After studying photography and art, Geccelli started developing a dialogue between built objects and drawing. Both working methods stimulated each other. For several years now, the line has become an object of his interest – his works operate with a reduced stock of colour lines on paper, wood and aluminium panels, as well as canvas. His interest in the colour line also gives rise to the question of the opposite of the pictorial object: The white ground began asserting itself more and more vis-à-vis the line. It became a foundation and functions as a memory of his attempts to repeatedly redefine the relation of picture and wall.
“The picture is built up in subsequent and merging layers. One line is placed, another one at another spot is painted over with white. From layer to layer, one line recedes into the surface, while another line remains on the white. The lines compete with the contours of the picture’s body, leading from the edges into the picture. Over time, the lines gain intensity inside the white. The colour of the lines can indicate a previously undetermined level to the white. Gaps come into play, orders and markings begin to shift.” (James Geccelli)
>>
>>