Massimo Rivenci develops a technique that finds its final revelation in the manual decoloration of photographs.
The work on canvas becomes the contamination of two languages: photographic and pictorial.
Perception finds the interpretative suggestion in the environment, while the decoloration of the subjects becomes itself a metaphor of the constant human intervention on the natural environment.

by Giorgio Mondadori – “CAM” Catalogo dell’Arte Moderna n. 52