Ultra-contemporaneous – and fully digitalized – portraits show up within the whitest frames, whose baroque shape seems to allude to an anachronistic past, whereas the real reference point is the aseptic web and high-tech culture and its typical stereotypes. D’Andrea’s portraits are a true laboratory for tracking the complex relationship among the new media, internet, and digital artwork, or – if preferred – the proper materials for an encyclopedia of the iconographic learning of contemporary society. Thought and linguistic-technologic system amalgamate almost naturally within a research whose core aims are more investigative and scientific, than aesthetic or ethical. By describing, instead of expounding, appreciating, or blaming, D’Andrea offers to the public images that are totally realistic, and surprising at once: behind what looks at first sight no more than an artefact of the animation technique, glances and postures are well alive, and may soon become plausible fellows of everyday experience within a boldly expanding community.

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