Reviews

DE LA TIERRA

Joan Feliu
Thursday, 14 December, 2017

Ciclo Metáforas sinestésicas, de Marte Modern Art Experiences.

Espai Cultural Obert Les Aules. Diputación de Castellón.

 

Este hombre no es de ayer ni es de mañana,

sino de nunca; de la cepa hispana

no es el fruto maduro ni podrido,

es una fruta vana

de aquella España que pasó y no ha sido,

HOW DEEP IS THE OCEAN

Lorenzo Canova
Thursday, 27 October, 2016

In his dense and symbolic works, in his layered and metaphorical colours, in the drafts whose chromatic material vibrates with vital enzymes: in his latest cycle, Michele Dolz works through allusive codes in a painting that suggests a complex and articulated reflection on the soul and its human arcana.

Intervista su THEMA, rivista del Pontificio Consiglio per la Cultura

Michela Beatrice Ferri
Wednesday, 6 April, 2016
Come ha avviato la sua pittura e quali sono i caratteri della sua poiesis ? Non ricordo un «avvio» della mia pittura: è cresciuta con me. Anni fa mi sono accorto che la tavolozza si andava oscurando e le forme semplificando. Ho capito che, qualunque fosse il soggetto, era sempre metafora dell’animo umano. In una mostra dal titolo Notte oscura (allusione neanche tanto velata a san Giovanni della Croce) tutto questo venne fuori finalmente.

The Lyricism of The Synthesis

Giorgio Seveso, catalogue
Monday, 12 October, 2015
Dolz currently seems to work “in taking away”. He is one of those artists whose temperament leads to concentrate, dry, taper, synthesize... In his work today what is not essential becomes superfluous and is not even mentioned on the canvas, or so it appears as just evoked, as labile possibility of adding: the negligible ghost of an outline left on the shore of the painting, a buoyancy, almost slipped away, of the remains of the surrounding objectivity.

Creatures

Del visibile - Luigi Codemo
Monday, 12 October, 2015

Quando una bestia inarca il dorso per emettere un suono rozzo e primitivo, il richiamo arriva anche alla nostra specie. Vibra una cosa imperfetta e abnorme insediata nel cuore stesso dell’essere. Un’eredità primigenia. Il richiamo di quella vita immersa nell’indistinto, dove vige l’esistenza fluida e collettiva del branco, della mandria, dello stormo, del banco. Dove nulla è posposto, tutto è immediato. Forza bruta. Vita che mangia vita.

Luce scavante

Davide Coltro
Thursday, 1 May, 2014

La luce è parte principale nel definirsi della Creazione, rende possibile il nostro senso della vista e così, da questa porta principale, si forma in noi una coscienza della realtà, un’immagine del mondo. A un certo punto della storia compare la fotografia, l’invenzione-rivelazione che si serve dello spettro luminoso e innalza la luce stessa a elemento generativo e materia costitutiva dell’arte.

THE LIGHT OF FOSSILS

Elena Pontiggia, catalogue
Thursday, 1 May, 2014

Fossil is a term of paleontology. It comes from the Latin fodere (to dig) and shows the remains of past life (leaves, pollen, shells, bones, eggs, and more) that are embedded, fossilized in fact, in sedimentary rocks.

     There's the closest thing to death. So much so that in common parlance the compliment you're a fossil is for those who don’t reach to live in their own time.

 

A light in the darkness of the night

Chiara Canali, catalogue
Friday, 18 May, 2012

In the series of works entitled ‘Dark Night’, Michele Dolz’s research deals with the natural theme of the Mountain, a subject already faced and investigated upon by many authors from the XVIII century to the present day, as evidenced by the exhibition ‘Mountain Art Science and Myth’ created at the Mart in Rovereto in 2003.

Six questions to Michele Dolz

Davide Coltro
Saturday, 13 December, 2008
The title of the exhibition leaves no doubt, as if to suggest a conversation on the spirit because it is the land of silence that seems to lead directly to interiority. Your response is perhaps a painting close to the borders of interior silence, that transcends the senses themselves.

Beyond Nature

Maurizio Cecchetti, «Studi Cattolici»
Monday, 1 June, 1998
I remember a joke by Degas about Impressionism: C'est plein de courants d'air. He meant that, rather than painting en plein air, he preferred the closed room of his own studio, the dim light that filtered through the wide windows of the atelier, whose panes were almost never washed. That was a guarantee of truth, the truth of his own memory, that distillation which remains when you’ve forgotten all you know about reality. And to understand this 'seclusion' I refer again to Degas, when, while travelling through Burgundy along with his friend Bartholomé, he sketched those landscapes, ‘unique’ pieces in a career as wide and teeming with paintings, drawings and sculptures of various subjects, and afterwards he tod people he had had the window of the moving train as a ‘frame’.

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