First paintings

Mandala

Promenade dans la rêverie

Storys of the sea

Mélanges

Geometric digressions

Kλωνός
 
Coincidences or suggestions

In... forma

Fractalia

Lăcĭnĭae

Syncretism

That we’re talking more and more about Digital Art is foreseeable and inevitable, when the artistic production corresponds to the spirit of time which is the leveller of the taste of the artists and which unifies them. The artist knows how to interpret the spirit of time and what kind of artworks he has to leave to his descendants as a testimony of his lifetime.
About the middle of the XIX century, an invention (daguerreotype) appears, that is able to impress plates, before prepared empirically, reproducing images that the operator wanted to catch. This daguerreotype, nowadays transformed into digital camera, has signed very much a big part of the art of the end of the XIX century and even more of the XX century.
100 years after, the man invents a kind of computer, an instrument that resembles very much the human brain with the only difference that hasn’t the intuitive and creative capacity, but to its advantage it doesn’t suffer mnemonic crises and most of all it retains unchanged its capacities of calculation and elaboration in times which are nearly unimaginable for the human being.
About the end of the XX century the diffusion of this instrument, and of the software get always more important for the contemporary man.
Why shouldn’t the artists use these instruments for the production of art? Is maybe denied the whole art, conditioned by the photographic instruments? Why have we still to discuss, if the digital art is to consider a kind of Art or not, instead of forcing ourselves to understand where the limits for the artists are in front of the seduction and the domination of the instrument?
Not the digital media are producing art, but the soul of the artist who uses the digital media. Like in the photography, there is no doubt, that the most part of the photographies haven’t got any artistic value; only those who have the soul of the artist will be able to cross the threshold to the artistic reviews.
You can’t invent a digital artist, only because you have the capacity and the culture of the use of the software; only who lives the flight into the imagination, supported by the technical knowledge of traditional instruments and by the sensibility that the universal soul creates and that afterwards will betray, in an indelible way, can be called digital artist.
We should welcome the electronic media and their utilisation, which are always more able to support the creativity, but we shouldn’t let fool ourselves, if we don’t manage to dominate it; at the contrary we have to condition it for our creative dominion. The message we want to transmit through the representation has always to be unchanged in the artist, and his universality of reading has to remain like that. The electronic media should be used like we use the pencils, the colours and the canvas on which we shape the thoughts and ideas of the artist, they’ re consequently a further instrument which helps him to write his thoughts.
We have to win the widespread seduction that the exploration of unforeseen and unexpected ways may exercise on the user of the electronic media. At the end or during the run through these ways, you can’t meet or invent art. The capacity to produce artistic contents is and remains in the inside of the Artist, quite apart from the use of the instruments he wants to use.
Art, like our dictionary says, is the capacity, on both sides, to act and to produce, basing yourself on a particular complex system of rules and cognitive and technical experiences and consequently even the together of rules and of proceedings which are supporting an human activity in view of definite results.
After the Second World War began to experience a gradual change that has increasingly determined: the shifting paradigm of mechanical than electronic. The affirmation of the virtual world becomes a generator of new models in the infinite possibilities of different points of view. Reached the ideological integration between man and machine, the computer becomes an ideal partner for solving complex problems and situations. Becomes an intellectual alter ego for the structuring and representation of infinite configurations. This integration states and is found predominantly in architecture. Towards the end of the twentieth century, the art opens new horizons.
Art is representation in all its variable forms. Every representation of the human creativity, if it obeys the complex system of rules and techniques, becomes art; but it doesn’t get automatically an absolute value, because it will always be conditioned by parameters which dictate the standards of value, from the barter up to the top; they’re never authentic, but always conditioned by the logic of demand and supply.
I personally guess that the final result of Digital Art, thus the registered file, has to be deducted from the logics of demand and supply, that invest unique art works, because of their infinite reproducibility; unless you don’t want to work several times on the same file again, in order to cover it with the concept of unicity, but that’s only a strategy of the market. This file, so I guess, should be whether precluded from the logics of the market in order to intervene at the right moment in the history of Art; or it has to be positioned in the relations between demand and supply with its characteristic reproducibility that multiple art works have: limited editions, safe archives and signed by the artist.
The selection and the difficult sentence will remain to our posterity.

All works multiples are serigraphics on canvas with enamel paints, in a limited edition, produced with the help of a computer system. They’re all signed by the artist, Luvit on the canvas, and Lucio Vitale on the back.
Every artwork is correlated by a certification of authenticity on which is reproduced the complete number of the edition, the number of the single art work, the year of the production and the number in the archives of the artist.

Every work of digital art, however, before being serialized in the back is done with airbrush painting plexyglass transparent about 8 mm., in appropriate formats, presenting themselves as the paintings impalpable. Some of them, always in the back painting, use the pvc from 0.5 mm to create paintings back.
These works follow the assessments of unique works.