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Giorgio PetracciTextured Abstract Wooden Painting in Orange and Blue Tones, 2024 - 'Mer orange'
About the Item
Giorgio Petracci (born in 1974, Fermo, Italy) is an artist based in Paris, whose work is deeply inspired by the seaside landscapes of his childhood and the personal experiences that shape our identities. His artistic creation focuses on sculptures made from recycled wood, as well as paintings that explore themes of rebirth, memory, and transformation.
Although he has always been passionate about art, Giorgio was trained from a young age to work with wood by his grandfather. He uses this material not only as a support for his sculptures but also for his canvases, creating an intimate connection between his different mediums. His paintings, often inspired by his photographs of coastal landscapes, reveal a desire to transcend the image, playing with organic and mineral forms in colors that are sometimes light and sometimes vibrant.
Giorgio's experience as an artist from a coastal region greatly influences him. His work reflects a tension between the authenticity of his roots and modernity, where each piece becomes a testament to collective and personal history, enriching the dialogue between the past and the present.
Giorgio's creations have been exhibited internationally, with notable exhibitions highlighting his commitment to rediscovering and reinventing objects from the past within a contemporary aesthetic. His sculptures from the "Oggetti Curiosi" series, for example, encourage viewers to consider new perspectives and weave narratives around his works.
In addition to his artistic practice, Giorgio collaborates with a diverse community of creatives—designers, architects, and writers—who enrich his reflection on materials and concepts. His works invite viewers to explore the often-overlooked aspects of the Adriatic coast and to reflect on the fluidity of human identity through the lens of his personal history.
Giorgio Petracci (Italy, 1974) If painting still respects a logic that legitimizes its practice and existence in our hyper-saturated civilization of the image, it is its ability to break the representation, to open a crack on the slippery LCD surface behind which reality takes shape and action, a crack that even if it was imperceptible, has permanent and incisive effects, destined as it is to open more and more. And it’s just around the idea of the crack that Giorgio Petracci—painter, designer, craftsman of abstraction—has developed for years his research; cracks, his own, that open up onto words so much material as they are imaginary. The crack as a wound on the flesh, the crack in the atmosphere around the earth globe, the crack on the screen of a smartphone, the crack on the outer wall of a building beyond which one cannot see the interior though but that it envelops the spectator into another space-time dimension. Painting as a system of vision thus becomes a tool for measuring the relationship between the human body, the cosmos and the psyche, where the bloody wound is the equivalent of a galactic explosion but only to the point where the brain can read it as such. After that, there is only the vacuum. Having so naively entrusted representation to the digital technologies and being no longer able to portray it freehand, it is as if reality itself retraces back the various liquid-crystalline phases and decomposes in front of our eyes, a sort of big bang backwards: from an HD image that could be enlarged pushing the index up and the thumb down, to the primordial origin of the universe when space was crossed by invisible gravitational waves, just like those that seem to push Petracci’s matter out of the canvas, investing the spectator and slowly transforming the surrounding reality into a vacuum.
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