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“Di Lucci has his roots in figurative art, but this is only a starting point, because his work evolves quickly towards abstraction. And here he allows fantasy to expand towards all directions. His works are dramatic and full of dynamism. Energy escapes from the canvas and show us a universe full of sensibility, where strong passions collide, but also images where it allows that poetry to introduce subtly and make its play. Di Lucci’s paintings succeed to achieve art to surprise. They are never a definitive proposal but they rather grow constantly in the eye and the mind of the spectator” Ole Lindboe, August 7, 1999, The Wide World of Art, Denmark. “After more than 20 years in Europe, mostly in Copenhagen, Denmark, Di Lucci returns to live in his home town, Montevideo. A not surprising fact in the Uruguayan context since it was the trajectory of more than one citizen. For Di Lucci, returning was the context for an intense passion that pushed him to explore the limits between heart and mind. In that way the new series of the hearts was born, (re) presenting a visual testimony of the process. It is a constant feature in Di Lucci’s work that the creation of his paintings born due to a thought, a pictorial reflection about the human condition, in which the painter feels himself particularly involved. Colours appear, strong and chaotic, and then other suggested or privileged forms by the author give the rational harmony to the visual account. Di Lucci sketches thus the pictorial reflection and leaves us half-opened the process that goes from the wound to the scar. The author induces the spectator to (re) define his relationship with beings and things from the self painting in a play between both, with the veil between the public and the private. Time processes –the- process with the incorporation of the mark like a sweet hope of remembrance”. « [e}t parce qu’il permet de montrer un être humain faisant face a sa vie, et s’efforçant plus ou moins honnètement de l’expliquer, et d’abord de s’en souvenir » Marguerite Youcenar, Le Coup de Grace, prèface (1962) Joan Van den Berghe, October, 1998, Uruguay

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