Emanuele Becheri (born in Prato in 1973) graduated from the Academy of Fine Arts in Florence in 1995. The Museo del Novecento in Florence dedicated a solo exhibition to him in 2020 titled "Sculptures and Drawings" curated by critics Sergio Risaliti and Saretto Cincinelli.

The creative journey of Emanuele Becheri has developed through various expressive media from music to photography, from video to sculpture, and recently to experiments with terracottas whose surface is often painted and "dusted" with earthy, opaque, and dull pigments. In his drawings, the artist often portrays himself, with an allusion to the human figure found in all his works, a self-citation of his soul and body's depths. A comparison with past artists does not seem essential to understand his poetics - even just to find roots of his art or indications for interpreting his works - which remains suspended in an ancestral and timeless amniotic fluid where archaeology and fantasy, baroque and minimalism, find unimaginable connections.

Landscapes and portraits, composed of broken signs, spread over crumpled and skewed pieces of paper, torn from sketchbooks or cut without care to emphasize their fragility and personal, sorrowful introspection.
Sculptures, especially horses and paired figures, "deform" in space in positions between the archaic and the baroque, placing the viewer in the uncomfortable position of having to question the concept of sketch, unfinished, and concluded.
Emanuele Becheri subverts the classical schemes of sculpture by appropriating all the suitable tools and materials for its realization and identification, but overturning these schemes for his personal use.

Being predominantly three-dimensional forms, always identifiable with the human or animal form, the artist puts us in the uncomfortable condition of always identifying the subject depicted but presenting it as a shape or mass in which the material overpowers and subverts its identity. Balanced between recognizable and unrecognizable, his work remains on the ridge between informal and figurative, where, in a frenzied clash, the clay tries to overpower the form and the form tries to tame the material. Everything in the artist, who is also a musician and performer, remains in the dynamic of the duel between the expressed and the implied, and the tension perceived is balanced between the subject's life and the death of the idea of classical sculpture.