The first work we see is the installation that gives its name to the project, All’Orizzonte: seven large containers, with layers of “museum cardboard” ripped and lit by reflecting round shapes; its composition, furtherly marked by the refraction of the acrilic varnish behind, recalls faraway landscapes, “lunar samples” streaked wih chromatisms.
In the next room, two Arias hint to an elusive narration. Realized on a plexiglass stand coloured with paste, on which the artist has sticked feathers, sprinkled them with dust, and then painted their back with an acrilic varnish, the patient process of the carrying out generates a “chromatic, vague flow, as if they were blowing in the wind”. In the same room, a work from the recent series Kindertotenlieder: on a small table, the sheet of crystal with its chromatic holes crates an abstract surface, crowded by biomorphic forms, possible births contrasting with the death evoked by the Mahlerian title. Pirri regularly treats the surface as a decidedly spatial element; his three-dimentional works, though, always bear a strong pictorial background, also when, as in Canto n°1. Progetto per un flim – the installation shown at the ground floor of the gallery – the starting point is a film. In a transparent container is the cone-shaped cast of the original film, with the top turned down. Its shape, lit from the bottom, radiates and splits in two, becoming “the image of a luminous projection in space and also an endless expansion of its original background”.