G.T. Pellizzi
G.T. Pellizzi was born in 1978 in the state of Morelos, Mexico. He studied philosophy at St Johns College and is a graduate from The Channin School of Architecture at the Cooper Union. He has exhibited at the Whitney Museum of Art, PS1 Moma, Centre Pompidou, Jeu de Paume, PAC Murcia, and the Fondazione Sandretto Re Rebaudengo and various art galleries in New York, Zurich, Berlin and London. He is currently preparing a solo exhibition at Mary Boone Gallery. Pellizzi lives between New York and Mexico.
By assimilating the vocabulary of construction sites, G. T. Pellizzi work from the series titled Transitional Geometries makes New York’s ever shifting nature one of its main themes. He appropriates, almost in an objet trouve style, some of the most ubiquitous visual vocabularies and objects that inflect our daily navigation of the city. The temporary structures and surfaces of solid color (yellow and blue) that frame and mask real estate developments and city projects, inevitably become signifiers of obstruction, struggle, power, profit, and progress. These structures are what Pellizzi describes as “transitional geometries”— geometries that conceal the content and protect the viewer/public from what lies behind their surfaces.
The Conudits, with electrical charge running …
G.T. Pellizzi was born in 1978 in the state of Morelos, Mexico. He studied philosophy at St Johns College and is a graduate from The Channin School of Architecture at the Cooper Union. He has exhibited at the Whitney Museum of Art, PS1 Moma, Centre Pompidou, Jeu de Paume, PAC Murcia, and the Fondazione Sandretto Re Rebaudengo and various art galleries in New York, Zurich, Berlin and London. He is currently preparing a solo exhibition at Mary Boone Gallery. Pellizzi lives between New York and Mexico.
By assimilating the vocabulary of construction sites, G. T. Pellizzi work from the series titled Transitional Geometries makes New York’s ever shifting nature one of its main themes. He appropriates, almost in an objet trouve style, some of the most ubiquitous visual vocabularies and objects that inflect our daily navigation of the city. The temporary structures and surfaces of solid color (yellow and blue) that frame and mask real estate developments and city projects, inevitably become signifiers of obstruction, struggle, power, profit, and progress. These structures are what Pellizzi describes as “transitional geometries”— geometries that conceal the content and protect the viewer/public from what lies behind their surfaces.
The Conudits, with electrical charge running through them, evoke the energy and movement so emblematic of New York city. Much like Mondrian’s Broadway Boogie Woogie, they seem to evoke the paths of pedestrians and traffic, the vitality of the city streets.
Courtesy of The Watermill Center.
