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nineteeneightyseven
What happens before anything happens.
nineteeneightyseven turns toward that suspended, pre-human interval where matter hasn’t yet committed, where form is still negotiating its own arrival, where time has not yet stepped forward. The year preceding the artist’s birth becomes a lens, a way of examining the world as pure potential.
Pacelli engages this territory with precision rather than mysticism. The exhibition gathers five wall pieces and three sculptures, each one emerging from a different technical universe. Colored-pencil drawing, mark-making, wood engraving, metal casting, Raku ceramics, and hybrid material processes sit together without resolving into a single style. Their dissonance is intentional: each technique behaves like a separate hypothesis about what matter might do before it becomes matter-as-we-know-it.
The wal…
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nineteeneightyseven
What happens before anything happens.
nineteeneightyseven turns toward that suspended, pre-human interval where matter hasn’t yet committed, where form is still negotiating its own arrival, where time has not yet stepped forward. The year preceding the artist’s birth becomes a lens, a way of examining the world as pure potential.
Pacelli engages this territory with precision rather than mysticism. The exhibition gathers five wall pieces and three sculptures, each one emerging from a different technical universe. Colored-pencil drawing, mark-making, wood engraving, metal casting, Raku ceramics, and hybrid material processes sit together without resolving into a single style. Their dissonance is intentional: each technique behaves like a separate hypothesis about what matter might do before it becomes matter-as-we-know-it.
The wal…
