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Emanuele Dottori, ON THE THRESHOLD

At the entrance was the frottage of one of the graffiti still visible in a cell. At least one word read clearly and seemed to describe the situation better than any other: Hell. On entering one of the twin rooms, the one on the left, a large canvas showed the only horizon visible from the opposite cell. Beyond the barred door, a precise view of Edolo looked out at us, to be peeked at through the small criss-crossed window. The town was inside and the view inside projected out.
In this exchange there was the whole sense of Dottori’s work: the prisoner dreams of his free and luminous Edolo and the city sees itself and its history within the narrowness of those four dark walls. A small canvas and its negative linked the two rooms and invited us to go into the other one. Once across the threshold, the unimaginable was revealed: an escape was possible and the slit wall opened up to the surrounding mountains. For those who had escaped and those who had not, a view of Edolo by night peeped out from the square of the ceiling. An earthly city that becomes heavenly would not have displeased Zeffirino.

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THE ARTWORKS

Maybe one morning, 2016, chalk and primal on fabric prepared with chalk, 140×200 cm
Sleepless night, 2016, oil on fabric, 250×210 cm

Diptych, 2016: 
Azzerucis id Aremac, oil on fabric, 23×21.5 cm
Safe room, chalk and primal on fabric, 23×21.5 cm
The sky above Edolo, 2016, oil on fabric, 140×270 cm
Daydreaming, 2016, chalk and primal on fabric, 250×210 cm

Posted on: 2 November 2021, by : Alessandro Ulleri