Giorgio Cecatto

Architect turned artist Giorgio Cecatto explores the logic of geometry through pen plotting. In this interview, he discusses his transition between disciplines, his view on machines in art, and how structure defines his artistic vision.

Your initial background is in architecture. How has this discipline shaped your artistic approach, and when did you feel the need to transition from architectural design to purely artistic creation?

Architecture shaped the way I see the world, so my artistic approach is a direct consequence of that background. I am always looking for relationships between geometry; whether the environment is three-dimensional or two-dimensional does not change much for me.

The shift from working with concrete (a heavy, tangible material) to pen plotter art (fine, mechanical lines) represents a major change. What motivated this technical and aesthetic evolution?

COVID. When the pandemic hit, my studio closed and I needed to find a way to continue working with geometry from home. I came across the pen-plotter work of Dan Catt and entered the pen-plotting community, a very welcoming and supportive group, often best described as “creative nerds.” This allowed me to explore geometry on a two-dimensional level while experimenting with the many possibilities these machines offer.

Can you explain the creation process for a pen plotter artwork, from the initial idea to the machine's execution? What is the role of the artist versus that of the algorithm or code?

Different artists approach pen plotting in very different ways. Pen plotters are especially popular among generative artists, but I do not consider myself one of them. I can code a little, but my main interest lies in the geometric capabilities of the machine. Generally speaking, my pieces can originate in multiple ways: sometimes from a sketch, sometimes from a render, sometimes from experimentation in Illustrator. Regardless of the starting point, the process always ends with an SVG file, which is the format most pen plotters can read and translate into motion. I currently own three plotters and I would happily own more.

How would you describe your relationship with the machine? Is it merely a tool, or a collaborator?

It is a tool, much like a camera. I always find it amusing when other artists suggest that I am “cheating” because I use a machine, without recognizing that this is simply a different medium, just as painting and photography are different media. A hundred years ago, many believed photography would kill painting; instead, it opened up an entirely new field of creativity.

Are your works primarily focused on the exploration of form and structure, or is there a narrative or emotional intention hidden behind the lines and patterns?

My work is primarily focused on the exploration of form and structure. Occasionally there is a narrative behind a piece, but I prefer not to explain it explicitly. I would rather leave space for viewers to develop their own interpretations.

Which artists, contemporary or historical, do you admire the most?

Tadao Ando and Maurizio Cattelan.

As an Italian native, what specific challenges or opportunities do you face as an artist based in Toronto, compared to Europe?

The opportunities in Toronto are far greater than in Italy, both in architecture and in the art world. This is largely due to economic, financial, and historical differences between the two contexts. Personally, I do not feel that I have faced any particular challenges related to being European.

Do you have any future projects you would like to share with us? I

I always have something planned for the near future. As Duke Ellington once said, “I don’t need time, I need deadlines.” I will be participating in DesignTO in January and The Artist Project in March 2026.

---

To learn and see more of Giorgio Cecatto's work: website + Instagram.