The preparatory drawings for Domino – La Storia siamo noi constitute an essential part of the project,
not only as a technical phase, but as a true space for visual and conceptual development.
The process begins with an initial overall study of the work, in which the overall structure of the
polyptych is defined through its internal relationships: an overall vision still open, yet already oriented
toward building a system of connections between the individual scenes. In this initial phase, the image is not
yet defined in detail, but already contains the relational logic that will guide all subsequent development.
From this framework, the work focuses on the study of the individual parts. The first painting in the upper left
of the composition was used as a field of experimentation and testing: through a sequence of progressive drawings,
the internal balance of the scene, the arrangement of the figures, and the relationship between space and narrative were refined.
This process, later replicated for each of the sixteen paintings, made it possible to build a rigorous method capable
of holding together autonomy and coherence.
The semi-final and final sketches represent the moment in which the image reaches a stable form.
Executed in pencil, with the integration of Caran d’Ache coloured pencils and promarkers on cardboard,
these drawings precisely define the composition, the overlaps, and the internal dynamics of each scene.
While retaining the nature of drawing, they already anticipate the visual complexity of the oil paintings, making the transition
from a work-in-progress thought to a completed image clearly visible.
Taken as a whole, the sketches are not merely preparatory studies, but an integral part of the work:
they bear witness to the process through which the image takes shape and make visible the design dimension that
underpins the entire project.