His choice for the pure capture of volume in space prompts him to investigate the great masters of composition and perspective, The Deposition from the Cross by Pontormo, The Entombment of Christ by Caravaggio and, in this exhibition, in addition, the San Sebastián by José de Ribera, the spagnoletto, who spent almost his entire life in Italy.

Cesare Pergola faces the great formats without fear, as in his last three-dimensional reinterpretation of the damned (I Dannati) from the great fresco by Luca Signorelli from the chapel of San Brizio in Orvieto Cathedral, recently exhibited in the underground of the same chapel.

His work is not only the handmade three-dimensional reconstruction of the chosen works; it involves a whole investigation that allows us to enter the artwork and its complete architecture and scenography.

This possibility, somehow, breaks the rigidity and tyranny of the perspective by having more than one point of vision, without the need to resort to the multiple perspective of Cubism or to the inverted perspective of the Russian icons.

This research on space and volume is not limited to painting, the photographic series “The Body Measure” and the projection mappings of the “Rock Ghosts” series make up the research on perspective and close the trilogy.

With the projection of an orthogonal network of white light on the naked bodies of the models, Pergola achieves in the photographs obtained a graphic result whose volume is very similar to the wireframe models of the three-dimensional digital constructions, producing a meeting of aesthetic results that, in a way, confirms the likelihood of the work done on two-dimensional painting. The circle is closed with “Rock Ghosts”. Open space, mountain slopes, public walls, buildings, etc., are invaded by three-dimensional projections of object wireframe models.

Amador Griñó