miniatures
The River
https://www.deborapiccinini.com/wp-content/uploads/2020/11/DSC0008-660x1024.jpg 660 1024 daniela daniela https://secure.gravatar.com/avatar/01ef515cefeb070842fdbad45ef32e1c?s=96&d=mm&r=gMiniatures / The River
Imagined hugs
https://www.deborapiccinini.com/wp-content/uploads/2020/10/abbracci-immaginati-2-819x1024.jpg 819 1024 daniela daniela https://secure.gravatar.com/avatar/01ef515cefeb070842fdbad45ef32e1c?s=96&d=mm&r=gMiniatures / Imagined hugs
Vultus
https://www.deborapiccinini.com/wp-content/uploads/2020/10/Dopo-i-compiti.-olio-su-carta-cm-155x12.-2015-1-804x1024.jpg 804 1024 daniela daniela https://secure.gravatar.com/avatar/01ef515cefeb070842fdbad45ef32e1c?s=96&d=mm&r=g
Bicycles
https://www.deborapiccinini.com/wp-content/uploads/2020/11/bici-debora-piccinini-pittrice-11-1024x683.jpg 1024 683 daniela daniela https://secure.gravatar.com/avatar/01ef515cefeb070842fdbad45ef32e1c?s=96&d=mm&r=gMiniatures / Bicycles
Portraits of auteur
https://www.deborapiccinini.com/wp-content/uploads/2021/04/cover-ritrattini-982x1024.jpg 982 1024 daniela daniela https://secure.gravatar.com/avatar/01ef515cefeb070842fdbad45ef32e1c?s=96&d=mm&r=gMiniatures / Portraits of auteur
“Debora’s work so minute and particular has, nevertheless a strength and at the same time an incredible formal delicacy, as only Persian miniatures can be. (…)
Debora states that her work starts from the sixteenth-century portraiture, with a particular preference for the works of Pontormo and Bronzino, in which with her discreet eye she manages to identify those formidable details that outline the precise psychological and intellectual identity of the retracted character. In the small works that Debora elaborates as precious miniatures, it always seems to start from the real datum, which is continually reinvented through arcane geometries that create spaces and details in unison and that, eventually, are nothing more than the story and the inner world of the portrayed character. ”
Debora states that her work starts from the sixteenth-century portraiture, with a particular preference for the works of Pontormo and Bronzino, in which with her discreet eye she manages to identify those formidable details that outline the precise psychological and intellectual identity of the retracted character. In the small works that Debora elaborates as precious miniatures, it always seems to start from the real datum, which is continually reinvented through arcane geometries that create spaces and details in unison and that, eventually, are nothing more than the story and the inner world of the portrayed character. ”
Mauro Partesi
