Lorenzo Davitti was born in Florence and graduated in Psychology at the University of Florence, Italy, and earned a MA degree in Illustration and Visual Media at the London College of Communication, London, UK. He has worked as a freelance illustrator, animator and colourist before specialising in printmaking. He lives in London, where he has worked as a Printmaking technician at the London College of Communication. He currently works as fine art printer at Thumbprint Editions, a reputed professional printmaking studio specialized in producing etching and relief prints for renowned contemporary artists.

Selected exhibitions include the National Original Printmaking Exhibition, in the Bankside Gallery; the Awagami Printmaking Exhibition, Japan; Woolwich Contemporary Print Festival; the London Design Festival, in London; the College Book Art Association Meeting, USA; the Fourth International Printmaking Biennal, Serbia.

Lorenzo is a member of the Printmakers Council and East London Printmakers; his work is collected by the Victoria and Albert Museum; University of the Arts London; the Mark Rothko Museum (Daugavpils, Latvia) and the Collection of the Fourth International Biennial Čačak. His recent practice explores the subtle balance between control and chance through an expressive and flowing process that is deeply rooted in the studio environment in which he is immersed. Informed by an admixture of concepts drawn from human and natural sciences, Lorenzo’s process is one where accidental gestures are counterbalanced by controlled application of the technique. Decisions regarding marks, lines and colours are taken intuitively and rapidly; in this experimental method, planning is as valid as improvisation or accident. This dichotomy echoes the process of knowledge building, and is reflected though a series of trials and errors, provisional states and in-between shapes.

The resulting imagery is abstract, colourful and organic, constructed by using traditional plates, as well as found material, fabric, ribbons and paper offcuts. The prints feature ambiguous objects; shapes that are more suggestive of movement and temporality rather than mass, space or volume.