What surprises the most about his artworks- besides the patient and slow manual realisation – is the sense of movement, of “temporalization” they acquire before our eyes. The image is in constant “development”: it goes well beyond the static visual proposals of abstract art, embracing those more morphologically devoted to the realisation of a dynamic, albeit virtual, movement of kinetic art.

Lucchetta pursues then an aesthetic path, whose methodological accuracy gives the viewer a correlation of unpredictability and visual estrangement, along with the illusion of a permeable space dominated by continuous impulses and unusual transformations. With the will of challenging the bounds of the unsteadiness and the fickleness of the surfaces (as they shape and recur in discontinuity with the forms they originally depend on), the artist gradually increases the effects of distortion.

Among all this, what prevails is the idea of “visual perception”, a concept originally developed by Vasarely, Cruz-Diez and Bridget Riley which, still nowadays, generates wide interest and experimentation. That is the case of Lucchetta who, although acting upon the “optical” proposal and following the legacy of those who worked on the recurring interchange between solids and voids, black-and-white (as Franco Grignani and Alberto Biasi), adds a different vision to his artwork: in my opinion, a sort of “imaginary temper” which has a more immediate effect on the viewer; this latter, in fact, has the illusion of seeing real and three-dimensional objects although they are graphically composed on two-dimensional surfaces.

At a reasonable distance from the artwork, we are able to get the author’s attempt- entirely successful- to give the graphic object a sense of “flowing motion”, in its furling, in its transitory opening and closing as a “rumpled handkerchief”. And during the time frame in which each concave surface turns into convex and the negative becomes positive, we specifically witness, I would say with wonder, to one of the ways in which human intelligence can still compete with artificial intelligence.

Considering its complexity, its patient execution and the complete autonomy in which it is realized, Lucchetta’s work confirms what assumed at the beginning, that art can be the independent expression of the personality only when driven by a real inner necessity and by an actual creative will.   

Michele Beraldo