Stefano Mancini’s etchings reflect his research and the continuous evolution of his art. He is an etcher, but also a bluesman.
Blues is black – except for Harmonica Frank Floyd -, blues is poor – no exception -, blues has a strong smell, like the etching one. Blues is also full of kindness.
Stefano Mancini is both an etcher and a genuine person, which is a rare characteristic for an artist nowadays. His etchings might be considered as a sound-touch: Lightnin’ Hopkins’ hand, Sonny Terry‘s cheek, Hound Dog Taylor‘s determination, Mississippi John Hurt‘s face, any part of the body of Browny MC.Gee that caresses or is being caressed by the blues melancholy.
Stefano’s drypoint is a gesture full of sound that reflects the typical rhythm and repetition of blues music, a symbol of movement. He also worked with the famous Italian etcher Sandro Ciriscioli, who thought him how to use the drypoint recalling some Muddy Waters‘ rhythmic.
His aquatints are like a landscape game that recall the rhythm of the breathing (air), necessary to find all the energies for surviving and giving them back. It reminds us the harmonica, an occidental typical instrument and the blues culture as well. Some of its main performers? Sonny Boy Williamson, Walter Horton and Harmonica Frank Floyd.
Stefano Mancini attended his first pictorial studies in Fano (Urbino), his hometown, with Master Emilio Furlani and Corrado Cascioli. Then he also studied etching in Urbino in 1993. Even if he wasn’t a disciplined student at the beginning, his strong passion for blues first, then for both women and nature helped him to pass all the typical etching difficulties: etching is not as immediate as painting and music. His skills were noticed by some other famous Italian etchers; some of them became friends and a source of inspiration for Stefano: Fabio Bertoni, Renato Bruscaglia, Livio Ceschin and Lamberto and Pier Paolo Calzolari.
Stefano’s passion for blues (he is known as Steve Mancini) brought him to “N’Awlinz” (New Orleans) – before Katrina hurricane – and played his guitar in some of the most famous pubs with Billy Gregory and Andy J. Forest. Then he left New Orleans to reach the Mississippi delta, looking for the roots of blues. Hereafter Mancini visited the John Hurt‘s shack, sat on the chair where he used to compose his blues music and played guitar all day long while he was surrounded by nature. This experience gave him the inspiration for some incredible etchings.