quiet fish-man, the skeleton or the fierce king, rise and fall, die and are reborn, are and become, all the space that the pages occupy, have occupied or are about to conquer. Bevilacqua masters his game in his bronzes which even though they are oxidized today, they memorise the wax, the ropes and the rods which are the creation and the state of larva before the fusion. Today these waxes are no longer there. Even if the ropes and the skeletons have burned in the cast, they still remain there.