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Patrick Piccinelli

@patrickpiccinelli

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Swiss artist.
@ecal_ch University of Art & Design

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A sea in fragments: The work is constructed like a visual logbook—not a narrative depiction of the sea, but a rendering of its inner states, moods, forces, and silences.
Splashes and drips—flung ink, trickling pigment—convey the dynamics of movement: something has been cast, traversed, or buffeted. One does not contemplate the sea from a fixed shore; one is within it, in motion.
The tension between control and overflow:
Geometric shapes attempt to contain, yet splashes, black drips, and pigment splatters consistently spill beyond the boundaries. Much like the sea itself, which can never be fully tamed.
The layering of materials (collage of papers with varying textures, ink, acrylic) evokes the sensation unique to any sea voyage: layers of time, space, and feeling that accumulate and overlap, without ever forming a linear narrative. by @patrickpiccinelli

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12 hours ago

A sea in fragments: The work is constructed like a visual logbook—not a narrative depiction of the sea, but a rendering of its inner states, moods, forces, and silences.
Splashes and drips—flung ink, trickling pigment—convey the dynamics of movement: something has been cast, traversed, or buffeted. One does not contemplate the sea from a fixed shore; one is within it, in motion.
The tension between control and overflow:
Geometric shapes attempt to contain, yet splashes, black drips, and pigment splatters consistently spill beyond the boundaries. Much like the sea itself, which can never be fully tamed.
The layering of materials (collage of papers with varying textures, ink, acrylic) evokes the sensation unique to any sea voyage: layers of time, space, and feeling that accumulate and overlap, without ever forming a linear narrative. by @patrickpiccinelli

31

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12 hours ago

A sea in fragments: The work is constructed like a visual logbook—not a narrative depiction of the sea, but a rendering of its inner states, moods, forces, and silences.
Splashes and drips—flung ink, trickling pigment—convey the dynamics of movement: something has been cast, traversed, or buffeted. One does not contemplate the sea from a fixed shore; one is within it, in motion.
The tension between control and overflow:
Geometric shapes attempt to contain, yet splashes, black drips, and pigment splatters consistently spill beyond the boundaries. Much like the sea itself, which can never be fully tamed.
The layering of materials (collage of papers with varying textures, ink, acrylic) evokes the sensation unique to any sea voyage: layers of time, space, and feeling that accumulate and overlap, without ever forming a linear narrative.
Envoyer des commentaires by @patrickpiccinelli

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12 hours ago

Silent Concerto 2, acrylic paint, paint marker, pigment.
This work on canvas evokes the music of Olivier Messiaen.

This 20th-century French composer is renowned for his approach to music, in which silence plays a crucial role.

Messiaen uses silence to structure his compositions. These silences allow listeners to contemplate the sounds that have just faded away.

Similarly, in my painting, the use of smooth, flat geometric areas highlights the improvised drawings, as well as the stains and splatters. To me, these structured areas represent the silences within the painting.

For Olivier Messiaen, silence is an element just as fundamental as sound in the construction of his musical universe. He views it as a space of contemplation, mystery, and transcendence, where the listener is invited to share in an experience that is as spiritual as it is musical. by @patrickpiccinelli

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14 hours ago

Silent Concerto 2, acrylic paint, paint marker, pigment.
This work on canvas evokes the music of Olivier Messiaen.

This 20th-century French composer is renowned for his approach to music, in which silence plays a crucial role.

Messiaen uses silence to structure his compositions. These silences allow listeners to contemplate the sounds that have just faded away.

Similarly, in my painting, the use of smooth, flat geometric areas highlights the improvised drawings, as well as the stains and splatters. To me, these structured areas represent the silences within the painting.

For Olivier Messiaen, silence is an element just as fundamental as sound in the construction of his musical universe. He views it as a space of contemplation, mystery, and transcendence, where the listener is invited to share in an experience that is as spiritual as it is musical. by @patrickpiccinelli

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14 hours ago

Silent Concerto 2, acrylic paint, paint marker, pigment.
This work on canvas evokes the music of Olivier Messiaen.

This 20th-century French composer is renowned for his approach to music, in which silence plays a crucial role.

Messiaen uses silence to structure his compositions. These silences allow listeners to contemplate the sounds that have just faded away.

Similarly, in my painting, the use of smooth, flat geometric areas highlights the improvised drawings, as well as the stains and splatters. To me, these structured areas represent the silences within the painting.

For Olivier Messiaen, silence is an element just as fundamental as sound in the construction of his musical universe. He views it as a space of contemplation, mystery, and transcendence, where the listener is invited to share in an experience that is as spiritual as it is musical. by @patrickpiccinelli

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14 hours ago

Silent Concerto 2, acrylic paint, paint marker, pigment.
This work on canvas evokes the music of Olivier Messiaen.

This 20th-century French composer is renowned for his approach to music, in which silence plays a crucial role.

Messiaen uses silence to structure his compositions. These silences allow listeners to contemplate the sounds that have just faded away.

Similarly, in my painting, the use of smooth, flat geometric areas highlights the improvised drawings, as well as the stains and splatters. To me, these structured areas represent the silences within the painting.

For Olivier Messiaen, silence is an element just as fundamental as sound in the construction of his musical universe. He views it as a space of contemplation, mystery, and transcendence, where the listener is invited to share in an experience that is as spiritual as it is musical. by @patrickpiccinelli

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14 hours ago

Silent Concerto 2, acrylic paint, paint marker, pigment.
This work on canvas evokes the music of Olivier Messiaen.

This 20th-century French composer is renowned for his approach to music, in which silence plays a crucial role.

Messiaen uses silence to structure his compositions. These silences allow listeners to contemplate the sounds that have just faded away.

Similarly, in my painting, the use of smooth, flat geometric areas highlights the improvised drawings, as well as the stains and splatters. To me, these structured areas represent the silences within the painting.

For Olivier Messiaen, silence is an element just as fundamental as sound in the construction of his musical universe. He views it as a space of contemplation, mystery, and transcendence, where the listener is invited to share in an experience that is as spiritual as it is musical. by @patrickpiccinelli

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14 hours ago

Work in progress this morning. New series. More intensive use of pigments. by @patrickpiccinelli

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20 hours ago

Configurations, acrylic paint, varnish, and pigment on canvas, 70 x 70 cm, 2026.
Inspired by the track "Configurations" by jazz pianist Vijay Iyer.
The painting contrasts two registers. On one hand, geometric rigor: rectangles, verticals, and drawn lines. On the other, gesture and chance: drips, impasto, and variations in density.
"Configurations" is a track from the album *Uneasy* (ECM, 2021). Iyer performs it in a trio with Linda May Han Oh on double bass and Tyshawn Sorey on drums.
An album description notes that within the lexicon of jazz ensembles, the trio is perhaps the most demanding, with three instruments "triangulating" the compositions. For Iyer, "configuration" refers both to the organization of a trio and to the way three voices distribute themselves across the space.
Three voices, four blocks: interdependence. Like the offset rectangles, each instrumentalist occupies a territory while encroaching upon the others. Neither the painting nor the trio operates through a melody-versus-accompaniment hierarchy; instead, they function through planes that respond to one another.
Striated verticality: Repeated vertical brushstrokes evoke the cyclical patterns and ostinatos that often structure Iyer’s writing. Each streak is nearly identical, yet none is exactly the same—like a repetition that varies slightly with each pass.
The offset: Misaligned edges create the impression of rhythmic asymmetry or phase shifting—overlapping cells that do not align perfectly, yet hold together. Instability beneath the surface: The album is titled *Uneasy*, a name that alludes to what Iyer describes as instabilities felt beneath the surface of things—a burgeoning anxiety in American life. The painting shares this same ambiguity: an apparently orderly surface, yet one marked by drips, fissures in the material, and lines that destabilize the grid.
The canvas and the musical piece share a common idea: order as a process rather than a state. A configuration is never definitive; it is a moment of equilibrium between forces. by @patrickpiccinelli

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20 hours ago

Configurations, acrylic paint, varnish, and pigment on canvas, 70 x 70 cm, 2026.
Inspired by the track "Configurations" by jazz pianist Vijay Iyer.
The painting contrasts two registers. On one hand, geometric rigor: rectangles, verticals, and drawn lines. On the other, gesture and chance: drips, impasto, and variations in density.
"Configurations" is a track from the album *Uneasy* (ECM, 2021). Iyer performs it in a trio with Linda May Han Oh on double bass and Tyshawn Sorey on drums.
An album description notes that within the lexicon of jazz ensembles, the trio is perhaps the most demanding, with three instruments "triangulating" the compositions. For Iyer, "configuration" refers both to the organization of a trio and to the way three voices distribute themselves across the space.
Three voices, four blocks: interdependence. Like the offset rectangles, each instrumentalist occupies a territory while encroaching upon the others. Neither the painting nor the trio operates through a melody-versus-accompaniment hierarchy; instead, they function through planes that respond to one another.
Striated verticality: Repeated vertical brushstrokes evoke the cyclical patterns and ostinatos that often structure Iyer’s writing. Each streak is nearly identical, yet none is exactly the same—like a repetition that varies slightly with each pass.
The offset: Misaligned edges create the impression of rhythmic asymmetry or phase shifting—overlapping cells that do not align perfectly, yet hold together. Instability beneath the surface: The album is titled *Uneasy*, a name that alludes to what Iyer describes as instabilities felt beneath the surface of things—a burgeoning anxiety in American life. The painting shares this same ambiguity: an apparently orderly surface, yet one marked by drips, fissures in the material, and lines that destabilize the grid.
The canvas and the musical piece share a common idea: order as a process rather than a state. A configuration is never definitive; it is a moment of equilibrium between forces. by @patrickpiccinelli

26

0

20 hours ago

Configurations, acrylic paint, varnish, and pigment on canvas, 70 x 70 cm, 2026.
Inspired by the track "Configurations" by jazz pianist Vijay Iyer.
The painting contrasts two registers. On one hand, geometric rigor: rectangles, verticals, and drawn lines. On the other, gesture and chance: drips, impasto, and variations in density.
"Configurations" is a track from the album *Uneasy* (ECM, 2021). Iyer performs it in a trio with Linda May Han Oh on double bass and Tyshawn Sorey on drums.
An album description notes that within the lexicon of jazz ensembles, the trio is perhaps the most demanding, with three instruments "triangulating" the compositions. For Iyer, "configuration" refers both to the organization of a trio and to the way three voices distribute themselves across the space.
Three voices, four blocks: interdependence. Like the offset rectangles, each instrumentalist occupies a territory while encroaching upon the others. Neither the painting nor the trio operates through a melody-versus-accompaniment hierarchy; instead, they function through planes that respond to one another.
Striated verticality: Repeated vertical brushstrokes evoke the cyclical patterns and ostinatos that often structure Iyer’s writing. Each streak is nearly identical, yet none is exactly the same—like a repetition that varies slightly with each pass.
The offset: Misaligned edges create the impression of rhythmic asymmetry or phase shifting—overlapping cells that do not align perfectly, yet hold together. Instability beneath the surface: The album is titled *Uneasy*, a name that alludes to what Iyer describes as instabilities felt beneath the surface of things—a burgeoning anxiety in American life. The painting shares this same ambiguity: an apparently orderly surface, yet one marked by drips, fissures in the material, and lines that destabilize the grid.
The canvas and the musical piece share a common idea: order as a process rather than a state. A configuration is never definitive; it is a moment of equilibrium between forces. by @patrickpiccinelli

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20 hours ago