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lorem ipsum sit dolor ans a quest for design lorem ipsum dolor sit amet, consectetur adipiscing elit. in nisl enim, placerat et ultrices id, egestas a auge. donec iaculis iaculis aliqam. donec bibendum rhoncus.
An elegant, pleasant man with a disarming smile came to the gallery and brought me pictures done with pastel: beautiful turbans, some of them no faces underneath, but designed, or rather colored exceptionally well.
Giordano’s turbans bring to mind the beautiful things of life: blue, like the summer sky, orange like the sunset and passion-red. The face of the man wearing the turban is not important because the drawing is so skillfully done that speaks for itself, it tells stories that come from India, a country that Giordano has loved, and of which retains a clear memory, existing in all his paintings.
Giordano’s pictures, however, are not just turbans; he paints the beauty he is in love with like his painted fruit, the red tomatoes which release enough light to fill up a room, and then there is the green of the leaves and the brightness of all his colors …
In addition his nudes are attractive and disturbing: the bodies of naked men are full of symbols, those symbols that in Argentina were like engraved on the cattle to brand them. Giordano describes his naked men like meat on sale rather than discovering their soul.
In Umbria a splendid exhibition was dedicated to him, “Body & Soul “about the relationship that exists between the possession of a desired body and the soul inside that body”. Giordano research the relationship between “being” and “having” based on the studies by E. Fromm. To possess a body is to possess its soul,
This theme recurs also in his colors: Giordano’s paintings changed significantly during life; he started painting when he was six years old, he exhibited in Paris, in New York and has a series of experiences in the world that have brought him to understand, or rather to discover the human being.
Sometimes he forgets his travel experience and deliberately begins to paint the exuberant fruit and vegetable he discovers in the supermarkets, illuminated by a flat, cold light in large scale paintings.
There is the end of a life story that will dry up and die like his vegetables and fruits. In his life, this dualism between Body and Soul is perhaps unforgettable …
Daniela Semprebene
The human figure is used by Carlos to represent the life of the characters who shared a slice of the author’s life. The use of black and white allows Carlos to present the human body plain, ruthless, while the addition of color softens the style and makes the figure almost flexible and melancholic.
The still lifes of this exhibition show us a different Carlos. The genre of still life was born when the objects of domestic life occupied the pictorial space. Consequently, the message is more immediate, sensory and reaches us directly into the heart. From the exact and pleased representation of no important things such as fruit, vegetables and food to the reflection on the transience of life… The basis of these works is a refined and formal design because for Carlos the design is “word”.
E. Aguero
Almost everyone knows and loves tomatoes. Yet Carlos Giordano has created a work to ri-sensitize us about their amazing beauty. Carlos reminds us that we love only one aspect of the things that surround us while there are many others that we take for granted.
Carlos looks at known objects as an extraterrestrial would, rediscovering them with a sense of amazement and encouraging us to do the same. The artist knows something about us, about how everyday life is. He eases our ability to capture what is fundamental and forces us to concentrate for about one or two minutes on the beauty that surrounds us. He revives our curiosity and involves us in his discoveries.
We should try to do what Carlos has done with his tomatoes with other things and people: appreciate them as if it were the first time we saw them, starting if nothing else, with those who are closer to us.
Jean Paul Van Loon
In these period when artists take refuge and deal with non-places like those themes and places that are similar or understood in many parts of the world, Carlos Giordano, an Argentine artist, chooses and rediscovers a very punctual and characteristic one, almost fundamental and profound part of the identity of the South American country: “las marcas.”
Las marcas are those symbols, those “stamps” that were applied to mark the skin of cattle to identify the owner of the animals. They are a kind of hieroglyphics of particular shapes which are the language of property, possession, love in exclusive terms (one is amazed at the imaginative variety of these symbols!)
Giordano places these signs of ownership onto the human body. They are bodies of men possessed, wanted or desired. Las marcas enter and leave the body, mark it or spare it. Sometimes they outline only partially the male body, as if to symbolize localized desire. Sometimes they are next to it but they leave it free, almost like a threat.
Las marcas are not tattoos, they are more profound signs, they do not take into account the individuality of that body on which they are imposed. The bodies with sculptural features are depicted in pieces, the faces almost not visible. The anonymity of these bodies are now at the mercy of the signs of possession.
In the second part of the exhibition the body frees itself from property and the soul takes its place. The soul prevails in the representation of the calla lilies, the flower of purity par excellence. The calla lily is the representation of the female figure which contrasts with the representation of the explicitly male bodies. Calla lilies are suspended in the void of the black of the background of the painting and they materialize almost abstract in our eyes becoming themselves the symbols.
The skillful use of color once again enhances this combination. The pastels (today a rare technique) as well as acrylic colors bring the soul and body to light. On one side the bodies painted with warm and soft colors are broken by the dynamism of the engraved line of “las marcas”, on the other side the calla lilies are sublimated by light dark contrast of a hyper realistic design on the monochromatic background. On one hand stability, on the other one movement. On one side body, on the other, soul.
Giulia Passalacqua
While many artists continue to take refuge and deal with global themes or places which are similar in many parts of the world, Carlos Giordano chooses a well-defined geographical place: Rajasthan in northern India.
From that place Carlos chose the male turban, a classic Indian headdress that reaches its highest developmental over there and where it takes on various social meanings and infinite forms and styles. Carlos remained fascinated by these “pieces of colored and luminous fabric” used double or tripled and styled in voluminous modes by the princes during solemn ceremonies but also by the elderly to keep their head and neck warm during the winter.
Based on qualified, but also pleased and stimulating research, Carlos Giordano has created the amazing series “WITH TURBAN” where long and twisted silk or cotton bands in a thousand colors, wrapping around themselves, become protagonist garments of the heads underneath.
The skillful use of colors enhances the meaning of these pieces of fabric. Pastels, almost pure pigments which are today a rediscovered technique, combined with acrylic and watercolor, bring out the soul to the turban wearer.
The energetic colors of the turbans are fragmented by the warm and soft colors of the clothes and the dynamism of the lines scratched with ink. The background, almost always agitated and swirling, tells us more about the geography of the protagonists.
Edoardo Archimede Maria Liberio
I was lucky enough to meet Carlos Giordano, a citizen of the world, a vagabond, curious about everything and lover of beauty: a painter, who knows how to create beauty as well as how to perceive and appreciate it.
Through the examination of several of his works I discovered a painter, a brilliant artist of studied contrasts who masters the mixing of different techniques (charcoal, pencil, pastel, watercolor, ink, acrylic, tempera, etc.), in the wise use of color on different substrates such as paper, cardboard, canvas, board.
He works on series of paintings, a result of joyful and stimulating research, tests, trials that Carlos Giordano performs to confirm that he’s a master of the line and the design, of the thousand chromatic nuances that could materialize on one palette, perspective, volumes, structural depths, but above all dynamism and vitality of all the most varied themes and subjects covered.
Specifically and in confirmation of the above, I was able to observe the extraordinary thematic variety of Carlos’s works during his career, the result of a curious and stimulating game: we go from the art of the nude figures where a scrupulous, almost Leonardesque, anatomical study of the human body to the classical portrait with a contemporary twist, from the theme of “flowers, fruits and vegetables” to discover the meticulously detailed jellyfish in their slow movements and transparencies, from landscapes to the bright colors harmoniously combined in his piece “Brazil” to the latest stunning series of “Hindu turbans” where long and twisted silk and cotton strips of a thousand colors, wrapping around themselves, become protagonists of the underlying human faces.
How many themes, how much diversity, but also how much stylistic harmony we discover in Carlos’ works. Yes, it is true but be careful: in all his works, past and recent, the only static part is the frame; the rest is movement, dynamism, is the blow that keeps the flame alive and makes it flourish and shine. It is the vital blow that Carlos Giordano transmits to his works making them unique in their diversity.
An attentive observer like me feels a little kick right on the stomach: he meets with The Art, the real one, the one that creates emotions.
This is Carlos Giordano for me: the artist with the vital blow.
Edoardo Archimede Maria Liberio
The subjects of this exhibition are chosen only as pictorial pretexts, because the artist tries to find beauty, poetry and irony where it is not believed to be usually recognized.
Carlos’s paintings are easily recognized by the way pastel is used: their amplitude and size vary according to the design, their rhythm and the compactness of the pigment, almost pure.
Carlos’s paintings suggest relaxation but also movement as seen in a series of diagonal compositions.
Even the contrast of bright / cloudy colors adds dynamism to the works which is even more emphasized with an extraordinary divergence of warm colors combined with soft hues.
This review tells the research done by Carlos from 1990 to 2010 and never showed before. Some of these works revisit topics previously covered but are now showed under a new perspective.
The use of black and white allows Carlos to present the bare human body as a naked entity, raw, without pomp or ostentation, at certain moments, merciless.
The addition of pastel color softens the style and makes the figure flexible, spontaneous and gentle, almost melancholic. The human figure serves Carlos to represent the life of the characters who had a role on the author’s life and the collective imagination.
The still lifes and the landscapes of this exhibition show us a different Carlos. The message is more immediate, sensory and it reaches us directly to the heart provoking a smile. They convey joy and surprise and allow us to discover beauty (and art) in everyday objects. However, the basis of these works is a refined and formal design, sometimes underlined with ink or graphite sometimes covered with pastel, but always in force.
Finally, Carlos’s work has the double temporality of the irony: the meaning is not clear immediately, but after a certain time a smile illuminates the darkness.
R. Garofalo
Pumpkins, carrots, bananas, fruit and vegetables, repetitions of daily life objects, isolated from their context, modified through the process of enlargement and the exaltation of color, and then inserted in a dreamy atmosphere, almost magical: these are the works of Carlos Giordano exhibited in the exhibition “Luci della natura II”.
“Viva Perugia”
Pumpkins, carrots, bananas, fruit and vegetables, repetition of everyday objects, isolated from their context, modified through the process of enlargement and exaltation of color, and then inserted in a dreamy atmosphere, almost magical: these are the works by Carlos Giordano, exhibited in “Luci della natura“ that opens on Saturday at 6pm at the Cardano Publishing House.
For the Argentine artist, the object represented is no longer connected with its original use.
The subjects are chosen only as pictorial pretexts, because Giordano tries to find beauty, poetry and irony where they are not easily recognized.
One notable aspect of his work is the irony: “Other artists have no intention of being pleasant. I do” and he adds “The problem is never what to paint but how to paint it”.
His paintings vary from the way pastels are used, the width and size of the drawing, the rhythm and firmness of the layer of pigment in its pure state. Carlos’ paintings suggest rest but also movement, as observed in a series of diagonal compositions.
Even the contrast of bright and flat colors adds dynamism to the works, highlighted with an extraordinary divergence of warm colors combined with soft hues. To use the artist’s words “I would like to return to everyday objects their vital and essential importance”.
La Provincia Pavese 3/10/12
The Umbria Film Festival association (www.umbriafilmfestival.com) organizes the XV edition of the well known Festival. The Umbria Film Festival is an event that aims to offer an overview of Italian and European cinema focusing on young talents and research, programming short films, feature films and documentaries.
The feature films presented this year include a choice between the best world production with emphasis on Italian and European movies films not yet released and Italian premieres from non commercial circuits.
As part of this year Festival, the artist Carlos Giordano was called to collaborate with a widespread exhibition of his designs in the various structures of Montone who chose to participate in the Event.
And therefore bars, restaurants, hotels and window shops in the historical center of the town have been embellished with Carlos’ designs to give cinema-loving audience another vision of art that complements and accompanies the Festival.
Still life was born when the objects of daily life occupied the pictorial space. The paintings of Carlos with their striking details and distinctive lighting, as well as being a delight for the eyes express an additional meaning, like a contemplation on the briefness of life expressed by the fruit that begins to rot.
Carlos’s paintings suggest rest but also movement as seen in a series of diagonal compositions.
Even the contrast of bright – dull colors adds dynamism to the works with an extraordinary contrast of warm colors combined with soft hues.
B. Ricci
