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The artistic process

 

A new approach to sculpting, where
MATTER BECOMES MEANING!

 

Most artists view matter and form as a medium to allow them to express a message. Through matter, they express intentions, emotions, feelings… whether their artistic expression be realistic, abstract or conceptual.

Doro follows a reverse, experimental path.

In his search for the absolute, and guided by his own mode of perception, the goal he pursues is the suppression of any deliberate message, any deliberate social or emotional expression, allowing the very matter to express itself while blending realism with abstraction.

 

MATTER BECOMES MEANING!

 

Doro’s creative work begins with pure precious metals. When purchased, the material comes as strips or wire. He melts these down, allowing the metal to return to its original, liquid state, which precedes the solid state. In this manner, the material is more original, more virginal, being free of any prior human manipulation.

A PRELIMINARY EXTRACTION OF SHAPES. To free himself from traditional tools and methods (design, sketches, tweaking, casting, buffing…), Doro has come up with a new approach. During the smelting, he submits the metal to a three-dimensional expansion: this he calls “orophany”, a method that allows him practically not to interfere in the creation of the shapes produced. Metal solidifies self-expressively. Orophany, so to speak, allows Doro to introduce non-sense into his sculptures.

ASSEMBLING THE SHAPES. Creating his sculptures requires that DORO assemble and merge the shapes thus produced, without the contribution of any other material. He assembles these initial shapes like a puzzle, the final image of which only he sees. By the end this stage, and to his amazement, he discovers that each shape had its proper place.

REVEALING THE HUMAN ASPECT. Doro does not view human beings as physical units defined by a corporeal envelope. Man is universal, global; contours are open; spaces appear in matter and between the elements. The result is accentuated, with toned-down colours to respect a more primitive, uncompromising expression.

The work of art is a form, i.e.  a movement that has come to its end, the infinite contained in the finite, so to speak. Its totality is derived from its conclusion; it must therefore be seen not as the act of enclosing a static, immobile reality, but as that of opening an infinity given form.” – Luigi PAREYSON, Italian philosopher, 1918 -1991

READING HIS WORKS. Man is a whole, a reality clad in infinity, the contours of which one must define for oneself. DORO allows every viewer the opportunity of reading what they will into it, of interpreting it as they will. So, for example, an open hand is an open hand. BUT is it receiving? Is it giving? We are all free to offer our own interpretation.

Every work of art, even as it is a finished shape, enclosed in the perfection an exactingly calibrated organism, is also open, at least in that it can be interpreted in different ways, without altering its fundamental uniqueness. Enjoying a work of art comes down to interpreting it, executing it, bringing it back to life from an original point of view.” Umberto ECO, Italian academic, scholar and novelist, b. 1932.

Remy in his artist studio

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