Gianluca Bianchino is a multimedia artist and curator living and working in Northern New Jersey. Inspired by physics and architecture, his work is focused on immersive installations and interactive sculptures that often engage with optics and technology. Whether working in 2D or 3D, Bianchino tends to consistently express lyrical qualities that stem from a background in painting and an interest in astronomy. Originally from Italy, he attended an Architectural magnet school before relocating to the US where he received a BFA in painting from New Jersey City University, and an MFA from Montclair State University focused on sculpture and installation.

Bianchino is currently an adjunct professor of art at Montclair State University, William Paterson University, and at the Borough of Manhattan Community College. He exhibits regularly throughout the greater New York area as well as internationally. Recent exhibits include Suzhou Art Center (Suzhou, China), Governor’s Island Art Fair, The Painting Center, Chashama, Rooster Gallery, The Islip Museum in Islip NY, The Hunterdon Museum in Clinton NJ, and solo exhibits at New Jersey City University, and Index Art Center, NJ. He has been a Resident Artist at Ramapo College, The Center for New Art at William Paterson University, ESKFF at Mana Contemporary, Gallery Aferro, and Gilbertsville Expressive Movement. Bianchino’s work has been written about in Arte Fuse, Sculpture Magazine, Nautilus Magazine, The New Jersey Star-Ledger, and the New York Times. His work can be viewed at


My work is an attempt to contain chaos in an ordered aesthetic. Process and engagement with traditional and industrial materials conflate with science and architecture in an exploration of the underlying geometry of nature and the built environment. The resulting artwork is set in a metaphysical context that is often ambiguous with works resembling alien landscapes, star maps to unspecified regions of space, or abstract structures alluding to probes and satellites. My practice is eclectic and frequently generative. Temporary installations produce photographs, videos, and/or parts that reappear in later sculptures, and vice versa sculptures may appear in larger multimedia configurations. In my process sculpture, photography, video, painting, and drawing mimic each other within a self-referential hybrid vernacular founded on assemblage and trompe l’oeil. Current bodies of work are–interactive optical sculptures, unstable topographical surfaces, and installations intended to present chaos as a believable visual system.