In occasion of the Giorno/Notte (Day/Night) exhibit, Pirri returns to reflect on some of the most meaningful matters of his production, highly connected to the world of architecture and to that thin line that separates it from art.
The journey devised by the artist within gallery’s spaces consists of different formats: site- specific installations, watercolors and Arie, the great plexiglass structures that characterize his body of work. The spectator is given the opportunity to freely move from one atmosphere to the next, in a sensorial experience made of lights, which accompany the viewer as if through a rise from day to night, in which light takes on a spiritual dimension. Recently completed pieces share the exhibition space together with others, elaborated throughout an entire year of work, albeit all characterized by a silent, yet raging, chromatic and bright mutation. Works conceived for public spaces, such as a lamppost filled with light and color that recalls the explosion of a glass marble, or the chromatic and architectural installation, almost habitable, which resembles a giant dollhouse, stemming from feasibility studies of an impressive urban installation currently being designed. Finally, we face a contrast, with works of a more intimate nature, although expanded as a large monochrome watercolor that gives us the feeling of a constant and endless stretching of audio waves within an immense spatiality. Inevitably, we also find the production of works realized with the use of feathers, featuring painted and bright halos that reflect onto the wall and create a strong contrast with the bodily, sullen and violent hues of a pitch black that appears for the very first time in the artist’s works, and acts as a constant low, contemptuous tone in the construction of the exhibit.