Giuseppe Pirozzi - Tabloid

In preparation for the exhibition sponsored by the Pinacoteca di Montoro, I was asked to prepare a critical reflection, but since I was unable to reach Giuseppe Pirozzi’s studio in Naples quickly, as I had hoped and expected, I received the editorial and photographic documentation dedicated to his artistic history and the succession of his sculptural cycles a few weeks ago. I also requested some photographs, which arrived promptly, to try to ideally bridge the gap between us, confident that—even knowing I wouldn’t be able to complete the experience with our verbal exchange—they would allow me to enter and circulate within the studio, moving among works that bear witness to periods of expression distant from each other in time.
Although I was unable to directly compare the artifacts of a plastic work developed over a long period of time, my attention immediately focused on the more recent Cycle of Polychrome Terracottas, thus suggesting that the Exhibition focus as much as possible on those ‘one hundred panels’ exemplarily encapsulated in the title “Prayers.” Familiar with the clear character of the museum space, the warm, residential dimension of a House of Art, I had a clear sense of how the expressive power of those figurative texts would impact a participatory experience, a process of observation that would become ‘reading.’