ENGLISH PORTFOLIO

71
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ENGLISH PORTFOLIO

Transcript of ENGLISH PORTFOLIO

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Gabriella Di Maria Castiglia

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Gabriella Di Maria Castiglia was born in Genoa, Italy, where she began her

studies in painting, drawing and sculpture at the Academy of Fine Arts,

under the direction of the famous sculptor Edoardo Alfieri. In the same

city, Gabriella continued her training at the studio of Mario Schiaffino and

also collaborated with the Romanian sculptress Yvonne Tomesco.

Gabriella move to Canada in 1977 and continued her studies at the Ontario

College of Art, with professors Bill Clemens and Leonhard Osterlie, where

she obtained a diploma as sculptress.

In 2002 she moved back to Genoa, where she now lives and works.

Gabriella’s sculptures, paintings, pastels and lithographs belong to private

collections in Canada, the United States, Italy, Australia, Argentina and

Japan. Furthermore, her works are often sold by well-known auction

houses.

Gabriella Di Maria Castiglia

MEMBER OF ASSOCIATIONS

1) The Sculptor's Society of Canada

2) The Ontario Society of Artists

3) Visual Arts Ontario

CONTACT

Tel.: 010 3774488 - Cell.: +39 338 3686889

Email: [email protected]

Sito Web: http://www.gabrielladimaria.com

BIOGRAPHY

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Gabriella Di Maria Castiglia

CURRICULUM

PUBBLICATIONS

2005 I GIUDIZI DI SGARBI 99 artisti dai cataloghi d'arte moderna e dintorni, Editoriale Giorgio Mondadori, Milano, Italia.

1996 Nuova Arte, Giorgio Mondadori, Milano, Italia.

1992 Nature's Bounty Art News, Markham, Ontario, Canada.

1991 Scultor's Society of Canada Newsletter, inverno, Richmond

Hill, Ontario, Canada.

1991 Nuovo Confronto, n.7/8 luglio-agosto, Bari, Italia.

1991 Nuovo Confronto, n.6 giugno, Bari, Italia.

1990 Corriere Illustrato, agosto, Toronto, Ontario, Canada.

1984 Calendario dell'Ontario College of Art, Toronto, Canada.

AWARDS

2005 Premio Ambiente 2000, First Prize in the section art, environment and sculpture, Milano, Italy.

1998 Artist of the Year Award, Associazione “Galleria Centro

Storico”, Firenze, Italy.

1993 Member of the jury for the 119 th OSA Annual Open Juried Exhibition, Toronto, Ontario, Canada.

1992 MST Bronze Award, Scultor's Society of Canada Award,

toronto, Ontario, Canada.

1990 First Prize for Miniature Sculpture, 5th Annual International Exhibition of Miniature Art, Metro Toronto Convention Centre,

Toronto, Ontario, Canada.

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Gabriella Di Maria Castiglia

COMMENTS

Luciana Benzi Art Critic, Toronto, Ontario, Canada

Gabriella Di Maria Castiglia offers us that cyclical return to a source of inspiration which take place with every art form and in every culture. It is a phenomenon that gives credit to the Platonic paradox that art can be only a reflection of the real and at the same time be in itself for real: Real with the meaning of truth according to the artist. Gabriella Di Maria Castiglia speaks openly of the inevitable influences she absorbed as a sensitive, impressionable young person. She was born and grew up in Genoa, Italy, where her formative artistic training took place. Growing up in the fifties, particularly in this area of Italy, meant being within easy reach of constant news and imagery created by such masters as Matisse and Picasso who lived, metaphorically speaking, "just down the road". Gabriella Di Maria Castiglia, like a great many other artists intuitively followed in the wake of these formidable masters. The works she produces reveals and recalls these ages of influence but it also asserts her own reality, her own vision, her very own sphere of interests, no matter if shaped by whatever experience was at hand. Her talent was at work drawing from these stylistic stimuli and her personal inspiration. Her work is almost entirely figurative.The bodies and faces she sculpts and paints are like an honest autobiography. There is a display of attitudes, of body language, if we want, there are offerings of affection and sensual longing. the many feminine figures are not passively displayed, rather there is the projection of a state of being, the intention to create a relationship, to find a point of communication. It's a synthesis of her love for humanity. Stylistically there are the transpositions, the distortions, the massing of certain parts and reduction of others. These liberties are used very harmoniously and effectively and direct the attention to the point made. In her development as an artist and in remaining faithful to her inspiration she becomes convincingly autonomous. In contemporary art there is frequently a denial of the human element, as if it has sacrificed to the more dominant structures and intellectual complexities of our time. With Gabriella Di Maria Castiglia we are given back our humanity. Her concern with human relations, her desire to interact physically and emotionally become important messages. There is no radicalism, no traumatic breaks with the past in her work, instead there is the implication of wanting to seek through the constant humanistic imagery the value of continuity. In her work we can find a nexus with future evaluations of human feelings expressed in art. Intuitively and spontaneously we are apt to respond to her sense of narrative, to her messages and to her artistry. The sure, sensuous masses of her bronzes and the refined and sensitive working and clever juxtaposition of rough and smooth surfaces in the stone pieces speak of her talent and of her commitment to sculpture. Her reliefs, paintings and drawings offer interesting technical variations and the same fine quality of execution. In addition we can appreciate her ability with colours and shading. A dedicated artist, unaffected by trends and new inventions Gabriella Di Maria Castiglia re-evaluates the human factor in art.

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COMMENTS

Angelo Principe Ph. D University Of Toronto At the center of Gabriella's art is the Woman with her strenght and vulnerability. However she looks beyond the individuality of this or that person or group; consequently her women become symbols not only of Womanhood, but of Humanity as a whole. All her artistic production (bronzes, colorful pastels, reliefs, and acrylic paintings) reflect a duality: namely the desire for peace and serenity and the feeling of being left out, excluded. These desires and feelings take different metaphorical aspects according to the subjects of the work and the artist's mood. It can be detected in the "Woman on a Red Armchair", staring calmly at a distant point beyond, while the blooming body of a young maiden appears in all its fragile nakedness. These desires and feelings dominate also the large pastel of the "Reading Woman": draperies and a book suggest a tidy, cosy room that the woman dominates with her toughtful posture, elongated neck and dignified head.Furthermore, besides her feeling and state of mind, Gabriella's works witness her struggle to reach a personal, artistic discourse by blending the Italian Reinassance tradition with modernity. She succeeds in this tasks by displacing some figural elements (a foot, an arm, the neck, a thigh, the abdomen, etc.) of the subject. This reverberates a sense of unbalance on the entire work, which makes her art vibrant with contemporary life.The relief "Metamorphosis", for example, depicts indistinct human forms (a face, a breast, an arm-and -shoulder, and two hands which might perhaps be two bunches of bananas) interwoven with clusters of exotic fruit and two huge leaves. A strongly coloured patina covers primariy forms, giving the sensation that those forms are emerging and/or merging togheter. The "Metamorphosis" balances the desire for serenity and the fear of uncertainty in a powerful artistic statement.The "Wheat Field", another relief, reveals, instead, the feeling of marginality and isolation (wich informs even "Three Girls on the Balcony"). A beautiful wheat field ready for harvesting takes the central part of the relief. Beyond the field, is the sky and a bright sun. On the far right, on the horizon, is a cosy country home. In the foreground, at the margin of the wheat field, edging the slope of a barren hill, two young women pick up flowers. They are togheter but absent to each other; as one turns her back to the other. The confort of the home and the sense of security suggested by the wheat field are behind the flower pickers. Before them is only a barren hill top and about them, the ephemeral beauty of wild flowers. This work speaks of a world wich is lost to us, though it is in us forever. Leonard Oesterle Scultore e insegnante - Ontario College of Art, Toronto, Canada Her work is rooted in a very ancient chain of traditions: from the mother godesses and mortals of Greece, Etruscan sarcophagus figures and medieval and reinassance madonnas. She also has a keen interest in the creations of her immediate predecessors in Italy and France. Above all, in this presentation of sensuous women and lovely children, Gabriella let us take part in her celebration of life and beauty.

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