Personal history is most of the time fundamental to grasp the quest of an artist in all its entirety. This is indeed true of Paolo Pessarelli, an economist by background and profession and who, for obvious reasons, holds the Financial Times in his hands every day. (…) The pages of the most influential economic newspaper in the world are Pessarelli's works' support. The numbers are illegible, the letters too: they become empty signs. It is a collection of the memory of the macro-history of the world, that of politics, of the economy on which he places the photographs of normal people, collected in flea markets. Hundreds of micro-stories that he fished out of nowhere, saved from a kind of eternal oblivion. In fact, those people who lived fifty, sixty, seventy years ago, are probably already dead, indeed are certainly already dead, with their images are more alive than those sheets of paper.

Angela Madesani