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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 the content is hard to categorize as some are satirical send ups or cartoon like puns some are re edits of available footage some are raw video of events i shot and some are elaborate video productions involving a crew and post production facilities these videos are both an offbeat way of telling stories and a way to illuminate environmental issues i am concerned about it all started when i photographed a desiccated dead dog i came across while hiking in the high desert of taos nm i put a move on the still photo and posted it as a short video on youtube it got a million views and was embraced by the cryptozoologists and conspiracy theorists alike i made some obvious parodies after that which also garnered big views the humor in them being largely ignored by people looking for proof of the existence of monsters and aliens one section of the channel is dedicated to my art videos showing a glimpse into the creative process as well as time lapse creation of artwork painting videos welding art events and commentary paul weiner the sculptures seem to take on the influences of the previous uses for the objects you incorporate intrinsically loaded with cultural values as such the places you find these objects impacts the meaning of the work what are some of your favorite places to find the objects you use for your sculptures donald gialanella i am always on the lookout for materials where ever i go it s a bit of an obsession house sales garbage cans the side of the road flea markets auctions auto repair shops and scrap yards are all places where i find interesting objects sometimes i buy things in bulk a gross of spoons or coffee creamers a toy drive was held at the lucile packard children s hospital to gather hundreds of toys needed for building the assemblage cow sculpture i m creating the drive yielded seven very large boxes of toys that ranged from matchbox cars dolls and action figures to transformers legos animals and sponge bobs the toys then have to be processed in order to be able to use meaning i have to remove all batteries and sort by size color and material this makes the search for a particular shape and color toy much easier during the application of the toys to the cow armature or what i call populating the surface a los angeles filmmaker scott trosclair is making a documentary that shows the entire process of building the cow from inception to installation paul weiner what originally drew you to creating public sculptures and expanding out from the commercial gallery art scene donald gialanella twenty years ago commercial galleries were the main outlet for art sales today that has changed it just doesn t make much sense for an artist to give away 50 or even 60 of his sales to the gallery with the visibility afforded by an online presence the artist can now present their work to a large audience more affordably than brick and mortar gallery prices it s a win win situation for the artist and their clients when i lived in taos i met artist larry bell who had studios in both taos nm and venice beach ca i remember him referring to galleries as upscale consignment shops that about sums it up however there is a clear distinction to be made between commercial galleries the consignment shops if you will and the academic museum quality galleries that show cutting edge work and site specific installations this past summer i was part of an exhibition art and democracy v at the adc building bridges gallery in bergamot station santa monica also last summer my work was included in a three person show at occca the orange county center for contemporary art in santa ana ca paul weiner you have quite a bit of experience working with art in a public setting including your time working with graphics at abc tv in new york do you see any ways in which your current art reflects your older work with graphics either in process or in thought donald gialanella my background in computer graphics has helped me greatly as an artist by allowing me to understand and use digital tools that can visualize and communicate ideas through compelling images the process of designing a tv project and a sculpture begin in the same way with sketches to work out the preliminary ideas there is nothing better than a drawing to quickly realize your design it s a valuable skill to be able to draw something in a simple and direct way that contains the basic form and layout of your idea every creative endeavor can benefit from making early adjustments on paper before progressing to construction it s easier to use an eraser than it is to use a bulldozer paul weiner public sculptures are intriguing because they exist more directly for people outside of the art world for instance it isn t uncommon to see children climbing around on public sculptures or people staring out of their car windows at them do you ever return to the sites of your public works to see how the public interacts with them donald gialanella i enjoy seeing my work in the public arena but i usually don t have the luxury of revisiting the sites after installation unless the sculptures are damaged which is exactly what happened to a piece installed on main street in napa ca after the sculpture had been up for over a year i received a call that vandals had gotten on top of the stainless steel orb overnight and rocked back and forth until it was loose on the base and listing to one side i had to fly up and repair it the incident taught me a valuable lesson you must over engineer outdoor sculpture to be able to withstand the vagaries of public display that brings up another point there is really no way to make a piece of art completely damage proof public sculpture is susceptible from taggers and vandals 24 7 the only thing that can dissuade attacks is the very public and visible placement of the piece adequate lighting at night and solid construction and mounting but again nothing is immune paul weiner you must run into a wide range of structural issues when constructing these sculptures what are the challenges of building a chassis or armature for some of these works donald gialanella when commissioned to do a public sculpture it is imperative to have a structural engineer work out details of how weight and size stress the armature and base attachment public safety and durability are of paramount concern based on the engineering report i use the specified gauge of materials and recommended welding certification the larger the sculpture is the more challenging it is to construct it s many times more difficult to build an eight foot tall sculpture than a four foot tall piece safety in the studio is a primary concern as plasma cutting welding grinding and manipulating heavy objects are all inherently dangerous operations a new project i am doing in blue springs mo involves two large pieces of 1 4 thick steel that weigh in excess of 500 lbs each being delivered to my studio the final sculpt...