Critical Anthology

[…] I consider Pietro Weber to be a model, one of a very few, of the artist-craftsman of the future whose role, again according to Edward Lucie-Smith, “must be to be the manufacturer of symbols”. And of myths, I would add, an invention, things which are absolutely necessary if we are not to become complete “idiots” (or, according to a convencing semantic interpretation by the writer Giampiero Bona, “deprived of myths”). […]

Enzo Biffi Gentili

from Città d’Oriente, exhibition catalogue (Spazio Calycanthus, Rovereto)

edited by Maria Teresa di Marco – 2008

[…] His works are marked by travel memories and African and Oriental visions, by popular Mediterranean earthenware, by mythical archetypes: mother goddeses and still fertile chthonians joined, also in his pictorial work, with Catholic symbols. It is a demonstration of an etymological “religious” art, for its derivation from the Latin religare.This word means to join closely personalities and experiences apparently distant and paradoxical both in space and time. Is is a magistral lesson regarding the acceptability of the present globalisation, but only if spiritual. This motivation could be also informally considered if we compare the nice oxymoron pronounced by a jury member from Vietri: “Pietro Weber is a sea/mountain man!”.

                                              Jury of the National Prize “Viaggio attraverso la ceramica”

Vietri sul Mare – 2007

 […]Who, then, are the god and idols of our maestro? It is impossible to answer this question for, whilst redolent of archaism, they are immersed in the inconceivable sea of enigma. […] And what of the relationship between Weber’s gods and idols and us? They clearly demand attention and worship; and they have every right to do so, because instead of appealing to our “inauthentic existence”, they seek out and strengthen the “authentic” in us; they speak to the highest part of our being, in part which, long forgotten through daily neglect, is now drawn out by the work of Pietro Weber, attracted by that incredible falsehood which recognises that enchantment is the ultimate and incurable truth of our humanity.

Robertomaria Siena

from Tacita Materia, exhibition catalogue (Galleria Incontro d’Arte – Roma)

edited by Celeste Petri – 2009

[…] Also of interest is the more specific section on the colour of technology, seeking to define the relationship between emotion and technique. Here colour is not only used as an expression of feeling but as a consequence of the choice of materials. Thus “technological research into material and colour can be perceived as an artistic operation”. We can also reserve the terms of Leonardo’s method (clumsily attempted in the Last Supper), whereby technique is placed at the service of art, by instead applying art to technique. In Pietro Weber’s works, colour is born directly from the material, with wax forms emerging in the space defined by layers of lime mixed with the colours of the earth. […] 

Vittorio Sgarbi

from Il colore del Sacro, dell’anima e della tecnologia

exhibition catalogue (Tassullo Spa Research Centre),

edited by Marcello Nebl and Fiorenzo Degasperi, Electa Mondadori – 2006

Weber accompanies us in the search for the original aspects of our existence, without any particular superstructures or futile intellectualisms, using instead the force of the image and of individual creative ability, perhaps the same characteristics that sanctified the work of the Dogon blacksmiths.

Enrico Caldesi

from the daily newspaper La Stampa – 2005

[…] His tones are soundless, with the implacable caress of time they verge on the natural colouring of the material or the surviving shades.

Marcello Venturolli

from Taxyart – 1993