Ottorino De Lucchi


Drybrush is for more contemplative works (as compa-red to watercolor), or when a work arrives at a profound emotional stage. "I use a smaller brush, dip into the color, play out the bristles, squeeze out a good deal of the moisture and color with my fin-gers so they's only a very small amount af paint left". Drybrush is layer upon layer - a definite "weaving process". By T.Hoving in "Andrew Wyeth" - De Lucchi fears the astounding din and enjoys a mystical silence that is light, pure Light. Without wonder, there would be no poetry, it would not be possible to interpret what it seen, nor absorb it. A plain flower, a fruit, the sliding luminescence and absolute emptiness all around. The tale unfolds with easily achieved elements, readily recognised and then it turns to lyrics, with a sensation of veils and breaths. De Lucchi measures the terrestrial environ-ment with the senses, and the employs ideal para-phrases to identify the essence of truth. Such an animistic truth leads to dynamic thinking and does not dwell statically on the appearance of the object. He illustrates the interconnections which influence and sustain reality. Altought explicit, they are gover-ned by immutable rules: questions addressed to nature are transformed into metaphoric answers, rising above the detailed appearance, they depict the mood of the spirit more that of the body. Two rules prevail for undertanding matters: to savour them in the essence, or to study them from a privileged observatory. De Lucchi proposes both opportunities, without preference or rather, leaving theobserver with the task of identifying the planes which are represented. His reflections are thought directed to an unknown addresse. Letters forwar-ded to himself to draft the report of the introspective pilgrimage. Flavio Arensi