Today the painted image is challenged by invasion and visual bombardment by the media. With Maurizio Diana we find a compromise which is in some ways a protecting reflex of the luminous integrity of the image. What fascinates in this sensorial experience is also its envolving relationship with photography. Maurizio Diana's great merit is to raise the question of the image, its motivation and structure, and inevitability of change.
In this illuminated figuration, which confirms that the form is always a matter of the senses, if reality is ambiguous and rhythms that make it up are staggered, the dreams of Maurizio Diana takes us into his intimate world where color enhances the light and the light the color. [...] Maurizio Diana with her ghosts, but without undesirable nostalgia, shows us a version of reality far beyond the appearance.
What we see is an illusion, a sort of trompe-l'œil, a fascinating mobile background. This mise-en-scène by Maurizio Diana is close to the environment; the method of activating or involving the real environment is truly derived from kinetic visual art. But the merit of Maurizio Diana is to have programmed the event with real elements. The project for Maurizio Diana is a utopia, with the capacity to redesign an urban space.
Critics and Press
Maurizio Diana had explored the possibility of returning time to the vision work. [...]
Studies of optics, on the physiology of the eye, the research on the physics of the solar spectrum and different radiations have opened, in fact, new roads. The work of Maurizio Diana, scientist and artist, starts from these assumptions to return in his paintings a new aesthetic experience.