08. Sep. 2008
Devakrishna Marco Giollo's mixed-media art will be seen adorning the walls of 100% Design's centerpiece auditorium, the Ciba® XYMARAT Theatre, for the duration of the design event in London.
Giollo's pieces are sensual experiences, with color, texture, glint and shimmer all building up into an emotionally complex, but resonant, whole.
Ciba commissioned Giollo to produce four pieces incorporating Ciba® XYMARAT pearlescent pigments and Ciba® XYMARA NordicT sparkle-effect pigments to showcase the subtle and sensitive possibilities offered by these products.
XYMARA.com discussed his creative process with him .
In our first interview with you, we already talked about your philosophy and your approach. This time, can you tell us more about your creative process?
First of all, I have a lot of "material" at home that I have been collecting. It's just objects and pieces, which you can see on the paintings. I can't exist only on a flat surface, I am used to sculpture, so for me, a painting is a three dimensional thing. I see objects that attract me and I just collect them. Then, when I have the object, I depart - it's like going out from a center and it's almost like going out from my own inner center. It's very important for me that I am in a clear space inside when I do that. That means my heart is open, I don't have anything that clutters my mind; that I am in a clean, good space. And then I start placing the objects, I start moving and creating shapes that have some harmony. And then from the center I spread out into space. It's like what I do in my private life as well. I am always trying to go inside, and then, from my center, fill the space of what we're living in. It's big, it's like the universe. And that's the shape before the colors. The colors come after.
Work 129 (acrylic, mix media on canvas) © Marco Giollo
How do you choose your starting-point objects?
That's very spontaneous. I pick an object up: it's the color, it's the feeling ... I pick up this one but not that one ... I lay them around, and then I start. I let my unconscious think about it. For this particular painting, I started with a red object ... If the first object would have been green, then all the other things would have been greenish.
And then, from there you discover the shape ...?
I discover the shape. The object gives me the shape, and then I go from there.
So at first it's a single color and emotional concept, based on the object.
In this particular painting. But it's never the same. Sometimes I have something in mind that I want to do. Sometimes it's figurative, but "my" figurative: I want to do a woman, for example, so I choose the woman, but then again I start putting the objects around the woman, and that gives the feeling of the whole painting.
Is there a theme to how and where you collect your objects?
I was traveling, I was in India, and I was in a few markets. And there was this very old woman selling jewelry that nobody wanted anymore. I remember she was trying to charge a very high price and I was bargaining with her, just for the fun. At the end, I gave her the money she wanted. I bought a plastic bag full of these things which were not sellable on the market because they were all broken and old. And it was all jewelry for Rajahstani women. This was down in Goa. She looked like a beggar; in those places I just buy things and that's how I get inspired.
Work 130 (acrylic, mix media on canvas) © Marco Giollo
But anything I bought, I bought because I knew I would put them on canvas. It was clear.
What was it about those specific objects which attracted you?
There is something - I don't know how to explain it. I just don't know. It's like an attraction. "I want that, I will use that."
I also bought old embroidered saris and I want to use them too. With the red one, there is a piece of Sari there.
So you start with the object to create the basic concept ... And then?
Then I add the color, and the color has to feel right for me. That's very important. In this piece, I went into reds. It was redder than it was not. And then it was too strong. And then there was too much contrast between the black and the red, and so I added blue ...
Then, what I do, I just sit there for a day or two. I just sit. And I hang it in my living space; it has to hang where I live. In the morning, I get up, I pass it by and I look at it, and maybe something is missing, something is not right. Then I take it down and go back to work on it. And that process goes on and on to the point when I feel that it feels really right. And there is a danger that I could go too far or do too much. For example, on this particular painting, I was still busy putting the pigments on until last night because I was not so excited with how it looked, yet. So I did these last three splashes with the silver. And when you splash, you can ruin the whole thing, because you don't know where a splash goes .
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Interview by Diana Lagalante for Xymara BASAF
Interview by Le Vin Chin for Xymara BASAF & 100%design, London
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