He was born in Salerno (1953), Italy, with traditional pictorial past, after an acquisitive experience that crossed the post-
"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)"
PICTORIAL MANIPULATION PROJECT -
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 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-
The Hammond, a well-
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)