Ed No: 5/8
£240 (framed) £200 (unframed)
Ed No: 1/3
£350 (framed) £300 (unframed)
Lorenzo Davitti graduated from his BA in Psychology at the University of Florence, Italy, and earned a MA degree in Illustration at the London College of Communication, London, UK.
He has worked as a freelance illustrator, animator, and colourist before specialising in printmaking. He has been developing his artistic practice in some of the most well known and respected printing studios in London. Selected exhibitions include the National Original Printmaking Exhibition, in the Bankside Gallery; the Awagami Printmaking Exhibition, Japan; the Woolwich Contemporary Print Fair, in London; the Fourth International Printmaking Biennial, in Cacak, Serbia.
He has been awarded a graduate artist residency in stone lithography at London College of Communication, and the first prize at the Reinterpreting Vintage Ladybird competition organised and judged by Penguin Ventures, in London. In recent years he took part in the FIG Bilbao Open Portfolio Festival and was invited as Artist in Residence at the IX International Latgale Graphic Arts Symposium.
His work is collected by the China Printmaking Museum, the Victoria & Albert ¬¬Museum (Print collection), and the Mark Rothko Museum.
He lives in London, where he works as a fine art printer at Thumbprint Editions, a reputed professional printmaking studio specialized in producing etching and relief prints for renowned contemporary artists.
The apparent tidiness and geometric perfection of these prints is due indeed to chance rather than design: the image was constructed starting from the folds of a ribbon passed through the printing press. This is a working method that involves some planning, as well as instictive decisions; a process that aims at reflecting on the potential of printmaking as a creative, generative and spontaneous technique.
Since accidental and random gestures are prominent, colour choices become a counterbalancing force. It is thanks to the choice of a muted or a vibrant palette that the artist’s voice comes to the surface to add an emotional component to a seemingly geometric and rational shape.
Sometimes, the title of each print emerges slowly, while working layer after layer of colour; other times right after the print is finished, and it is often determined by a state, a mood or a sensation inspired by the relationship between colour and shape.