Pièces

Curated by Vito Francesco De Lucce

The rooms of Giancarlo and Luigi are rooms of everyday life. They preserve the delicate gesture of a caress after love and the gentle gaze that guards a lover’s sleep. Naked bodies lie in a domestic Arcadia, surrounded by lush leaves and flowers, or simply suggested by the textures of fabric. Color, meticulous brushstrokes, glazes—each element becomes an intimate language of tenderness and presence.

“Sometimes I wonder when all this began. When I first started drawing in my room, using the disarray of my clothes to trace the contours of my sorrows and obsessions.”

A domestic calendar shaped with earth and sealed by fire. — Vito Francesco De Lucce

Giancarlo Pirelli

Born in Florence, Giancarlo Pirelli lives and works in Paris. He holds a degree in 3D Computer Graphics from Teesside University and a degree in Multimedia Illustration from the École d’Art Appliqué Émile Cohl. He has recently exhibited in artist-run spaces, at CAC Tignous and at Galerie Les Filles du Calvaire. He is a resident artist of the second cohort of Artagon Pantin and was selected for the fourth edition of the Utopi·e Prize.

Pirelli’s work explores the tension between the classical and the digital, merging figurative traditions with contemporary materials and techniques. Through layered compositions, he questions how bodies and memories inhabit hybrid, post-digital spaces.

Luigi Riccio

Born in Naples in 1986, he has lived between Rome, Milan, and Paris. He graduated in Communication and Political Science. He began working with ceramics in Paris as a self-taught artist, later attending a life modeling course (nudes) at the Ateliers des Beaux-Arts de la Ville de Paris. He took part in the event “Clichy a du talent” organized by the municipality of Clichy-la-Garenne.

Luigi Riccio explores ceramic material as a poetic language of form. His works emerge from a constant dialogue between balance and imperfection, instinct and control. Painted surfaces, layered with color and traces of light, evoke the memory of the body and of nature, transforming clay into a living organism. Each sculpture is a silent presence, suspended between figuration and abstraction, where the time of making becomes the time of contemplation.