Manuel Di Rita (1980), also known as Peeta, is a graffiti artist since 1993 currently living in Venice. He is a member of the EAD crew (Padova, Italy), FX and RWK crews (New York City) and has participated, over the years, in jams, festivals and art shows all over the world. His work explores the potential of sculptural lettering and anamorphism, both in painting and in sculpture.
In his pictorial, sculptural and mural compositions, his geometrical shapes act as they interact with the surrounding environment. In particular, when painting on walls, his aim is always to create a dialogue with the structural and cultural parameters of the surrounding context, either architectural or not.
Initially, his works only realized the sculptural quality of individual letters, namely the ones that spelled out his own moniker, Peeta. Progressively, the fusion between traditional lettering and three dimensional style has given life to a unique kind of visual rhythm. Today, through anamorphic works he redesign the volumes of any kind of surface involved, thus causing with paintings a “temporary interruption of normality” by altering the perception of familiar contexts and so raising a different understanding of spaces and, consequently, of reality on a whole.
Metaphorically, he want to neutralize preconceptions and urge the emergence of new perspectives. Anamorphism totally embodies the intent, always pivotal in production, to reveal the deceptiveness of human perception, the fallacy of narrow and fixed points of view through visual tricks which, proceeding from the attempt to confer a three-dimensional semblance on a pictorial representation, ultimately reveal their will to deceive.
Due to his turn towards anamorphic painting, he choose to transform also traditional shapes in order to let them interplay with standard modules of architectonic structures, often changing them from irregular and smooth to geometrical solids.
Constantly running in parallel with his mural and painting activity, the role of sculpture comes to be essential for the overall production as it represents a direct contact with three-dimensionality in order to understand the rules of light and shadows and to reproduce them.
© 2019. All content on this blog is protected by international copyright laws All images are copyrighted © by Manuel Di Rita and/or Peeta. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
In his pictorial, sculptural and mural compositions, his geometrical shapes act as they interact with the surrounding environment. In particular, when painting on walls, his aim is always to create a dialogue with the structural and cultural parameters of the surrounding context, either architectural or not.
Initially, his works only realized the sculptural quality of individual letters, namely the ones that spelled out his own moniker, Peeta. Progressively, the fusion between traditional lettering and three dimensional style has given life to a unique kind of visual rhythm. Today, through anamorphic works he redesign the volumes of any kind of surface involved, thus causing with paintings a “temporary interruption of normality” by altering the perception of familiar contexts and so raising a different understanding of spaces and, consequently, of reality on a whole.
Metaphorically, he want to neutralize preconceptions and urge the emergence of new perspectives. Anamorphism totally embodies the intent, always pivotal in production, to reveal the deceptiveness of human perception, the fallacy of narrow and fixed points of view through visual tricks which, proceeding from the attempt to confer a three-dimensional semblance on a pictorial representation, ultimately reveal their will to deceive.
Due to his turn towards anamorphic painting, he choose to transform also traditional shapes in order to let them interplay with standard modules of architectonic structures, often changing them from irregular and smooth to geometrical solids.
Constantly running in parallel with his mural and painting activity, the role of sculpture comes to be essential for the overall production as it represents a direct contact with three-dimensionality in order to understand the rules of light and shadows and to reproduce them.
© 2019. All content on this blog is protected by international copyright laws All images are copyrighted © by Manuel Di Rita and/or Peeta. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
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| 2010, Milan |
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| 2012, Graffiti wall, Banja Luka |
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| 2012, Graffiti wall, Venice Italy |
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| 2013, La Tour 13, Paris |
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| 2013, Upfest, Bristol UK |
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| 2015, Graffiti wall, Sadali, Sardinia, Italy |
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| 2015, Jazz Club Guzzo, Barcelona |
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| 2015, Parco Catene, Venice Italy |
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| 2016, Big Walls Big Dreams, Wynwood Art District, Miami |
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| 2016, Draw the Line, Campobasso, Italy |
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| 2016, Jidar Festival, Rabat, Morocco |
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| 2016, Lecce Italy |
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| 2016, Onou's Festival, Tahiti, indoor wall |
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| 2016, Paris |
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| 2016, Stenograffia Festival at Ekaterimburg, Russia |
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| 2016, Undercoping Parco Fornacin, Vicenza, Italy |
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| 2017, Almanac Hotel, Barcelona |
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| 2017, Anda Hostel, Mestre, Italy |
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| 2017, In collaboration with Joys EAD, BBTV, Vancouver |
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| 2017, Liceo "A.Gatto", Agropoli, Italy |
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| 2017, Oregon Eclipse Festival, Big Summit Prairie, Oregon |
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| 2017, Peeta & Joys, I DOLOve Festival, Dolo, Italy |
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| 2017, With Cinta Vidal, Vancouver |
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| 2018, Collaboration with Joys inside Anda Hostel, Mestre, Iyaly |
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| 2018, Guangzhou China |
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| 2018, Hostel for Rame Project, Verona, Italy |
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| 2018, Urban Forms Festival, Lodz, Poland |
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| 2018, Wallskar Festival, Nanxian, China |
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| 2019, Biennale della Streetart, Padua, Italy |
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| 2019, MURO Festival, Lisbon |
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| 2019, Promenade du Port, Porto Cervo, Italy |
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| 2019, Stadt. Wand. Kunst Mural Art Galery, Mannheim, Germany |
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| 2019, The Big Picture Festival, Frankston, Australia |
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| 2019, Wanderwall Festival, Port Adelaide, Australia |
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| 2012, Delight of Wonders, 80x120cm, mixed media on canvas |
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| 2013, Magic Eights, 150x100 cm, mixed media on canvas |
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| 2014, Implicit, 60 x 80 cm, mixed media on canvas |
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| 2016, Mind the Gap, 100x120 cm, mixed media on canvas |
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| 2017, Pla, 30x30cm, oil painting on wood |
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| 2017, The Outsider, 120x150 cm, oil on canvas |
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| 2018, Airline, 100x150 cm, oil on canvas |
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| 2018, Bricks, 130x110 cm, oil on canvas |
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| 2018, Squeeze, 70x50 cm, oil on canvas |
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| 2018, Sugar High, 100x100cm, oil on canvas |
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