Riccardo Perale’s works are colour prints on perspex or paper, derived from his original photos.
These are processed with a computer graphics program that makes it possible to intervene on both the illumination (luminosity and contrast) and on the composition of the colours; as regards the latter, the work consists in adding or subtracting in varying degrees three fundamental colours (red, green and blue) to the colours present in the original image, which can thus be broken down, recomposed, accentuated, attenuated or completely eliminated through a variable number of successive interventions (usually several dozen).
The repeated variation of the five parameters recalled, associated in various ways, can give rise to a virtually infinite number of different images; however, the program used, rather elementary and far from the possibilities offered by the latest generation, allows only a few of the images produced to be saved, making it very hard to trace back one's steps; in addition, each intervention affects the image as a whole, making it impossible to retouch topographical details of the image or single colours.
Due to these difficulties, intrinsic to the creative process as it has been chosen, the search for the image conceived by the author in his mind occurs necessarily through the production of a significant number of intermediate images until the goal is reached. Of course, this research is not linear, but is usually abandoned several times and started again from scratch, in other words from the original photographic image, when it appears clear that the result obtained up to that point cannot lead to the outcome desired.
Giving up the possibilities offered by the most recent computer graphics programs, while on the one hand entailing the expressive limitations and operational difficulties mentioned earlier, on the other hand constitutes a strong stimulus for creativity and above all determines a precise characterisation, or if you want, a certain repetitiveness, of the luminous and chromatic aspects, providing a precise stylistic key to be found in every single work.
Some stylistic features that can also be found in some images (seeming to recall different and distant archetypes, from impressionism to pop art, so we could talk about a certain eclecticism) can in reality be traced back to a stylistic unicum, based essentially on the decomposition of the photographic image, the search for its interior nucleus which will be revealed only after having dissected and recomposed again and again the colours that compose it and the light that clothes it.
If anything the aspects of variability can be traced back more to the specific photographic nature of the original image (night shots, the use of flash, fuzzy movement, focal distance, choice of angle etc etc).
The final image is therefore the child of this particular “reality” that is depicted by photography and at the same time represents another parallel reality, hidden but no less true for this, which is revealed to us by the penetrating, decomposing action of the computer.