Art gives Pier the opportunity to bring out what his years of experience have left inside him. This means that Pier now naturally combines his physical, but above all interior, explorations of the depths with a search for new painting surfaces.
Painted figures, most of them female, become an integral part of the background with just a few strokes of the brush. In an interview for the November 2004 issue of the Japanese art magazine Art Pictorial, Pier revealed that the subject – woman – is a pretext for a representation of the natural essence that lies deep in all of us. It is nature stripped of all prejudice or disguise.
In Pier’s art, marks and graffiti have become a mysterious language. Recently, Pier has said that “the media bombard us with images and words. Text after text now just bounces off me because I have a simple mind and I cannot take too many inputs. So I look at the texts, I strip them of their meaning and find them interesting as texture, as images. I recycle them in my paintings, turning them into an art form”. This reflects the particular moment the artist is going through. A change is under way. Pier feels the need to explore new artistic worlds, worlds that he already knows technically, like photography, film, animation or sculpture. He wants to probe current events more deeply, or revisit the Renaissance in an even more modern key. He is pushing even further beyond the “evocation of the present” that is the subject of the first part of this book.
This continuous evolution means that Pier conserves the enthusiasm and desire to express himself that have underpinned his entire artistic exploration.