In my pictorial, sculptural and mural compositions my geometrical shapes act as they interact with the surrounding environment.In particular, when painting on walls, I have always been aiming to create a dialogue with the structural and cultural parameters of the surrounding context, either architectural or not.
Initially, my works only realized the sculptural quality of individual letters, namely the ones that spelled out my own moniker Peeta. Progressively, the fusion between traditional lettering and three dimensional style has given life to a unique kind of visual rhythm. Today, through my anamorphic works I redesign the volumes of any kind of surface involved, thus causing with my paintings a temporary interruption of normality by altering the perception of familiar contexts and so raising a different understanding of spaces and, consequently, of reality on a whole.
Metaphorically, I want to neutralize preconceptions and urging the emergence of new perspectives. Anamorphism totally embodies the intent, always pivotal in my production, to reveal the deceptiveness of human perception, the fallacy of narrow and fixed points of view through visual tricks which, proceeding from the attempt to confer a three-dimensional semblance on a pictorial representation, ultimately reveal their will to deceive.
Due to my turn towards anamorphic painting, I choose to transform also my traditional shapes in order to let them interplay with standard modules of architectonic structures, changing them from irregular and smooth to geometrical solids.
Constantly running in parallel with my mural and painting activity, the role of sculpture comes to be essential for my overall production as it represents for me a direct contact with three-dimensionality in order to understand the rules of light and shadows and to reproduce them.
Peeta, also known as Manuel Di Rita, is a graffiti artist since 1993 currently living in Venice. He is a member of the EAD crew (Padova, Italy), FX and RWK crews (New York City) and has participated, over the years, in jams, festivals and art shows all around the world.
His work explores the potential of sculptural lettering, both in painting and in sculpture.
To build PVC sculptures I utilize a professional 3D design program to create PVC sculpture project. This software allows me to have a 3D view of the sculpture and, at the same time, virtually cut out all the different surfaces of my sculpture and consider them on a 2D plane. In this way, I can perfectly understand shapes and sizes of any material that I choose to build my sculpture. Subsequently, I cut the PVC plates and assemble them together. The last step involves coating the PVC surface with a polyester layer to mask imperfections resulting from the building process and to impart singularity to the structure, rather than a collage of components.
ACRYLIC RESIN AND FIBERGLASS SCULPTURES
Sculptures built by assembling together several acrylic resin and fiberglass shells extracted from handmade PVC moulds.
Bronze sculpture are created using investment casting technique.
Canvases are painted with acrylic and oil painting using mainly brushes and airbrush.