I had carried out some research on the origins of the « di sott’in su », a pictorial technique equivalent to the process of counter-diving in photography. Andrea Mantegna is probably at the origin with the famous profane oculus of the Chamber of the spouses of Padua painted between 1465 and 1474. Melozzo da Forli did not realize the fresco of the vault of the Sacristy Saint Mark of Loreto until 1477. But beyond what Giorgio Vasari says, it will be necessary to recognize Melozzo da Forli to have been the first painter to dare to unite Sott’in su and body in levitation, the flight perspective of the bodies around which the counter-reform will found his imaginary identity for nearly three centuries…

It is from an obsession with the « di sott’in su » that this image was born. I first chose the shape of the Tondo inside which I depicted characters inspired by the sculptures of Giacomo Serpotta. I actually understood this drawing as a graphic ascension inside an oculus concluded in the end by an element of frontality to break the perspective and bring out another space.

Litanie Lauretanae, crayon et encre sur papier, 40 x 40cm, Paris 2019

Poster of the drawing Litaniae Lauretanae

Poster 55x55cm. Matte Paper. (300dpi)


Limited print (25 units) numbered, dated, signed..

Limited print 55x55cm on Beaux-Arts paper, Limited print (25 units) of the drawing Litaniae Lauretanae, numbered, dated, signed. (300dpi).