by Daniela Pronestì in www.latoscananuova.it



The combination between art and science actuated by means of technology is the conceptual pillar of the work of JD Doria, whose research has always focused on the interaction of different - and only apparently distant - disciplinary fields and expressive mediums. The practical and theoretical implications of this hybridization of languages are manifold: starting from the idea of a creative act no longer as experienced in solitude by the artist, but rather as a process implemented in synergy with experts of other sectors. Every work of JD Doria, in fact, involves a variety of passages that require, in addition to his intervention, also that of a photographer and a printing technician, whose collaboration does not however affect the essential principle of authorship, or at least not entirely. In this case, to speak of a single “author” can appear misleading, not so much because other professional figures are involved in the making of the work of art, but rather because in contrast to the traditional figure of the artist as “demiurge“, JD Doria prefers to take the role of a medium thanks to whom matter can manifest its “creative imagination”. His intervention, in fact, allows the creation of the ideal conditions that trigger a process where art and science become one, starting with the fact of choosing a Petri dish, usually used in biology for cell cultures, as the support. More similar to a chemist than to an artist as conventionally known, JD Doria pours a variable amount of chromatic pigments into this vessel - inks, paints and acrylics - interacting with each other without ever mixing, generating the foundational core of the work: a magmatic ensemble of colours that procede little by little from chaos to order in accordance to a universal law, intrinsic to the matter. The images thus obtained and immortalized by the photographic lens are epiphanies of the vital rhythm hidden in every cell: revealing the natural tension of the existent towards beauty and harmony. We are far from what in painting is considered as composition, formal rigor and control of expressive tools: the body of the work is a fluid osmotic mass, subject to continuous exchanges and relationships among its components. And in this micro community, whose members collaborate and respect each other without conflict, JD Doria goes deeper in search of details that, extracted from the whole, in turn, reveal themselves to be entire minute worlds to be explored. The enlarged scan of the photographic image in fact allows details that would otherwise remain imperceptible to the human eye, to emerge. And this is where the pleasure of discovery comes into play: in the progressive unfoldment to the eye of a scenario populated by rocks, marine horizons, flowering forms, animal figures, fantastic creatures. An imaginary that surfaces from the matter and becomes itself a work of art. Many are the symbolic implications of this unusual creative process: and among these what emerges strongly is the close relationship that necessarily binds the one to the multiple, the particular to the whole and by extension, the individual to the collective. We are all cells of the same body, solitary monads gravitating in the same cosmos: our perceptive worlds - the artist states - apparently separate us one from the other but, beyond these worlds there “fluctuates a golden chaos, as a primal source for the unpredictable”. For JD Doria technology gains sense if directed to knowing and by this, to becoming consciously aware of the condition that embraces every living thing, man and nature. A reflection that does not neglect the ethical and aesthetic drift of a society increasingly dominated by the appeal of technological innovation. And it is to this threat, which is not too distant in time, that he responds with a renewed idea of art and beauty, both intended as necessary tools to look beyond and through the contradictions and the non sense of human living.

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