Graziela Guardino
澳洲艺术家
1979年出生于巴西圣保罗
Born in 1979 in São Paulo, Brazil
2017年获得皇家墨尔本理工学院硕士学位
Received Masters Degree from RMIT in 2017
举办多次个展与群展
Solo and group exhibitions
从表达对立观念的
From expressing opposing ideas
诗歌中获得灵感
Poetry that expresses opposing ideas
这与我对生活中
This is consistent with my exploration of life's
二元力量的探索是一致的
Exploration of the power of duality is consistent
—Graziela Guardino
Graziela Guardino是一位来自悉尼的当代艺术家，她通过解构和重建织物来创作编织绘画/雕塑。她关注的是女性、祖传工艺和自然。这些是她日常实验的核心。
Graziela Guardino is a Sydney based contemporary artist who creates woven paintings/sculptures by deconstructing and reconstructing pieces of fabric. Her focus is on the feminine, ancestral crafts and nature. These are at the heart of her daily experimentations.
Graziela的作品从对亚麻布的解构开始，重新定义了绘画和纺织品作品的支撑性和物质性。从这个意义上说，艺术家采取了与预期相反的方式来构建这两件作品：她没有增加层次，而是去除层次。她对颜色、形式、材料和构图的实验将编织的概念从二维元素转变为挑战极限的建筑组件，不仅挑战了支撑物的极限，也挑战了空间的极限。
Graziela's work starts with the deconstruction of linen, re-signifying the support and materiality of both the painting and textile works. In this sense, the artist takes the opposite path expected for the construction of the two works: instead of adding layers, she removes them. Her experimentation with color, form, materials, and composition transforms the idea of weaving from a two-dimensional element to an architectural component that challenges the limits, not only of the support but also of space.
她的线条似乎总是无意识地测试物体和艺术作品之间的界限。艺术家的作品正是在这种织线的解开中展现出来的。Guardino的编织绘画雕塑是对材料的实验和研究的结果，形成了一种独特的极简抽象的视觉语言。这些作品以解构为基础，拓展了与自然、女性和祖先重新联系的新可能性。
Her lines seem to always unconsciously test the boundaries between the object and the work of art. It is in this unraveling of the wefts that the artist's work reveals itself. Guardino's woven paintings-sculptures are the result of experimentation and studies of materials, forming a unique visual language of minimalist abstraction. They are based on deconstruction to expand new possibilities of reading about reconnection with nature, the feminine, and ancestry.
Graziela并没有放弃与纺织工作有关的神秘过程的知识。相反，她自由地将她对这种支持和解释的探究融入到当代艺术世界中，在某种意义上，它仍然在我们的想象中简洁地浮现出来。它不知道自己的从属地位，早在至上主义出现之前，它就产生了系统的抽象构图，这是一种刻有具体和概念性无形符号的知识。Graziela追溯了我们思考这个建筑的方式，从祖先到当代。
Graziela does not renounce the knowledge of the mystical process associated with textile work. In contrast, she freely incorporates her inquiries regarding this support and the interpretations into the contemporary art world, in the sense that it still succinctly conjures up in our imagination. Unaware of its subordinate condition, it produced systematic abstract composition long before suprematism, a knowledge that inscribes concrete and conceptual intangible symbols. Graziela retraces our way of thinking about this construction, from ancestral to contemporary.
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