If you don’t know Pesce yet – you will. Pesce (translation: Fish, hence the name of the exhibition) is an internationally renowned industrial designer, artist, urban planner and architect who has worked and exhibited globally. From the famous Organic Building in Osaka which features a sophisticated urban vertical garden to the exquisite Albero Vase Medio (2015), or Yeti Armchair (1968) crayon design – Pesce has made an indelible mark on urban landscapes and the art world.

Born in La Spezia, Italy, in 1939, Pesce’s career spans decades and he is still prolific in his work. He does not heed boundaries, rather he draws on his architectural expertise to interact with context. He grew up in Padua and Florence, then studied architecture at Ca` Foscari University, Venice before going on to teach in the discipline in various countries including France, the United States and Hong Kong. 

Fish in Australia, is a remarkable two-part exhibition which includes many carefully selected and curated pieces, some seldom seen. The pieces are extraordinary and sure to delight, surprise and fascinate – in fact, you will probably find yourself moving between all three responses, and a few more besides. 

The first part of this exhibition will be at the Neon Parc gallery (in Melbourne’s CBD) which will display his more historical objects and sketches for larger projects such as the early design of the Pratt Chair, produced for the Pratt Institute in New York in 1984.

The second part of the exhibition will take place at the Melbourne Design Fair. The Fair will provide an opportunity to view Pesce’s more recent works. These consist of iridescent vases which seem to blossom like flowers; chairs which emphasise the function of form and permanence, and lamps which mediate light, colour and imagination.

Albero Vase (2015)

Of course, Pesce’s works will feature his signature medium, urethane resin. The artist draws on this material in a way that allows an interplay of colour, light, form, and function. The result is a quasi-interpretive dance of fascination and narrative.

Pesce provides a radical artistic vision influenced by sensations and experiences around him. In a personal interview with the artist, he explains that the experience of inspiration is a mystery to him, “it’s a miracle. It happens like this: landscape gives me an idea, a person gives me an idea, an animal gives me an idea, the sky gives me an idea, the train gives me an idea, an airplane… etc.”. He is well-known for the way he has harnessed his dynamic artistic talent to, as he, himself explains, “create a response” to the world.

It is little wonder that Pesce’s work is featured in over thirty permanent collections in the most important museums in the world, including the Museum of Modern Art, New York; the San Francisco Museum of Modern Art, The Metropolitan Museum of Art, New York; the Vitra Design Museum, Germany; The Victoria and Albert Museum, London; Centre Pompidou, Paris and the Musee des Arts Décoratifs, Louvre, Paris.

Geoff Newton, Director of Neon Parc, describes Pesce’s influence on the design and art world as

apparent across generations of practitioners, in various fields of architecture and design. It’s not easy to emulate his effortless energy and experimentation without making reference to his methods and sense of curiosity for materials. I think Gaetano’s work has a broad appeal, yet he isn’t interested in making easy objects; his is a personal, social and worldly outlook which is optimistic and coy, but also bold and straight up.

Viewers will see the 9-11 Cabinet (2007) which forms Pesce's personal reaction to the 2001 tragedy (which was also his entry in the World Trade Centre Memorial competition). Instantly the piece evokes the twin tower structure of the former Centre, however, these are connected by a heart providing this exquisite piece with a sense of optimism for humanity.

Pesce's 9/11 cabinet (2007)

Pesce explains that he is pleased to have his works presented to an Australian audience, despite not being able to travel down under himself as he would have liked. He states that he is particularly pleased that his works will also reach the Italian diaspora in Australia – bridging the geographical divide to create conversation.

“Italy has no natural resources, except one… creativity and invention,” he explained. For him, these two qualities have provided the country and its people with a rich way of noticing and expressing what happens around them.

Pesce invites the viewer to “pay attention to what happens, open your eyes and your ears to what creativity is giving [you], and you will be [truly] alive”.

Newton is excited to be able to bring the collection of many of Pesce’s works to Australia including the “sketches and designs for iconic works such as the Pratt Chair (1984) and the Moloch Lamp (1970), in addition to rarely seen unique works such as the Porto Vases (2003), which were produced at CIRVA, the International Center for Research on Glass, located in Marseille, France, in 2003.”

Newton explains that the Neon Parc exhibition of Pesce’s works will evidence the “depth and influence of his practice … there are questions he wants to pose and to answer, he is restless and obsessive in his craft”, something the viewer will come to understand from the collection.

In fact, this obsession is currently leading Pesce to explore further sensory-based work. In the meantime, we have an opportunity to experience Pesce on our doorstep.

Fish in Australia - Neon Parc City 1/53 Bourke St, Melbourne: May 4–27, 2023. 

Melbourne Design Fair, Melbourne Convention and Exhibition Centre: May 18–21, 2023