Geppy Pisanelli Illuminates GR gallery with New Solo Show Hidden Lights

Warm Rock - oil on linen 35 x 40 x 1.5 inches - 2024

By WM February 22, 2025

Your work is often described as a poetic fusion of abstraction and figuration, where luminous color fields seem to vibrate with energy. What draws you to this interplay, and how do you see it evolving in Hidden Lights?

I am a figurative artist, and by figurative, I mean the use of mental images that refer to reality, and to the surrounding world. I have often stated that for me, art is a means of communication. Having established this, I also believe that every quality figurative painting can be interpreted in terms of abstraction. For example, in my latest paintings, I presented at the "Hidden Lights" exhibition as you rightly noted, there are large bright spaces of color nuances juxtaposed with contrasting dark areas. Obviously, to an observer trained to look at art, at a first glance from a distance, these contrasts between bright colors and shadows suggest an abstract reading of the work. But, as you get closer you start to recognize the details that bring you back to figuration. This is very interesting to me when this happens in a work of art. 

What led me to work on this interaction between light and shadow, or rather between brightness and darkness of colors was a narrative and compositional necessity. Indeed, from a compositional point of view, besides the contrast between lights and shadows, these works also feature a juxtaposition between natural and artificial elements; the former represented by mountains, trees, water beds, waterfalls, and the latter by man-made structures, such as rafts, treehouses, and spaces lit artificially, inserted into natural environments to create a visual and intellectual impact of alienation. 

The title "Hidden Lights" evokes an oxymoron, as the visible light usually becomes an element of mystery, thus highlighting the inherent contrast. So, in these works, in order to maintain a balance between form, subject, and content, I had to balance a meticulous pictorial composition, with natural light, shadow, artificial lighting, and the overall composition.

Illuminated Interlude - oil on linen - 68 x 55 x 1,5 inches - 2024
 

Regarding the content, what interested me in these works was to formalize the relationship between a condition of darkness and light, not only as a retinal perception, but also as a human inner condition. In these paintings, despite the references to nature, the work can also be read as an intimate condition; indeed, what emerges is an external space that can also be read as an internal one, a space of human being that is, therefore, conceptual and theatrical at the same time.

Your upcoming exhibition at GR gallery, Hidden Lights, suggests a theme of revelation, of something previously obscured coming into view. What does “hidden light” mean to you, both metaphorically and in terms of your technique?

I find the theme of revelation, as you define it, of something obscured coming to light appropriate to be described as “Hidden lights.” Indeed, I am particularly fascinated by the exploration of the interaction between darkness and light, which serves not only as a visual spectacle, but also as a metaphor for the human inner state. This thematic exploration is more than an aesthetic choice; it's a profound inquiry into the dualities that define human experience light and dark, visibility and obscurity, external appearance and internal reality. 

Furthermore, the external environments depicted in these artworks are not just settings; they are symbolic of internal landscapes. This duality creates layers of meaning where the spaces become both conceptual and theatrical. They are stages on which the drama of the human condition unfolds, reflecting the complexity and multifaceted nature of our existence. Each artwork is thus a crafted narrative space, where light and darkness play off each other not just to illuminate, but to suggest, question, and provoke thoughts about the inner lives of individuals.

Luminous Dusk - oil on linen - 2023-24 45x60x1.5 inches
 

Regarding my technique the main challenges I encountered were related to achieving a visual balance between these contrasting elements, which were primarily painting specific challenges. These challenges involved technical issues on the canvas, particularly in terms of composition. Composition is essential because it dictates the interaction among the elements within the artwork, their spatial arrangement, and their relationship to edges or to the center of canvas. Mastery of composition allows an artist to control the visual structure of the artwork, which in turn influences its rhythm, tension, harmony, and discord. As such, composition serves as a vital expressive tool that greatly enhances the artwork's depth and overall impact.

There’s a certain dynamism in your brushwork—almost like the compositions are in motion, resisting stillness. How do you approach the physical act of painting, and what role does gesture play in your process?

Thank you for this observation and for the subsequent question, which allows me to discuss the act of painting, as you mentioned. The sensation that a painting can resist stillness is rarely achieved in art, and I must say, it delights me that you recognize this quality in my works. This characteristic is influenced by numerous factors. I will try to explain them. Let's start from the beginning. 

My approach to a painting starts from a compositional and subject matter issue. It begins with a sketch that captures the initial concept on paper. As the work progresses, I incrementally introduce additional elements to the composition until a harmonious balance is achieved. Once the basic layout is established, I create a more detailed and larger drawing. This phase involves a thorough examination of how light and shadow interact within the composition, with adjustments made by adding or removing details to enhance the overall effect.

Subsequently, this detailed drawing is transferred onto the canvas, where the selection and arrangement of colors are finalized. This marks the beginning of the act of painting, during which adjustments may be made, particularly in refining the composition and adjusting the colors and their nuances to achieve the desired intensity and contrast between light and dark areas. At this stage, it can also introduce another element that you never thought about during the drawing.

Glimmers for the drift - oil on linen - 2022 - 45x60x1.5 inches
 

The process of crafting a play between brightness and shadow in my paintings is slow and intricate, it takes different layers of painting leading to the eventual formation of the final image. This demonstrates that painting is a fluid process that might theoretically continue beyond the completion of the artwork. Indeed, I sometimes revisit and revise paintings months or even years later, further evolving their visual narratives. 

All these steps contribute to the effect that you describe as the paintings appearing in motion. However, for me, the most important contributor to this effect is time. In paintings, every brushstroke embodies a moment in time. These strokes are not merely applications of color, but are deliberate actions that accumulate over the duration of the painting's creation. Each layer of paint also contributes to this temporal dimension, with the time invested in applying, drying, and overpainting layers adding depth not only to the visual experience, but to the emotional resonance of the artwork.

This process of incorporating time into a painting means that the artwork is not just created in a moment, but over many moments. It is a gradual evolution where each phase of the painting process adds a brick of layers to the piece. By viewing a painting, one is not merely looking at a static image, but engaging with a time capsule of creative energy and intent. In conclusion, time is another layer that gives more depth to the painting.

With Hidden Lights, you’re presenting a new body of work to a New York audience. What do you hope viewers take away from this exhibition? Is there an emotional or intellectual response you’re particularly aiming for?

My hope is that viewers take away with "Hidden Lights" a deep intellectual and emotional exploration through its visual and thematic composition. I hope that these artworks transcend mere visual appreciation and provoke viewers to critically evaluate their own perceptions of self and society.

Specifically, as an artist, I desire that my work prompts viewers to engage in deeper self-questioning. I believe that the essence of art lies in its ability to pose questions and ignite thought, rather than convey explicit messages or answers. By inspiring our audience, we as artists foster the development of critical thinking. This enhancement of analytical capabilities allows individuals to interpret reality more effectively and make impactful decisions. This is the moment when aesthetics coincides with ethics. When this happens, I think my role as an artist is fulfilled. WM