Architecture has always maintained a very close relationship with drawing which is a part of the thought process of architectural design. The connection between this two-dimensional and this three-dimensional art is deep and they evolve in vis-à-vis for many centuries now. To design a building or structure, the drawing was an inevitable step. To materialize his ideas, the architect had to manage the art of drawing, which at the time had a scientific usefulness and should be used in mathematical manner. Then, every architects was also a drawer.
However, a gap may now appear between these two mediums. Since the arrival of the computer, it is no longer a requirement for the architect to manage the art of drawing. It had freed the drawing of its pragmatic function. But from this, manage a computer program is enough to materialize ideas and concepts into reality. So, in the circle of architecture, it has become trendy to declare the death of the drawing. Far from this trend, artists such as Carlos Del Secco continues to feed in a romantic way this union.
Formed in drawing then to architecture, Del Secco was influenced by different fields. He mixes the rationality imposed by architecture and the sensitive aspect that can provide the drawing.
In his artworks, Del Secco is inspired by primitive architectural forms that he elevates into wonderful expressive artworks with black background and a subtle play of contrasting light. He installs an atmosphere filled with drama and gives personality to each composition. In this manner, he manages to draw portraits by personalize still life. These archetypal stones and their geometric shapes speak about the relationship between man and nature, rationality and poetry, architecture and drawing.
By Amelie Marchal.