JURGIS GEČYS

The Paths of River, 2025, by Jurgis Gečys. Framed hand drawing in pigment ink on paper photographed in dramatic natural light, with strong diagonal shadows crossing the pale abstract composition and surrounding wall.

If you were to look toward nature — its physicality, condition, and natural phenomena — and completely shift away from everything you know about it, you might be able to discover something entirely new, a fundamentally different reality.

Only by being open to the possibility of an unfamiliar perception can I perceive beyond rational knowledge, and thus, through any art form, create more than a mere reflection — an answer back.

Framed artwork The Paths of River, 2025, by Jurgis Gečys. A large vertical hand drawing on paper composed of delicate pale grey lines, dense point-like markings and flowing abstract forms resembling branching river paths and shifting terrain.

The Paths of River, 2025, by Jurgis Gečys. Framed vertical hand drawing in pigment ink on paper, photographed from an oblique angle in natural light. Broad bands of sunlight and shadow cross the pale composition, revealing dense point-like markings, flowing river-like forms and the depth of the wooden frame.

The Paths of River, 2025, by Jurgis Gečys. Framed hand drawing in pigment ink on paper photographed under dramatic natural light, with broad diagonal bands of sunlight and shadow crossing the pale composition and emphasizing its perforated point structures and flowing river-like forms.

Detail view of The Paths of River, 2025, by Jurgis Gečys. Close-up of a pale hand drawing in pigment ink on paper, showing layered flowing linework and extensive perforated point fields that merge into an abstract, river-like terrain.

Detail view of The Paths of River, 2025, by Jurgis Gečys. Close-up of the hand drawing under dramatic natural light, with broad areas of shadow crossing pale river-like formations and sharply visible perforated point structures.

The Paths of River, 2025

The Paths of River, 2025

The Paths of River, 2025

The Paths of River, 2025

The Paths of River, 2025

Installation view of Unexposed, 2021, by Jurgis Gečys at the Zeitgeist main exhibition, Rotlicht Festival 2023, Semperdepot, Vienna.

Original box of approximately forty-year-old unexposed photographic glass negatives, presented as part of Unexposed, 2021, by Jurgis Gečys at Rotlicht Festival 2023, Semperdepot, Vienna.

Installation view of Unexposed, 2021, by Jurgis Gečys at the Zeitgeist main exhibition, Rotlicht Festival 2023, Semperdepot, Vienna, showing photographic glass negatives on slender metal stands and their original box at the centre.

Unexposed
Rotlicht Festival, Semper Depot, Vienna, 2023

Unexposed
Rotlicht Festival, Semper Depot, Vienna, 2023

Unexposed
Rotlicht Festival, Semper Depot, Vienna, 2023

Dome Next Door, Riga 2024

Dome Next Door, Riga 2024

Dome Next Door, Riga 2024

One Stone, 2022, by Jurgis Gečys – analog photograph of a sculpture made from ground, mixed and compressed stones collected across different parts of the continent.

Video still from One Stone, 2022, by Jurgis Gečys, showing stones collected from different locations before being ground, mixed and compressed into a single stone.

One Stone, 2022

One Stone, 2022

Exhibition view of The Inceptive Ground, texture volume 01 at Bildraum 01, Vienna, 2022, with drawings, photography and a projected sculpture by Jurgis Gečys.

The Alien Landscape, 2022, hand drawing in ink on paper, installed at Bildraum 01, Vienna, as part of The Inceptive Ground, texture volume 01.

Installation view of The Inceptive Ground, texture volume 01 at Bildraum 01, Vienna, 2022, showing Crystal carpet on my skin, Crystal carpet and The Peninsula.

Installation view of The Inceptive Ground, texture volume 01 at Bildraum 01, Vienna, 2022, showing The Alien Landscape, The Memory of the Ground, The Formation of Ground and Salt Shore.

The Memory of the Ground, 2020, by Jurgis Gečys, showing an animated crystalline projection moving across the relief surface.

Artist portrait in The Inceptive Ground, texture volume 01 at Bildraum 01, Vienna, 2022, beside The Memory of the Ground.

The Inceptive Ground, texture volume 01
Bildraum 01, Vienna 2022

The Inceptive Ground, texture volume 01
Bildraum 01, Vienna 2022

The Inceptive Ground, texture volume 01
Bildraum 01, Vienna 2022

The Inceptive Ground, texture volume 01
Bildraum 01, Vienna 2022

The Inceptive Ground, texture volume 01
Bildraum 01, Vienna 2022

The Inceptive Ground, texture volume 01
Bildraum 01, Vienna 2022

The Memory of the Ground, 2022

Artifact – Knorr Cube Bouillon, 2019

Between Memory and Perception, 2022 by Jurgis Gečys, a large framed hand drawing composed of delicate pointillist ink marks and stone elements, presented behind museum glass.

Detail of Between Memory and Perception, 2022 by Jurgis Gečys, showing an expansive field of fine pointillist ink drawing divided by a narrow curved opening between overlapping paper forms.

Alternativtext Detail of Between Memory and Perception, 2022 by Jurgis Gečys, showing a finely textured field of pointillist ink drawing intersected by a curved overlapping paper form with subtle embossed relief.

Between Memory and Perception, 2022

Between Memory and Perception, 2022

Between Memory and Perception, 2022

Upper-right detail of Alien Landscape, a hand-drawn mountain landscape by Jurgis Gečys, 2021–2022

Lower-right detail of Alien Landscape, a hand-drawn mountain landscape by Jurgis Gečys, 2021–2022

Alien Landscape, 2021-2022

Alien Landscape, 2021-2022

Alien Landscape, 2021-2022

Alien Landscape, 2021-2022

Large-scale abstract ink drawing from The Inceptive Ground series by Jurgis Gečys, composed of delicate blue-grey linear textures resembling geological formations, erosion patterns and an imagined topography on a white ground.

Detail view of The Inceptive Ground, Map, 2020 by Jurgis Gečys, showing delicate blue-grey ink lines forming dense geological textures, layered terrain and erosion-like patterns across a white ground.

Detail view of The Inceptive Ground, Texture Volume 01, Map, 2020 by Jurgis Gečys, showing extremely fine blue-grey ink marks accumulating into layered, geological textures and gradually dissolving into the white ground.

Detail view of The Inceptive Ground, Map, 2020 by Jurgis Gečys, showing thousands of fine blue-grey ink dots and lines forming layered, wave-like textures that shift between dense formations and open white areas.

Detail view of The Inceptive Ground, Map, 2020 by Jurgis Gečys, showing thousands of minute blue-grey ink marks forming dense, fragmented layers and complex geological textures across the white surface.

Detail view of The Inceptive Ground, Map, 2020 by Jurgis Gečys, showing fine blue-grey ink structures resembling eroded terrain, branching channels and geological formations emerging from and dissolving into the white surface.

The Inceptive Ground - The Map, 2020

The Inceptive Ground - The Map, 2020

The Inceptive Ground - The Map, 2020

The Inceptive Ground - The Map, 2020

The Inceptive Ground - The Map, 2020

The Inceptive Ground - The Map, 2020

Dark installation view of Unseen Sights at Gottrekorder, Graz, showing Jurgis Gečys’s Sand House plaster sculpture with a projected sand simulation and Alien Landscape on the wall.

Unseen Sights
Gottrekorder, Graz 2022

The Crystal Carpet on My Skin, 2019. Black-and-white analogue photograph showing a close view of a shoulder and upper body covered with fine crystalline salt traces.

The Crystal Carpet, 2019. Black-and-white analogue photograph showing a dense, pale crystalline ground surface filling the frame.

Alien Landscape, 2019. Black-and-white analogue photograph from The Inceptive Ground, texture volume 01, showing an abstract, almost featureless terrain with subtle tonal shifts, scattered stones and barely visible ground structures.

Suspended Landscape, 2019. Black-and-white analogue photograph showing a fragmented rocky ground seemingly suspended above a pale, almost empty spatial field.

Fractured Landscape, 2019. Black-and-white analogue photograph showing a rocky landscape resting on glacier ice, divided by a visible crack through the ground.

The Inceptive Ground, texture volume 01 – Photography, 2022

The Inceptive Ground, texture volume 01 – Photography, 2022

The Inceptive Ground, texture volume 01 – Photography, 2022

The Inceptive Ground, texture volume 01 – Photography, 2022

The Inceptive Ground, texture volume 01 – Photography, 2022

Exhibition view of HORIZON at Bildraum Studio in Vienna, with Jurgis Gečys’s framed ink drawing The Peninsula on the left and Locomotion — Cognition, Backbord on the right.

Locomotion — Cognition, Backbord by Jurgis Gečys installed on a white gallery wall during HORIZON at Bildraum Studio in Vienna.

Exhibition view of HORIZON at Bildraum Studio in Vienna, with Jurgis Gečys’s framed ink drawing Locomotion — Cognition, Backbord on the right.

Facade of Bildraum Studio at Brotfabrik Wien during the group exhibition HORIZON in 2022.

Horizon
Bildraum Studio, Vienna 2022

Horizon
Bildraum Studio, Vienna 2022

Horizon
Bildraum Studio, Vienna 2022

Horizon
Bildraum Studio, Vienna 2022

Horizon
Bildraum Studio, Vienna 2022

Framed ink drawing titled Locomotion — Cognition, Backbord by Jurgis Gečys, composed of two elongated fields of fine points converging at a narrow central point.

Ink drawing titled Locomotion — Cognition, Backbord by Jurgis Gečys, composed of two elongated fields of fine points converging at a narrow central point.

Ink drawing titled Locomotion — Cognition, Two Coastlines by Jurgis Gečys, composed of two elongated fields of fine points meeting at a narrow central point.

Ink drawing titled A Coastline by Jurgis Gečys, composed of a tapering field of fine points expanding into layered, curved contours.

Four framed ink drawings from Jurgis Gečys’s Locomotion — Cognition I series, arranged in a two-by-two composition.

Locomotion – Cognition, 2021

Locomotion – Cognition, 2021

Locomotion – Cognition, 2021

Locomotion – Cognition, 2021

Locomotion – Cognition, 2021

Locomotion – Cognition, 2021

Abstract ink drawing by Jurgis Gečys composed of layered lines that curve into a peninsula-like form and gradually fade across the paper.

Detail of The Peninsula by Jurgis Gečys, showing densely stippled parallel lines curving around a white peninsula-like form and gradually dispersing across the paper.

Close-up of The Peninsula by Jurgis Gečys, showing curved bands made from thousands of ink dots that gradually disperse into the white paper.

The Peninsula, 2018

The Peninsula, 2018

The Peninsula, 2018

urgis Gečys, The Transition of Line, 2018, hand drawing in ink on paper with fine diagonal linear traces, presented in a wooden frame with museum glass

urgis Gečys, The Transition of Line, 2018, hand drawing in ink on paper with fine diagonal linear traces, presented in a wooden frame with museum glass

The Transition of Line, 2018

The Transition of Line, 2018

High-key analog black-and-white photograph of wind-shaped lines and tracks extending across a sand dune toward a bright horizon on the Curonian Spit.

High-key analog black-and-white photograph showing the detailed surface of wind-shaped sand on the Curonian Spit.

Analog black-and-white photograph of a steep sand valley on the Curonian Spit, showing layered wind-shaped ridges and sparse vegetation.

The Curonian Spit, 2018

The Curonian Spit, 2018

The Curonian Spit, 2018

Installation view of three works by Jurgis Gečys at Fotogalerie Wien: two large framed ink drawings on the wall and a curved silver gelatin print hovering above the floor.

nstallation view of two large framed ink drawings by Jurgis Gečys: The Peninsula on the left and The Transition of Line on the right.

Curved silver gelatin print by Jurgis Gečys depicting the textured surface of sand, displayed hovering above the gallery floor.

Common Ground
Fotogalerie Wien, 2018

Common Ground
Fotogalerie Wien, 2018

Common Ground
Fotogalerie Wien, 2018

High-key analog black-and-white photograph of a conical mound of sugar fading into a bright, nearly abstract background.

High-key analog black-and-white photograph of a cone-shaped mound of sugar against a bright background.

High-key analog black-and-white photograph of three cone-shaped mounds of sugar against a bright background.

High-key analog black-and-white photograph of two partially overlapping cone-shaped mounds of sugar against a bright background.

The Sugar Land, 2018

The Sugar Land, 2018

The Sugar Land, 2018

The Sugar Land, 2018

non-body-non-space, 2018. White flour installation forming an abstract landscape on a dark gallery floor.

Installation view of Jurgis Gecys’ The Traces of Gesture and non-body-non-space at Eye to Eye with Man Ray, tresor, Bank Austria Kunstforum Wien, Vienna, 2018. The flour installation occupies the foreground, with Gesture 1 and Gesture 2 displayed on the wall behind.

non-body-non-space, 2018. Detail of the flour installation showing the transition between a smooth cracked surface, rough granular edges and the dark gallery floor.

Eye to Eye with Man Ray
Tresor Bank Austria, Kunstforum Vienna, 2018

Eye to Eye with Man Ray
Tresor Bank Austria, Kunstforum Vienna, 2018

Eye to Eye with Man Ray
Tresor Bank Austria, Kunstforum Vienna, 2018

Analog black-and-white photograph of a series of thin hemispherical plaster shell models for The Bowl.

Monochrome collage showing a plaster model of The Bowl on a landscape with a drawn cloud of volcanic ash above it.

Experimental hemispherical plaster shell model with irregular edges

The Bowl, 2017

The Bowl, 2017

The Bowl, 2017

Black-and-white analog photograph showing three exposures of the moon above the sea, with moonlight reflected across the water.

Three Moons, 2017

Architectural models and framed drawings in the Between Man & Nature exhibition at POST Gallery, Kaunas, 2018

Between Man & Nature
Post Gallery, Kaunas, 2018

xhibit
Academy of Fine Arts Vienna, 2015

Sandhouse, 2014

Aerial view of the Windhouse intervention on the Curonian Spit by Jurgis Gečys, 2014

The Curonian Spit
The Identity of the Landscape, 2014

The Curonian Spit
The Identity of the Landscape, 2014

The Curonian Spit
The Identity of the Landscape, 2014