..De Luca’s art is religious art, not in the sense that it makes reference to a specific religious belief but because it is close to that certain something which animates us all. In approaching his art, we are moving on the brink of an extreme, rarefied aesthetic dimension, which is explored by the artist with fluency and ease, as if he were applying paint on a canvas or laying liquid coats of colour on a wall. Yet at the same time we can see that he is well awere that he is doing something more than just painting, that he makes no compromises and displays no reverence. As a term and a concept, the definition of “ applied art” seems rather inadequate here…”
Fulvio Dell’Agnese



“In this phase of your research into rigorous space I hope you will conquer increasingly vast landscape, to recount ancient and new stories with the mosaic technique of wich you are a modern master.”
Arnaldo Pomodoro



“…Marco De Luca is really exemplary case, also because his work directly touches all the terms of the mosaic question, starting from the continuity with the past, down to its justification in the eyes of today’s visual culture. But it is certain that if De Luca is the most unequivocal example of the single ideating-executing figure that Severini hoped for, it is because mosaics is his chosen means: he thinks, sees and plans in terms of mosaics. And it is through his practice, precisely his mosaic ‘poetic’, that he understands the work in all its historical prerogatives, though in a context of unequivocal modernity…”
Claudio Spadoni



“…De Luca’s works are the embodiment of an idea, the epiphany of a thought, the condensing of a dream; they are words spoken and they retain all the strength and absoluteness of words. Marco De Luca has learnt the secret of keeping the eyes of the soul always clean. Truth in a work is not the artist truth, or better, is not only that. It contains multiple truth, all of them equally certain. A work includes millions of dreams, and its magic and mystery lie precisely in this, in a sort of ungraspable state that makes us see it differently each day. It contains certainty and the indeterminate. The sense of the work of art belongs to no one; it does not come under the logics of reality but rather a logic of correspondences that is hard to decipher. This does not mean that we should nor try to explain it. Approaching a work of art is somewhat like approaching the many significances of our being, dreaming of our infinite desires, giving a face to nothingnesse, and this way becoming less afraid. We need images to look at, to reinvent, to remember: works like De Luca’s daydreamt stories that make us hope for a moment that will shall not vanish forever…”
Michele Tosi