Fabio creator and facilitator of flow!

“I’m a big DIYer. I love designing functional mechanical solutions,” Fabio admits during our interview.

I truly believe I make a difference. I create functional, durable, and aesthetically pleasing equipment.

I have I started playing diabolo when I was 15. I quickly hooked on this object that allowed me to be creative and that offered me great freedom of practice due to the variety of possible techniques. I remember spending hours practicing in my room ... making marks on the ceiling... Then I started hanging out with juggler friends and throwing a few balls and clubs . But for a long time I remained very centered on the diabolo.

In 2002 I left to settle and work in Tahiti, Polynesia French . At that time and in that place, it was impossible to buy or to have some diabolo string delivered to me. I'm neglecting my first apparatus.

In 2006, a friend came to visit me and took me back a pair of fire poi . I find it funny but it doesn't not passionate. In 2010, I started to travel a little in Southeast Asia with Olive (a very good friend that I met at engineering school) who, he, practicing with passion, is recognized in the world of peas and start doing multi staff (manipulation and juggling) .

So I remotivates me when I come into contact with him but I never really connected with him the poi. And in 2012 I participated in the first " Pirate's Retreat in Indonesia ." And that's the big slap. It's an event organized by Jay Fire Cat who knows all the cream of the crop flow arts and brings together an impressive line-up of teachers from very high level. There I discovered among other things the staff contact . That's where I caught the flow art bug.

I have participated in numerous editions of the Pirate's retreat which became my flow arts bowl of the year. After this event, I returned to Tahiti with plenty of training to do. for a year. In 2014, I bought my first dragon staff . This same year I joined “ Te Mama Ahi ” (“the children of fire” in Tahitian), a fire dance troupe traditional .

There I begin to perform very regularly on stage. I remember with great emotion the reception that I received in this troop. I was the only Westerner. And when the whole troupe came on stage with local music (percussion and ukulele) I rather chose pieces piano and violins ! The contrast greatly amused Leon TEAI , the conductor of troop. Even if we had to always be very As a professional, I had great artistic freedom on stage. It was great!

In 2015, I meet Brett (aka Brettstargalactica) who becomes my Dragon Staff sensei and great friend. It is obvious that he has influenced my practice and consequently the course of my life in view of my current activities. In 2016, I left Polynesia to return to Europe. And I decided to travel the world and devote myself almost exclusively to my artistic inclination. This is when I begin to train very seriously and above all to develop concepts and techniques in the practice of the dragon staff.

In 2001, I obtained an engineering degree in Climate Engineering and Energy . In 2002, I moved to Tahiti. I have started working as a business manager and manager of construction site . Then I set up a design office . I was also a math and science teacher physics . And finally I held the position of responsible for technical services at the Tahiti hospital .

Afterwards I had my midlife crisis!

I I am very handy . I love designing mechanical solutions. functional .
In 2016, I left Polynesia to return to Europe and I practice the dragon staff every day . But at the time the dragon staff training available on the market do not suit me.
In September 2017, I design the spirals (which have now become the Flowbonacci logo)… but initially the idea is not to trade in it.
On the contrary, I wanted to keep this model exclusively for me and thus have a visual identity own. I make the first prototypes in a FAB LAB in Bourges . And I'm going to travel. Canary Islands, Australia, China, Thailand, Indonesia … And at every stage, I am asked where we can buy these items. Back in France in June, I launch a first production, it's going really well and the adventure Flowbonacci is launched .

I I sincerely believe that I contribute something. I create apparatus functional, durable and aesthetic (that's subjective, but I have good feedback on my search for minimalist design). My customers are happy with the equipment they buy from Flowbonacci . And then the ultimate reward is to land in a convention and watching people have fun with my creations . Because in reality it is practice that decides quality. of an apparatus.

It is very variable. When I was touring with Te Mama Ahi, I knew so much my number that I even had the freedom to look at the public with malice, I had the impression that time could stretch. While during certain passages on stage more recent, the music starts and I am completely absorbed by my number... so much so that when it's finished, I have the feeling like it only lasted a few moments!
Over the years from practice, I learned to manage stress, and besides I love this feeling. But I think the most important thing about scene is to have fun. These are rare moments and precious. It's a fraction of a moment where I can show my practice to an audience. For me, it's a wonderful situation and privileged. For which is the very understanding of the psychic state, experience has shown me that certainly stage presence and dexterity can be impaired by stress but that the scene can also transcend them and lead to presenting the best of oneself.
And I would like to take this opportunity to recommend reading a book written in 1990 by Mihaly CSIKSZENMIHALYI entitled "FLOW". (Nothing to be seen specifically with flow arts). He deals with the psychology of optimal experience and access to the happiness that potentially results from it. And by many aspects, this quasi-academic treatise can answer your question.

Big debate which for me is not one! I thinks that the world of flow arts is still very young. And that as As a teenager, he thinks he is different and revolutionary. maturity will come… More seriously, it is impossible for me to imagine that the world fluid arts (I like to translate “flow arts”) be dissociable from juggling, the circus and the world of entertainment in general. At same title as all melodic instruments tune to known and ancient note ranges, the fluid arts will draw inspiration from their elders and anchor themselves in the great tradition of the stage show.

Yes, I am a member of the APCCV (Association of Circus Professionals) from Valencia in Spain where I reside) and I participate in this capacity in several shows and other projects including one that interests me particularly at heart: this association is very involved in the social circus; and in this context I give dragon lessons staff to blind and visually impaired people. It's an experience absolutely exciting and extremely rewarding.