Coloured shards burn the canvas

Francesca Bonazzoli in "Corriere della Sera"
Thursday, 21 May, 1998

Built in 1477 next to the Basilica of Sant'Ambrogio and then painted by Bernardino Luini, the ancient Oratory of the Passion, now an exhibition space, is like a trial by fire for those who exhibit in it. No manneristci art, no academic exercise can keep the mask on and hide from the eyes of the beholder. Knowing how to paint well does not count and can even be detrimental. The first requirement an artist needs here is the strength of his idea.

On place, form and impossible creation

Andrea Beolchi, catalogue
Tuesday, 5 May, 1998
Beyond the appearances that would make it exquisitely German – 'vast, scenic landscape seen from above’, wrote precisely Savinio to qualify that taste that lasted until the painting of Hans von Thoma – Dolz’s vision of nature is fixed in a constant light, without cycles, with no natural relationships, and given to the playful dimension of artefact colors [...]. In Dolz’s works we have a resistance of a simulation of space that is, so to say, traditional and entrusted to the traditional means of painting – a hint at an hallucinating, self-reflecting perspective...

Intransigent simplicity

Roberto Borghi
Monday, 14 October, 1996