One of the world’s most collected artists, painter, and sculptor, Fabian Perez, hardly needs an introduction. His tumultuous childhood in Buenos Aires with his devoted artistic mother and his oft-arrested outlaw father is well-known, reflected as they are in the masterworks that first gave him renown on the world stage.
Fabian Perez’ work represents a connection between moments in time, reconciling our past and present through his interpretation of romance. He is preeminently the artist of the romantic era, of love, sentimentality, and passion. Still, he is also the artist of modern times, who explores, evolves, and surpasses professional boundaries to develop a fresh new style entitled neo-emotionalism.
His breathtaking paintings elevate the art of figure painting to a whole new, all-encompassing art form that resonates with physical, emotional, and spiritual allure. Indeed, his work earned him the title of the official artist to the 2010 Latin Grammy Awards and the 2010 Winter Olympics in Vancouver, Canada.
In addition, Fabian went on to win artist of the Year 2014 from the Italian Academy of Artists and the highly coveted Art Tour International Magazine Master of Contemporary Art. Perhaps, most significantly, Fabian has been honored in his native Argentina with an extremely rare government-funded public exhibition for the entire nation.
Despite these successes, Fabian continued to evolve to hone both his perspectives and emotions. Earlier in his career, he observed that “what painting means to me is that I escape from the world I don’t like. I feel so comfortable doing it.” During this era, his works are predominately populated by people of an earlier era, both poised and garbed in yesteryears’ high styles.
They are immediately gregarious in a couple or a crowd—or they seem solitary. However, even when alone in the frame, these men and women prepare for imminent encounters; they stare intimately at someone just to the side or listen to a familiar voice over the telephone. In other words, the energies of escape are omnipresent.
In Fabian’s most recent works, his subjects seem palpably relaxed. Shoulders slope in repose. Limbs linger contentedly in their place, and legs fold themselves under women who would rather be no other place than exactly where they are. Indeed, these more modern men and women need not search beyond themselves. This joy of stillness points towards a novel and exhilarating next stage in the career and works of Fabian Perez—one of aloneness without loneliness, timelessness without eras, and journeys without escapes.
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