Oakland, California - United States

Original Artworks (3)

Gina Telcocci; Eucalyptus Flower, 2002, Original Sculpture Other, 9 x 9 inches. Artwork description: 241 abstracted flower form made of beezwax and eucalyptus seeds...
Gina Telcocci
Original Other Sculpture, 2002
9 x 9 inches (22.9 x 22.9 cm)
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Gina Telcocci; Natural Order, 2001, Original Sculpture Other, 24 x 24 inches. Artwork description: 241 flower & ball hanging in UNM Student Center, Los Alamos, NM...
Gina Telcocci
Original Other Sculpture, 2001
24 x 24 inches (61.0 x 61.0 cm)
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Gina Telcocci; Ball With Hole, 1998, Original Sculpture Wood, 23 x 23 inches. Artwork description: 241 sphere made of twigs and roots with a 6
Gina Telcocci
Original Wood Sculpture, 1998
23 x 23 inches (58.4 x 58.4 cm)
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Artist Statement

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 itís 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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