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Artist Exhibitions:
2002 "Pulse", Gallery Korea,
New York, NY
"Biophilia", State
Capital Building, Santa Fe, NM
Pacific Rim Sculptors'
Group, San Francisco, CA
2000 Ernesto Mayans Gallery,
Santa Fe,NM
1999 Fenix Gallery, Taos, NM
Plan B, Santa Fe, NM
Window Project, Santa Fe,
NM
1998 Owings-Dewey Gallery,
Santa Fe, NM
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Further Information
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Artist Galleries:
Ernesto Mayans Gallery
601 Canyon Road
Santa Fe, NM 87501
(505) 983-8068
http://www.artnet.com/mayans.ht
ml
Fenix Gallery
228-B Paseo del Pueblo Norte
Taos, NM 87571
(505) 758-9120
www.fenixgallery.com...
Further Information
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Artist Reviews:
Coming Soon!
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Artist Statement for Gina Telcocci
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In my artwork I use ancient, traditional, and invented craft techniques to fashion objects and installations. I work intuitively, and most often I avoid the specific in favor of what I think of as the general or universal.
For me, much of the power of sculpture is bound up in it’s physicality. The materials I use include wood, found objects, reeds, paper mache, wax, seeds, etc. All have inherent beauty and richness of color, texture, and associated references. Some of the processes I engage in are: collecting, sorting, assemblage, woodworking, basket-making, miscellaneous crafts, and, sometimes a bit of mechanical and sound collage assembly.
Although my work springs from a sensual & intuitive response to form & materials, rather than from a conceptual orientation, I do have very particular ideas about meanings encoded in it. For example, the grid & the spiral, basic to basket construction, represent, respectively, a human conception of order, and the life force. This is a combination of ideas that I find essential, and endlessly fascinating. Raw, wild nature (the materials) meets cool mental abstraction (structure & process) and the imposition of human will (the form and function). To me, basket-making embodies a distinct & beautiful human relationship to the natural world, and reflects a globally shared cultural history.
Use of discarded and non-art materials has been a strategy I often return to. In addition to the visual attraction that I feel for these materials, the references inherent in many of them add dimensions of meaning to the forms. For instance, I have used foreign language newspaper and paper mache construction to represent all aspects of global cultures - politics, high and low culture - in a way that seems current, and yet non-specific.
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