Symbiosis between photography and painting, colour, gesture and matter.
From 2010, Dotti – for whom art runs in the family, a free-lance photographer whose artistic attitudes were already undeniable in his fashion photographs and his celebrity portraits made for international magazines in the eighties – has included in his pluralistic research a desire for transgressing the rules of traditional photographic representation. He mixes techniques, languages, and visual codes, in search of an intuition beyond the imitation of the real. Identification, recognisability of the subject, and, paradoxically, the non-involvement with the factual data are his investigatory indicators, pursued in the attempt to replace the objective world with a more metaphysical and conceptual sign, charged with new meanings of illusory realism and of immediate visual impact, openly Pop. His images are distinguished by marked compositional and formal skills, and by pictorial expedients, chiaroscuro mannerisms that reveal his knowledge of ancient and modern Western art history. Inner processes, in which all forms of relationship between subject and object produce different cognitive experiences, are transferred on the surface through formal solutions that are more and more distant from the codes of glossy fashion photography, thus sharpening a pictorial vocation that still is in the process of experimentation.
Dotti offers a unique photo-painting based on the continuous examination of the world, capable of creating another, illusive and surreal reality. A voluntary search of ambivalent visual structures, where colour, gesture and matter become a sign, using visual mechanisms that tend to cancel all distances between invention and reality, painting and photography, to the point to make the presented images appear as natural. The artist implements a continuous visual shift from photography to painting and vice versa, making every form of perception unstable. He adopts the practice of disorientation introduced by Giorgio De Chirico and developed by Marcel Duchamp, in which objects with well-defined outlines take on new plastic and aesthetic values, outside traditional procedures of refined digital post-production techniques, in a dialectical relationship between language and thought, simulation and representation, illusion and reality. In his search, even the most extreme and autonomous universes of the fantasy are always referential; if not, the user could not configure their existence. His works live between the contradiction of the photographic language and the enhancement of the pictorial one, using a solid geometric composition of space and displacing luminist "depths", in which the irregular tends to become a compositional norm, where codes are mixed and the impossible becomes possible.When photography, at the very moment of reproduction, acts on the phenomenon, causing an authentic metamorphosis and modifying it in the most essential dimension, even the ideal time becomes a concept, in which the colour and the materic weft of the acrylic pigments become the expedient to compose ever more ambivalent images, with unexpected spatial perspectives that would otherwise not be perceptible. In this new and unprecedented series of 14 works centred on the cylindrical aluminium can – the ready-made of consumption from 1957 to the present –, the container, an emblem of mass society food, becomes the metaphor for the sense of preservation of a dematerialized life in the digital age of the new millennium, of time and persistence of memory. He thus introduces a critical reflection on the need to preserve the value of art, in favour of the culture of being and against that of appearance as an existential code and human practice. The unique work of Dotti is also inscribed in his signature: a drop of his own blood, an existential and non-replicable "dripping".
In Brera, in the art district during Art Week Miart 2018 the exhibition itinerary of the Mea Culpa exhibition by Dotti proposes an imaginary line for art, in homage to Piero Manzoni, which starts from his former studio, the current Zecchillo studio (via Fiori Chiari 16 ), a laboratory for the design of new languages, continues by Stefano Civati art consulting (Fiori Oscuri 3) is full of color and shape, memory and identity in the historic Crespi store of 1880, where the artists of yesterday and today have found the tools of making art (via Brera 28 / A), and ends with a hypothetical trip to the Orient, in the refined Tokyo Grill restaurant (via Fiori Oscuri 3), where art alienates the body and the spirit