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He was born in Salerno (1953), Italy, with traditional pictorial past, after an acquisitive experience that crossed the post-impressionism,  abstracionism, popart and the optical art, PietroTurco, in 1977, became a representive of that artistical movement known as Mail Art. There were his works of art , expression of this movement, in a lot of exibiting events, in Germany, Spain, Mexico, Brazil,  Australia, California, etc. In fact, the Mail Art anticipated the creative/communicative expression that would have found its circulation channel in Internet. The chromatic works, the experimentation in mixed techniques were for him, since in 1978, the  perception of the possible evolution that would have been after with the coming of technology. DP man by profession, musician and "visual" painter by inevitableness, PietroTurco is a happy alliance between technological knowledge, experimentation, sign,  colour and the matching colours. After several years of "stand by" the digital art is showing itself to be , according to the artist himself, "the applicability of what that seemed to be the last action : the conceptual art...... it's the renewal of a  journey....."

"the reality of his works is built bit by bit, in all of its details, its proportions and shades, before it is put on paper. The forms and the light have been first shaped and submitted to artist's wishes and then they have  been painted: in fact, they often originated from photograph that it is supplemented and not deprived of digital informations: images' elaborations and rielaborations, technological/pictorial manipulations become a kind of disputation between the virtual  paintbrush and material image. Even if they are "electronicly painted", through the works you can guess clearly the canvas' weft, the diluent's smell,the paintbrush's thickness and the spreaded colour on the palette. There's not a shadow of a doubt that  computer is extremely flexible and malleable in PietroTurco's hands: computer is less coercive than canonical tools and it does not restrict the creativity of an artist that,like him,seesin the digital art above all the freedom of expression of art. He  decides lights and shapes: brightness, shades and colours in contrast with one another, the backgrounds bring out the matching colours and forms, the framings that determine sensuos emotions are used by him for communicating and informing who is looking  even about small things, typical of pop art. So the objects that surround ourselves speak: even the most traditional of an old glorious Hammond come to meet the audiance with sense of respect for who is looking.(C.D'amico)"


The art of Pietro Turco, fellow obsessed by Hammond, dreams and jam at the Organ Music Club, is an art over art, or meta-art.
Art over art because the Hammond organ is a work of art for us, lovers of  an instrument that it’s 30 years since it isn’t built anymore but it is still played, for its rare beauty. Industrial art of the twentieth-century: an excellent synthesis of mechanical miniaturization, paleo-electronics, paleo-engineering  of sound, acoustic beauty and design. A so excellent art that more sophisticated sonorous objects are built today but nothing can play in that way.
The Hammond, a well-made work of art where - using Immanuel Kant’s definition about art- “everything links up with everything” and “each element refers to the others” in it. For example, the design expresses the ear’s sensations in vision: that essential, very graceful panel; that solid piece of furniture; that  linear solidity, so “Biedermeier”, so pure in the form, so much embodying the perennity of an object born to last; that warm monochromy, declined between the keyboards and comands’ ivory and the outlines’ wood….. In  other words, the instrument’s layout (as we say nowadays!) is a continuous reference to the sound essence, in its turn solid, pure, dense, played on the variations of a single sonorous colour: the soft, deep voice of the sinusoidal wave.
There  is too much density, too much perfection in order not to stimulate fetishisms of the eye, directly related with those of the ear and vital organs. For us, followers of the worldwide hammondistic lodge, was in the air.
We perfectly understand his  craving of exploration, his travelling around the be loved body, his contemplation/interpretation of the whole and the detail. Yes, it’s fetishism that caresses a square centimeter of bakelite and makes a world of it. Pietro managed to make our  dream comes true: the carnal Absolute in a playing object. (P.Veronesi)

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