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Basically, my work treats about the innate needing to control events and at the same time the physical impossibility to do it;

hence the attempt to generate images in not entirely controllable way, through a method that I have developed, a process,
which it is often not easy to grasp, especially through the reproduced pictures.

Below is an extract of my text and a series of photos of this process to try to bring some clarification about my doing.

Photo Reportage - Atelier in Vera (Almeria)  -  (Marc Dolci, 2010)  
(...) In order to make something of an image - the painting itself is no longer an aesthetic composition but it converges into a story, in time, or in an event, in order to transform the abstract of the image and to subject it to a real experience. Realistically, in the end I adopted a procedure, a synthesis of different reactions that caught my attention:

Any kind of research has its unexpected part, or let’s say chances. The reactions provoked from the relation between the materials that instead of remaining stable, transform in time (like in the case of plaster and the temperature of the tar), or in the act itself when uniting or disconnecting them (like the parts of a cast of a sculpture or the powders that separate it), these were the phases of the procedure recommended to me:

At first, the tar, plastic material that together is instable, once applied (spread, marked, painted) however gives a temporary support- panels and partials- cut by hand, molded, assembled until they adopt the shape and the structure of the projected image, assisted by pigments, powders and paint based on plaster that releases and absorbs the tar, color and texture which, although interchanging, maintain the authentic technique as a sculpture removed from the mould.

This project undergoes then another treatment, a true and actual modeling with diverse layers of acrylic glue, that eventually will be its color, on the canvas which hereafter is disconnected from its original support. This final work is essentially different from its original painting.   (...)

  From text "Gris y Grandes Dibujos"  from catalogue "Gris y Grandes Dibujos", Lorenzelli Arte, Milano,









Acrylic rubber



Gluing canvas





from support



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