Giacomo Picca
Border Line.............. 2006
open border
other grounds/border land
other grounds/deep site
along the edger/olive green
along the edger/middle green
along the edger/light green
other grounds/other grounds
border line/left
border line/right
deison's garden
along the edge/swimming
border line/puddle
border line/road
border line / left
border line / right
along the edge
open border
other grounds / deep site
other grounds / border land
other grounds / other grounds
cul - de - sac
deison's garden drawn in the weekend
along the edge / lilac
I have started this project from a drawing done by one of my special needs student. He is ethnically from the Southern Hemisphere. It is a drawing of his back garden, in East London.
I found the drawing very beautiful and I felt that I could have done the drawing myself in any moment of my own history. I asked him if I could copy it and do a painting from it and that I was going to call it -“Deison’s garden”. He smiled…
My attention was drawn to the fence itself and how he distorted it. The fence, at first, is seen as a barrier, the borderline between his house and his neighbour but his lines were deformed. For me, 'the fauts' appeared as spaces in the imminence of doing something; they were quite active and gave me the sense of openness.
The composition in the Border Line Project makes a reference to city plans, allotments and the urban environments; the network that forms communities and consequently, raise the problems of the different socio and cultural realities.
In this project, I am working with the idea of the hidden spaces in between the particular cells, where, somehow, “one stops’ and the “other starts”. The spaces can be generators of tensions that inhabit our private, public and psychological experiences of a particular reality; as well as, the socio-political and economic reality in the particular and universal notions of culture and territory.
There is also a more direct reference to time and place by the usage of newspaper cut outs for the drawing of the trees. The newspapers give us particular information. They are an arrangement of data placed on a grid configuration of bare wooden lines, which makes the final compositions on the same wooden support. The cut outs of newspapers are of stories related to a historical imagery of the relation between the west and east, which have been haunting us since the early days of our civilization. Paradoxically, today, we still experience the differences even though we claim that we live in a more developed, open multicultural society. Can the line erase the differences?
The intention underneath in the making of the Project Border Line is to deconstruct the barriers, frontiers; that signifies the differences; and transform this infinite space, in a place where something can happen.
The bare lines that firstly separate the spaces reveal the use of the grid as a symbol of utopia and social change. The paintings are revealing their own structure, the support that holds the medium as the creator of the network of information and imagery that would like to believe in the potential of awareness and change.