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The pencil that runs on a shirt collar, on a barely hinted smile is the way I relate to each of them and establish a connection that makes them alive, again. I file the photos to collect them, to welcome them according to an order that allows you to look at them separately, one by one, to rediscover that uniqueness that embodies the most authentic dimension, the soul.

Ancora 1


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Personal history is most of the time fundamental to grasp the quest of an artist in all its entirety. This is indeed true of Paolo Pessarelli, an economist by background and profession and who, for obvious reasons, holds the Financial Times in his hands every day. (…) The pages of the most influential economic newspaper in the world are Pessarelli's works' support. The numbers are illegible, the letters too: they become empty signs. It is a collection of the memory of the macro-history of the world, that of politics, of the economy on which he places the photographs of normal people, collected in flea markets. Hundreds of micro-stories that he fished out of nowhere, saved from a kind of eternal oblivion. In fact, those people who lived fifty, sixty, seventy years ago, are probably already dead, indeed are certainly already dead, with their images are more alive than those sheets of paper.


Angela Madesani

Ancora 2
Ancora 3


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A range of infinite possibilities and differences opens up between the world (which Paolo feels increasingly stereotyped and conformed) and his perception. Faced with an anonymous serial system, the individual interacts with his own singularity, with the weapons of his mind and spirit. This makes the difference: it makes the axiom less obvious, perhaps more vulnerable, but certainly more bearable, less predictable.

Lorella Giudici

VENTI (1986-1993)

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The dreamlike aspect is the first filter used by Pessarelli in his relationship with the shapes. Embryonic signs trace out uncertain spaces that seem to closely follow the limits of precariousness as the original awareness. (…) Lights and shadows, suspended indications of one's slightly nostalgic intimacy, filter the pressures of everyday life.


Anna Stuart Tovini

(from the text of "Game Matrix" - project created at the Colonna Castle in Genazzano, 1987)

Ancora 4
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