A Donzelli exhibition is never just a linear presentation of individual and autonomous works of art, even less an inventory of formal possibilities; it is indeed an experiential journey where each piece is in dialogue with another and with the surroundings, generating a rhythm within the exhibition that favours the spectators’ interaction.
In fact, the relationship between the viewer and the work of art is a core theme in Donzelli’s oeuvre, especially in his Mirrors, where prismatic lenses twist the underlaying image in a way that causes it to appear to be ever changing according to the viewer’s position. Resembling a mirror from a certain perspective but then changing into an image as the bystander moves, it is as if the work had a life of its own.
The titles of his series of works (“Eccetera Drawings”, “Disegni del quasi”) stress continuity, fluidity and openness as the backbone of his research. Donzelli has elected drawing to his primary means because it’s a process of discovery from the incipit, when the pencil touches the paper and the sign/image starts to take form.