The technique I use is graphite on paper, it is the one I prefer most of all because it allows me to have deep and opaque blacks and many different tones always using the same instrument. I am fascinated by the idea of getting images with just one tool that provides me with everything I need. I started using this technique about 4 years ago, when I attended the fine arts academy, they asked me to make graphite drawings to expand my production which at the time consisted of oil paints, from then on I decided to work only with graphite on paper. At that time, almost no one in my academy of fine arts worked with graphite on paper, especially in large format, it is a way of working that an artist hardly chooses, I don't know why. Working with graphite is a kind of distancing from the subjects I represent, using a non-color is somehow a way to cancel the color, that is a series of information that our eyes allow us to perceive.
In particular, are there any constraints or rules that you follow during creation?
I try to have a period of free time without important commitments, so as to dedicate myself exclusively to the works without having distractions, I wake up in the morning I have breakfast and I immediately start working until the evening. The best time to produce is in the morning. I work almost exclusively on paper with a single tool. Usually I am interested in images that contain a good deal of geometric elements and rhythmic components. In the two-year period from 2016 to 2017 I looked for many architectures that met these needs and at the same time I continued to produce natural landscapes as opposed to artificial landscapes.
How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?
I believe that in art there is a constant between emotional and intellectual perception, a continuous tension, often when there is a good relationship between emotion and perception then there are excellent works of art.
I am interested in both states, I am one consequent to the other.
It is important for me the environment in which I live, it is an integral and constant part of my works, even if made by heart they have references to the environment in which I live.
The surrounding environment can contribute a lot in the work even indirectly.
For example in "Baia", the drawing was made from memory thanks to the memory I had of that place.
Thanks a lot for your time and for sharing your thoughts, Giada. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?
Thanks to NotRandomArt, it has been a pleasure to share my thoughts with you! From one year to this part I am engaged with some works realized not only with graphite on paper, but I have extended my practice including also different techniques between them. In this last year I was selected in the artist's residence at the Bevilacqua La Masa Foundation in Venice, an institution born in 1899, on the testamentary bequest of a noble Venetian patron, in this period I had the opportunity and time to work to photographs taken from my paintings, I believe I will continue to work on this project. I will make these photographs both large and small. For any other news you can stay up to date by following my instagram page: pianon.giada, or you can write me at: [email protected], every message is always welcome! As soon as I finish this residence, I would like to participate in another artist residence abroad, but I don't want to reveal too much about it !