The works of J.D. Doria are born of organic cells under the skin. With the 3D scanner he scoops them as if he were searching for the pure archaic act of the essence of the artistic doing. He reveals the core and soul of the artistic gesture and of the compositional substance of the pictorial work. He makes the cells of the artistic act visible. The artistic doing has to do with the brain, body, flesh, pain, substance, soul: the origin and essence of art.

With the 3D scanner the artist penetrates the infinitely small. Across the texture of the digital code he enters progressively into the original hand made painting, and through it and within it he moves in search of an aesthetically potent form, one that works. Once found, he captures the flow in its unfolding in a set of moments in sequence that, in their multitude, provide the sign of the progressive research and transformation. They are research phases of fragments of flow of time, full of the history of the work itself: full of the before (creation of the hand painted pictorial work, a work in itself, being it material), of the during (research with the 3D scanner and photographic shots in sequence of portions of the primary image; it is in this phase that the work of art takes new form) and of the after (mutating multitude of the original painting and selection of the photographic images that will become works of art proper, in a renewal of content and form to the point that they lose their primitive connotations). The ‘subversive’ phases of the creative process of the artist J.D.Doria, represent a dialogue and a meeting of phases, substances, tools and languages: a multienticity that finds its deeper sense in the fusion and in the interdependence, thus demonstrating that, in union and in sharing, what emerges is a set of elements that produce a jump forward, which could not happen if all the elements participating in the creative process operated in a separate manner. I speak of Multietnicity not by chance. Every artistic language, as well as every means and tool has its own specific identity. It has its own very specific connotations, be they historical, sociological, of customs and uses, of transformations, of the how and the why they were born and developed. All this creates a strong identity. Yet in this artistic era where the boundaries are more and more uncertain both between that which is to be considered art and that which is art itself as a definition, and between the artistic genres themselves, since the minglings produce something that up to a few decades ago was simply unthinkable. There, in all this, J.D.Doria pushes himself even further demonstrating that art today must originate from the links between languages, phases, tools and people: everything and everyone are cells that once in contact produce a new living organism that, in the research and in the artistic action produce and renew themselves. All this brings to an expansion, to a going beyond even the very limit of traditional painting that converges towards the single image. Through the use of technology, the ink and the colour used to paint glass (often used for the creation of the origial work of J.D.Doria), lose their original connotations and become another language and another material. One moves from the pigment of the material colour, to the intangibility of the 3D scan of the work, that then becomes a digital photographic image made of sequences of 0s and 1s, to finally come back to the material (renewed) in the printing phase of the image that generates the final work of art.

With his Art therefore, J.D. Doria breaks through many limits, exploring the very boundaries of the medium and going beyond the single and exclusive image. Multietnicity, multitude, mutation, becoming, interdisciplinarity, cells. organic, inorganic: these are a few of the key words that lie in the art of J.D. Doria, an art that makes life emerge, with its transitions and its traces of ‘memory’ that remain in the transition to a world that is other (from the organic to the inorganic) and of our world made of material, representations and projections.

The combination of the technologies, of the 3D scanner, of photography, of printing, applied to a hand painted work, creates a game of cascades of various points of observation, that not only make the work in itself interesting, but also the approach adopted. “The renewed function of Art in this current era is to place the human in an accurate manner between ‘the flow’ and the ‘machine’, between anarchy and aesthetics, between radical technology and living philosophy. This ‘placement’ actually positions the human in a state of liminality on the border between configurations, in such a way that the gap between the information and the data, between the known and the unknown, the visible and the invisible is kept vibrant’ (J.D. Doria).