Originally from the New York metro area, Gina DeCagna is a London-based cultural producer, creating interdisciplinary installations inspired by language and literature, semiotics, and philosophy to engage with time, space, and consciousness. Through research-driven methodologies and cultural investigations, she creates and curates cross-genre writing, intertextual media, and interdisciplinary publications or exhibitions in and beyond gallery spaces.  

She is pursuing her MFA at Goldsmiths, University of London and is a 2019 Venice Biennale Fellow under the British Council, serving as a representative of both Goldsmiths and the UK. DeCagna has shown in solo and group exhibitions in London, New York, and Philadelphia. She holds an Honors BA in English, Creative Writing and Fine Arts from the University of Pennsylvania, where she had founded, edited, and directed a publication and community of over four hundred collaborating artists and writers known as Symbiosis (2012–2016), based at the Kelly Writers House. From 2017 to 2018, she served as the inaugural Van Doren Engagement Fellow of Penn’s Institute of Contemporary Art (ICA) and Center for Programs in Contemporary Writing (CPCW) as well as on the steering committee of the Philadelphia Avant-Garde Studies Consortium (PASC).



on visual art

My visual and material-based works are concerned with visual-poetic associations, playing with perspectival, illusionary, constructed, and tonal space. Drawing—which I see as my primary tool, as expressed through various two- and three-dimensional media—functions as concentrated manifestations of energy that stimulate sensory experiences within viewers. Through my drawings that then become sculptural installations, I am interested in the play between two- and three-dimensions, creating tension between the fictions of image and the realities of bodily space, and oscillating between these representations. I seek to manifest the emotive power of the viewer, engaging participants within acts of co-creation of meaning.

on writing and language

In my writing, I compose visceral, experiential truths. I shift form and style to serve function, distinctly utilizing language as a medium of material construction, engaging the space of a page. Discrete words, as the units of construction, perambulate genre. I tenderly consider my language’s interface for communication, be it published as a product on paper, in the digital realm, or as projected image on architecture.