And Tomorrow is Already Yesterday   ( 2010 )

It’s No Good

2010

magazine cutting, ink jet paper, ink jet transparency and cut paper on plywood

61x40cm (framed)

La Vera Rivoluzione

2010

magazine cutting, ink jet transparency, masking tape, sellotape, cut paper and marker on plywood

61x46cm (framed)

A Dream Life

2010

magazine cutting, Xerox, ink jet paper, mountboard and cut paper on plywood

40.5x61cm (framed)

Temple of Osiris

2010

magazine cutting, Xerox and ink jet transparency on plywood

61x40cm (framed)

Eternity

2010

magazine cutting, vintage silk, ink jet transparency, cut paper and wood on plywood

40.5x61cm (framed)


Vertige

2010

magazine cutting, ink jet transparency and postcard on plywood

61x40.5cm (framed)

Location:  Paris

Themes:  Expectation, relationships, sexuality, disillusion, the human nature.


Love seems quite a major theme in movies, literature, music, but not so much in art, or not anymore. Somehow death is still a big subject; nature and the self, sometimes religion. Art is the crucial subject in art.


Synopsis:  This new series of collages on plywood follows a project that started with a group of water-colours also entitled ‘And Tomorrow is Already Yesterday, or How the Heart Skips a Beat’. The works are conceived as random frames from a romantic photo-novel where narrative and dialogue, out of their original context, ask for an alternative reading, deliver a punch line, or simply disconnect the images from their original sources.


In sketching and re-sketching the preparatory collages, Giardi keeps adding different and contrasting elements to his storyboard, following the method of composition and writing in Proust’s brouillons. Overlapping layers break the two-dimensional space within the wooden support/frame and the formal composition seems to suggest a depth of field that is immediately interrupted by the surface and pattern of the wood itself.


The final execution, a montage of images, techniques and styles borrowed from vintage magazines, graphic design, literature and comic strips, presents us with the hieroglyphics of life. Just like Oedipus guessed the Sphinx's riddle, this world of signs must be deciphered and interpreted.

Parce Que Je Suis un Menteur (first stage)

2010

magazine cutting, foamboard, cut paper and marker on plywood

79x54cm (framed)