The neologism perspettintesi [perspective-standing] in Rebecca De Marchi’s work attempts to capture the bewilderment, partiality and lack in an attempt to restore Samuel Pieta’s research – who arrived in Italy from Cameroon in 2011 and returned to earth in 2024 – by people who have shared time and thoughts with him over the years.

Samuel’s mental imagery – which he spatialised in the rooms in which he lived, in the occupations and welcome centres, captured by Federico Tisa’s photographic shots – is set on a mobile device – a house that can be opened or closed and that can move around anchored to a bicycle – built together with Mohamed Abdullahi, and thanks to his creative and manual skills.

Somehow, this Samuel’s legacy, deconstructed, re-purposed, browsable, never definitive, and therefore susceptible to additions, exchanges, substitutions with other texts, objects, plants and cries, videos and audios, tries to give voice to his urgency to realise the œuvre d’art, and to keep faith with his desire for his own cosmic, existential, artistic research to be recognised.

“Perspettintesi” is accompanied by the photographic work “Efesto”, a selection of shots taken by Federico Tisa of Abdallah during the construction of the cart. Sparks, lightning bolts and smoke from metalworking are linked to mythological cultural imagery and reveal an otherworldly knowledge.

The projection of several photographs of the cart during its journey through the city by bicycle completes the visual imagery.