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e others i show religions as biological systems this sociological phenomenon is subject to a tragic decay from the dynamic and positive youth to the dark age of its own apoptosis however i think that we cannot ignore the relationship of this system or the people who lead it with their environment every religion and their distorted visions could unveil many humorous situations we are only able to represent our divinities in every religion through our own prism with human or eventually animals features or sometimes religions avoid any representations so as to avoid questions about their origins of course i don t forget the other religions for venus and the dark veil of the censorship the idea came from many female friends of mine in europe who told me they could now get in trouble for wearing dresses or skirts in certain places some of them have been threatened by puritans asking them to put on veils i can not let this be silenced as i said the body is the key less gods more spirit troie paul weiner tell us a little about the physical process for making these works to what extent are they digital versus photographic the antic staatsoper it s hard to answer i never considered myself as a photographer i always have doubts when i see the work of other photographers actually i m just a frustrated painter who is not able to hold a brush or to mix two different colors to get something consistent i was very impressed by the matthew barney s cremaster cycle he is also one of my favorite contemporary artists i had the chance to see the five parts of the cremaster i discovered that he was in fact a plastician he shot movies only to set up his scenery i think that is what i do too my pictures could be movies or paintings or sculptures or even music because in the beginning i m a musician photography was well i have to admit easier for me to manage maybe it s a kind of sketchbook my digital process is based on old painting processes yes it s very old school the scenery is the same that you could use for a drawing a very simple set up and a simple light as natural as possible i need the models to express struggle and the instability of the situation the moment before the conclusion at the end of the process i try to be a painter so i use a digital brush because it is less harmful than a real one i try to paint some texture on the pictures as if i had made and shaped all these pictures with my own hands alcatraz narcissus cloning the curse of the selfie paul weiner tell us a little about your formal interest in merging classical imagery and contemporary digital methods of creating your decorum series seem to reference for instance 17th century dutch paintings such as landscapes by rembrandt and vermeer while the gods series has a baroque feel about it perhaps sourcing from caravaggio s chiaroscuro scenes the antic staatsoper three years ago after a long love story something broke in my relationship with art i realized that something was missing but i didn t know what i needed to come back to the classical imagery i needed to go back to the true aim of art a way to reach an upper consciousness a gate to the spirituality i wanted something less fed by itself something less self centered i was bored by the me myself and i inspiration the second point was technology itself today the technique and technology seem to be more important than the intention and the meaning these perfect tools distract us from our goal that s what was missing for me in contemporary art a real purpose a yearning and a real battle for these values that is what i found in classic art a strength and a complexity that can haunt you for days and days in the end you get your own questions and maybe some answers this is an active art it lives inside you it brings you out of your material contingencies above the poor representations of the religion and its false perception this art opened new doors for me it gave me a window toward spirituality i use a classical imagery so as to talk about our world i also wanted a lo fi approach like in lo fi music the aesthetic didn t need to be perfect punching digital imagery straight to her face but using digital technology was necessary too i don t want to be seen as passé i started the project decorum in 2012 at the beginning i just wanted to ask questions about our uses of these new technologies in art and not about the tool itself my first intention was to show the lack of sustainability of the contemporary imagery i imagined digital pictures rusted in our hard drive some of its rotten pixels reveal our world like it will remain after us empty spaces with simple lights old artifacts of humanity an old fashioned vision the last sustainable form of imagery and the lights from a vanishing world most of these pictures were taken in the north of france and paris the european painters and their uses of natural light were an important influence in this back to the roots project i played with the old imagery and its powerful symbolism fulfilled by different meaning and hidden messages in this way i began to ask questions about our behavior it created a place for new experimentations i used decorum as a starting point for my work in progress gods it would be its birth place for this project i chose contrasting imagery i want you to feel the struggle even in the lighting with only one light above each character the light of spirituality the contrast is in the manichean symbol of their battles gericault and il caravaggio are my masters of course the language of their bodies and the strength of their scenery were decisive and definitely helped me to initiate the project the body the pure naked body in all its beauty is the perfect interface between the material and spiritual world only a natural light can express this union this dialogue at this time i realized that i was horrified by a world which is falling again in a new obscurantism and puritanism just read the news and you will get an idea of what i m talking about but the thing that scared me the most was the lack of opposition from the world of art i don t think that most of our creative producers are really involved in these conflicts i needed something powerful in order to ask my questions to the world the topics are various but they all lead to the same basic issues the misunderstanding between religion and spirituality the new behaviors between generations the new medias and how they modify us large corporations and mass media society and entertainment new relations empathy love fertility creation and our ability to reach universal peace together atlas abandoning our world cassandra vs pandora paul weiner how did you begin your gods series and what emotions are you trying to evoke the antic staatsoper after having launched the decorum series i realized that i created a new universe a tabula rasa where i could experiment with more ideas i m very slow at work and it took me more than 3 months to complete each picture each time i let my ideas becoming clearer collecting information to enhance the accuracy of my purpose i stretched all the interrogations and statements i had in this universe until i got the scenario of the scene it was the starting point decorum is my mount olympus i filled it with characters coming from mythologies and old beliefs these characters these gods were created as a mirror of our own behaviors or trends playing with distortions to gain more efficiency their symbolism still works in our world but sometimes the conclusions seem to take unexpected paths my first god was altas he carries the world on his shoulder but why should he continue do we deserve this privilege all these gods evolve live in a blurry world in tandem with our world i never intend to give emotions through my pictures i would like to be able to play with your emotions but i don t know how emotions are correlated to your own life so they are different for each person at each exhibition the feedback always surprises me the viewers most of the time describe my pictures as disturbing erotic provocative or mesmerizing and the reasons were always different for each picture rather than giving emotions i prefer to ask questions my pictures represent the last step before your own conclusions are made you could guess how it will end but the conclusion will be your own one i would like after seeing my pictures that you keep them in mind wondering if you agree or not are my questions relevant does this picture bring you other questions do you feel a new need maybe this is the kind of emotion i want you to feel please view the antic staatsoper s website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your response name required email required submit δ leave a comment march 23 2015 donald gialanella repurposes everyday objects as monumental public sculptures an eclectic restlessness fuels donald gialanella s artwork as he reclaims objects and conjures a nostalgic awareness of the cultures in which he is embedded gialanella is known for his use of household objects such as spoons pots and pans in constructing monumental public sculptures in his private work gialanella goes so far as to compare the reuse of objects in an artistic setting to buddhist reincarnation the works pair a shrewd sensibility for displaying the contemporary moment with commentaries on the universality of utilitarian objects to develop the kind of discussion that so unfortunately eludes many contemporary artists pop art that thinks gialanella s works are dizzyingly intricate filled with materials loaded with cultural significance and masterful poetic metalwork gialanella who holds an emmy for his work on monday night football and a bfa from the cooper union lives and works in los angeles having taught internationally at bilkent university in turkey gialanella has returned to public sculpture his sculptures can be found in napa ca pasadena ca and albany ny with a forthcoming piece to be installed at the lucille packard children s hospital on the campus of stanford unversity in palo alto ca last year he was included in shows at the adc building bridges gallery in bergamot station santa monica and the orange county center for contemporary art in santa ana ca gialanella s artwork can also be found on his website paul weiner tell us about your interest in creating sculptures out of recycled and reclaimed objects where did this inspiration come from donald gialanella i have been working with recycled and reclaimed materials for decades now and can t put my finger on exactly why i m drawn to these objects what i can say is that i have a deep connection to working with odd assemblages of objects and i enjoy act of shaping metal when i begin to work with these materials i feel the juices flowing and enter into a kind of creative rapture the process is beyond logic i can begin working and something poetic grabs me and changes me and the work begins to exist on its own terms i am there as a medium to guide the process the inspiration to use discarded objects to make art started when i was a boy i used to rummage around in the scrap box underneath my dad s table saw i would take these odd shaped bits of wood and glue them together to create little figures of eskimos genies knights and animals looking at things differently is the role of the artist art reflects our culture and offers a new perspective about ourselves and the world we live in when i see discarded objects i think about them as raw materials for art i look at trash differently than the average person paul weiner in your la buddha and libido works you introduce the two dimensional painted surface to these reclaimed objects i read the buddha as a symbol perhaps one for the buddhist concept or reincarnation in association with your way of giving new life to objects are you consciously constructing these symbolic webs donald gialanella the buddha series serves as metaphor for the reincarnation of the objects that lived their initial lives and are returning in new lives i used a two dimensional or low relief approach to these wall hung assemblages the pieces explore the problematic juxtaposition of planned obsolescence versus modernity and substance over spirituality it explores our relationship to materialism and probes how we look at permanence what emerge are ideas that prompt the viewer to ponder environmental responsibility and our cultural relationship to waste and sustainability art critic dave quick wrote about these works the genre is also a nod to southern california multiculturalism indeed one of the area s largest buddhist temples is located in the san fernando valley not far from gialanella s studio all nine works are mounted on recycled plastic pallets which hang on the wall and create space between the wall and the work to create a more three dimensional sculptural effect the pallets themselves continue the metaphorical reincarnation pallets that once carried other loads now carry gialanella s creativity paul weiner what is your reasoning behind the use of multiple common objects like spoons and gears to create your assemblage sculptures donald gialanella the commonplace things we use every day are important elements in our lives pots pans silverware dog bowls coffee cups we have a relationship with them a kind of emotional bond we use them to nourish ourselves to cook with to put food in our mouths and to drink out of they are an extension of our humanity people s connection to these mass produced utilitarian objects fascinates me i m interested in their lifecycle the almost living lifecycle of the modern object production marketing ownership and destruction in the end that s the typical story of these modern objects i interrupt this story by using accumulations of these objects in my art by disrupting an object s normal lifecycle one looks at things differently a spoon is not just a spoon anymore a pot is not just a pot the object s normal lifecycle is interrupted by using it as an element in my sculpture it is saved from destruction it is frozen in time when it is embedded in an assemblage you stop the moment you see it as a memory of objects that nurtured you all your life paul weiner your youtube account livesteel features a wide variety of videos from your own art exhibitions to bison running from a volcano and a mysterious space ball dropping on namibia some of the videos on the odd side have gone viral gaining millions of views is this some kind of elaborate ruse a foray into video art or are these just videos you ve taken and compiled out of your own interest donald gialanella the youtube channel contains an eclectic mix of videos that range from a slightly skewed look at natural phenomena to some not so mainstream people at the fringe i do think of them as video art th...
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