LIVES AND WORKS
LIVES AND WORKS
DATE OF BIRTH
Raffaele Pecci's creative spirit is formed in the studio of Roman painter Romeo Mesisca (Renato Guttuso's pupil), from whom he inherits the powerful expression of color.
2014 sees the opening of a personal working space in Rome; it is the beginning of a new artistic method which Pecci experiments with in close connection with the canvas, and which becomes the shroud of one, one hundred, one thousand emotions of different people.
This vision brings him to the 2015 project "Sistema Emozione" (System: Emotion), exhibited at the Flyer Art Gallery in Rome. The intent is to make emotion a collective experience: The attendees at the exhibition are invited to describe an emotion and combine with it at least three colors. Through sporadic, but instinctive information, Pecci creates "emotional portraits", which are subsequently recognized by their generative source persons. A game of sorts arises, in which emotion becomes a chromatic essence of empathy and vice versa.
The process of transferring other people's emotions onto the canvas becomes a mirror for auto-analysis, an extensive study on a creative process which is experienced intimately and accepted as such. Thus Pecci finds the Momento, namely that moment in time in which the creative process is born, develops, and comes to a conclusion.
His research proceeds keeps pace with experiments in new types of expression, such as sculpture, installation, and performance.
2016 is the year of "expositive consecration": Pecci participates - among others - in the art collectives of Galleria Farini in Bologna, Spazio Ginko in Rome, and Biennale del Fumetto nell'Arte in Milano.
In 2017 Pecci's first solo exhibit sees the light in at the Orfanotrofio della Marcigliana, an abandoned orphanage; The concept already emerged in the previous art collectives now reaches a new level of communicability, which sets a fundamental point to the art of Raffaele Pecci.
The solo exhibit proposes, in fact, to overthrow the standards of art exhibitions, or more so the required conditions for its realization. With a polemical move, the scenery of "#253.1" becomes distressing and desolate, and an estranging dialogue is established between the pieces and their surroundings; not spectators, but photographic snapshots a la David Lynch and a video bear witness to the exhibition that took place.
From this initiative onward, Raffaele Pecci's relationship with art and the creative process will change forever, projecting the artist into a dimension in which he continues to evolve his research: Il Cubo
In the 2018 solo exhibit "#239" at the studio Iris Hub, the non-figurative structures of the Momenti restore a direct and subversive contact with the public.
In the same period a new kind of poetry arises, developing in parallel with a novel experiment combining the musical element with video:
20 months have passed since the beginning of the project that started out as a "motif" and which, in time, evolved into a poem and a song; gradually, the images in my mind that accompanied the song transformed into a storyboard and finally, into a video which I personally directed. Now this project is kept inside a "structure" which was created for the purpose of conserving the time passed from the beginning of my artistic career until today...but most of all, for the purpose of showing what emerging artists, in each of their different scenes, must endure!
With these words, the artist, during his personal exhibition at the Tevere Art Gallery in Rome in 2019, prefaced the screening of the video work “N°39”; A work conceived as a structure to contain the timeline from the beginning of his artistic career to the moment in which the work itself was completed.
Following the completion of “Momento n°39”, Pecci realizes that the goal of his research has been achieved: to “physically” preserve the various phases of the creative process within a work of art.
The conclusion of his research on “Momenti” coincides with the beginning of another poetry, whose works take on the name of “Disturbi”:
In figurative art, the concept of abstract takes on the meaning of unreal, or rather, not belonging to reality as we know it; therefore, abstract art by definition creates images that are beyond our visual experience.
Presuming that a dimension exists in which these images are tangible, and if one could open a window to observe them, how would such a vision present itself?
Within Il Cubo, the creative phase takes the shape of a space where the artist may express his contents freely in a composition of lines, shapes, and colors, without imitating anything that exists in the physical world.
This space acts as an intermediary, like a window between our dimension and that of the abstract; given the complexity of being able to even imagine the presence of different realities, when looking through such a window we cannot help but have a disturbed vision of what lies beyond.
CONTACT THE ARTIST