Gregor Becker's chromatic ecosystems


Gregor Becker's imaginative and creative vision comes from the study of the mosaic
technique and the expressive potential of chromatic tiles combined in infinite 
variations. However, if the origin of the fascination for mosaic can be traced back 
to the Roman floors and the apses of Ravenna shining with gold, passing through t
he mosaic works of the Viennese Secession, practices and materials change 
radically, modifying the very meaning of the mosaic technique, 
from two-dimensional to three-dimensional, from static to dynamic.

In fact, Becker's language foresees that the tiles are not applied on the prepared 
surface, as in the traditional mosaic technique, but emerge from the background 
to create vertical, three-dimensional, flexible, mobile, dynamic mosaics: 
once the tiles have been made to adhere - no longer glassy or marble, but made 
of hand-coloured paper—they are shaped to impart movement, with effects in 
strong relief, almost sculptural.

The special character of Gregor Becker's works is the quality of the relief of his 
mosaics which flourish in the third dimension, acquire a plastic value and almost 
ask to be touched: the work is manipulated, and a direction is given, a movement 
to the surface which it is shaped to achieve the desired effect, which can vary 
from an orderly pattern to a disordered texture, from a combed lawn to a stormy 
sea.

The spatial quality, added to the chromatic one, is a direct consequence of his love
for the landscape and his activity as a landscaper, a quality that we trace in 
panoramas dreamed and created through an infinity of three-dimensional tiles - 
a poetic and sustainable version of pixels - oriented in such a way as to filter the 
light in countless changes and transformations of vision.

A representation of the chromatic harmony of the universe, a garden in the 
splendor of flowering or a sky of northern lights, windows on the three-dimensional
effects of light/colour. The vision is never limited to two-dimensionality, but 
integrates the plastic values with the chromatic ones within dynamic flows, 
inviting the observer to feel with all the senses the richness of the color material, 
where plastic brushstrokes chase each other, mix, they intersect in a perennial 
current of energy and color.

Costanza Barbieri