The Life and Artistic Vision of Fillìa
Born Luigi Colombo, the artist known as Fillìa was a central figure in the second generation of Futurism. Established in Turin in 1923, he led a group that included Nikolay Diulgheroff, Pippo Oriani, Enrico Alimandi, Franco Costa, and the sculptor Mino Rosso. As a theorist and organizer, he published several art reviews, such as Futurismo, Ventrina Futurista, La Città Futurista, La Città Nuova, and Stile Futurista. His creative reach extended beyond painting into architecture, interior design, furniture, and decorative objects.
Fillìa was a prominent exponent of L'Aeropittura (Aeropainting), a style that applied the experience of flight to depict landscapes from an aerial perspective. In 1929, he co-signed the Futurist manifesto L'Aeropittura alongside artists such as Benedetta Cappa, Depero, and Marinetti. His work explored various dimensions, including:
- Mechanical paintings linked to the occult and machines.
- The exploration of the subconscious through ectoplasmic forms.
- Religious painting between 1930 and 1933.
- Architectural contributions, such as the Futurist Pavilion at the 1928 International Exhibition in Turin.
Legacy and Contributions
Beyond the canvas, Fillìa co-authored the Manifesto of Futurist Cooking with Marinetti and the Manifesto of Sacred Futurist Art. His architectural interests included designing mosaic decorations for a Swimming Stadium and developing the notion of "ambientazione." His works are held in collections such as the Galleria d'Arte Moderna in Rome and Turin, while his piece Works Senza titolo (1923) is part of the Museo Cantonale d'Arte of Lugano. His active career ended with his death in Turin in 1936.
