Louisiana

Against a plain blue backdrop emerges a dense mesh of colour-signs of all hues, together comprising an animated surface, shot through with infinite trajectories of energy from one end to another.
Perhaps one of the very first paintings conceived in this expressive key – which Dorazio would explicitly trace back to the Divisionist model, in all likelihood thinking of Balla’s early work more than of Seurat – is Fuggenti dritte (1986), about which he wrote: “The lines in my painting are built using long brushstrokes soaked in vivid colours that appear to turn on themselves as they rise from the bottom to the top of the easel.” Once again, in these artistically mature years, Dorazio’s quest was to visualize the luminous gradient, which among all the elements of painting is the most unstable and therefore “elusive”, superimposing and lining up two such conceptually foreign entities as the “figure” and the “backdrop”, which ultimately merge, interacting reciprocally and ending up making an “endless motion” on the canvas.