On entering into the space one is confronted with an installation as large as the whole exhibition space. It materializes day by day in the gradual accumulation on the walls of innumerable nails, bringing back the vivid
memory of all the paintings and images which have inhabited the gallery in the past and with which this installation shares both an anachronistic
slowness in working, compared to the speed of other media, and a
production mode which resolves itself by successive layering.
Moreover, the nails themselves form a particular dominating image
somewhere between a kinetic setting (although the "kinetic" is obviously produced by our own movement and not by the movement of the work itself) and a room invaded by painting, just as in the recent examples of Franz Ackermann, Matthew Ritchie or Leon Tarasewicz. For Pietrella, the space is a single surface to interact with; a unique, great painting where to amass (or not) any number of signs.
In the end, all utopian impulses and great projects classify the world. Obviously, a young artist can no longer share the cold scientific rational and systematic methods chosen by Hanne Darboven, On Kawara, or Roman Opalka to narrate time. But our problems and our enquires, not only those artistic, all end there in the mystery of our strange lives in this strange world, with limited time at our disposal which wickedly and continuously emphasises our frailty and finitude.
— Roberto Pinto