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.
https://www.youtube.com/watch?v=v3G16hGh91c
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!
https://www.youtube.com/watch?v=noN6o4A4uNg
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.
