A native of Morro d'Alba, province of Ancona, he was a key member of the Italian Transavanguardia movement, along with his countrymen Francesco Clemente, Mimmo Paladino, Nicola De Maria, and Sandro Chia.

Through La Nuova Foglio di Macerata, a small publishing house, he met with art critic Achille Bonito Oliva, an important figure in the artist's prospective career.

In its catalogues La Nuova Foglio di Macerata published writings of artists such as Cucchi's Il veleno è stato sollevato e trasportato!

Here Cucchi met with different artists such as Sandro Chia, Francesco Clemente, Mimmo Paladino and Nicola de Maria with whom he began to work in close contact and to establish dialectical and intellectual dialogues.

Their identity as a group is not dependent on rules or any binding language of expression, but they share a preference for motifs gathered from imaginable reality and the free use of past and present.

He shows nature, history and culture in a playful relationship with our technical world, using symbols like a train or an ocean-liner and employing colour in terms of idea, expansion and motion rather than for pictorial sensation.

Cucchi enjoys close relationships with poets and writers like Paolo Volponi, Goffredo Parise, Giovanni Testori, Ruggero Guarini, Alberto Boatto and Paul Evangelisti.

Cucchi has also been active in the field of stage design: He has designed costumes and sets for productions such as Rossini‘s and Respighi‘s La Bottega Fantastica at the Rossini Opera Festival in Pesaro and Heinrich von Kleist’s Penthesilea, both in 1986, Puccini‘s Tosca at the Teatro dell‘Opera in Rome, from 1990–1991, Pennisi‘s Funeral of the Moon in Gibellina, in 1991 and an adaptation of Erasmus‘ In Praise of Folly, in 1992.