Panorama (olio su carta), 2025, fine art print on Hahnemühle Baryta paper. Image obtained by digitally scanning the stained label of an oil container, used as a negative. 13,5x14 cm, 55x45 cm (framed).
- Moving away from the yellow line. Panorama (oil on paper). There is a pause in the exhibition. A small image is enclosed in a frame. It looks like a landscape. It is a photographic print in shades of pink and orange, the colors of sunset. Or dawn. Staccioli used the label of an oil bottle on which a stain has settled. The irony of using the term “oil on paper” is naturally implicit, along with the imaginative poetics of a worn, poor, recovered object, which here comes back to life in a photographic image of a natural landscape. It is a micro painting from another time. It is a lysergic context by Moriko Mori. It is a small strip of matter where Staccioli, with the poetic and childish irony of a Munari, has identified the visionary potential: nature takes things back and this “panorama” is a new habitat to observe. - Text by Rossella Farinotti
Falling flowers (secchio vernice), 2025, plastic painting bin, enamelled lid, glass, light, screws, washers, electrical cables, ink, acrylic resin, colour transfer from torn toilet paper on paper, variable dimensions.