Pezzani continues his research into the ability of photography to restore what is not “visible”, namely the real forms which the human eye is not able to process into definitive images. He interprets the results of his studies in a glamorous manner, which, as the critics have pointed out, seems intertwined with the elegant evanescence of the world of advertising.
Aequilibrium is a still life which not only represents an object but also symbolises lightness and balance. The ladle, with a red knob on the end of it, like a cherry, is perfectly balanced, like a weighing scale, on the hemispherical lid of the jar. This composition represents the history of Amarena Fabbri in a nutshell. Pezzani is familiar with Chinese art and the decorative China patterns which were developed in the province of Jiangxi, and which became widespread in Italy during the 16th century, initially in the area under the influence of the Medici dynasty. The historical blue patterns on a white background in Aequilibriumcan be interpreted in subtle ways André Chastel wondered what the links were between late fifteenth-century grotesque art and Calder’s mobiles or the semiotic universe of Steinberg. One of the fascinating stages of this journey is the famous Jugglers’ Hall in the Castle of Torrechiara which Pezzani knows well. The jugglers, balancing on four lions, perform complicated tricks using hoops. The spoon is perfectly balanced on the lid, and the red knob on the end of the ladle balances perfectly with the white and blue of the jar.