Graciela OLIO


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Name: Graciela OLIO

Country: Argentina

HP: click

Biography/ 略歴

Graciela Olio was born in La Plata, Argentina. She studied at the Fine Arts Faculty, UNLP (National University of La Plata), where she obtained her degree as Professor and Graduate in Plastic Arts with a main focus on Ceramics. Later she undertook Photography and Engraving Studies and attended Tulio de Sagastizabal’s seminars on Clinic of Artwork.

Graciela lives and works in her studio in La Plata. She is a full Professor in the Chair of Ceramic Workshop 2-4 of the “Prilidiano Pueyrredon” Visual Arts Department (DAVPP), UNA (National University of Arts), Buenos Aires.

She is a Researcher of the Graduate Course in Combined Artistic Languages at DAVPP-UNA.

She conducts Seminars on her research at national and foreign institutions and she participates in national and foreign Symposia, Congresses and Conferences.

She participates in Artist-in-Residence Programs, Competitions, Biennales and she holds solo and group exhibitions in countries such as Argentina, Mexico, Brazil, Chile, USA, Spain, Germany, Croatia, Portugal, Italy, Romania, Austria, France, New Zealand, Australia, Taiwan, China, Korea and Indonesia.

She is an Argentine representative member of the International Academy of Ceramics (IAC) based in Geneva.

Artist Statement/ アーティストステイトメント

My artistic practice is built from a poetics anchored in a cultural mixed race identity shaped by a Pre-Columbian, Hispanic-American and European immigratory past. Exceeding the anachronistic dichotomy between art and craft, I work ceramics breaking the barriers that oppose fine arts to popular arts. I give account of this complex identity in my work by gathering in it multiple cultural contributions, opening my work to the most diverse significations, to the complexities of the present time, to the mixing of different cultures by inserting and combining western topics with referents in our territory so as to articulate the most disrespectful combinations between historical events, memories of our childhood, games, power, childhood-fantasy, popular kitsch and the bestiaries, all of which are infected with a touch of humour, irony and nostalgia. This pluralist art tries to be an open space that allows for a critical look and does not turn into a place where knowledge is made up of certainties. Quite the opposite, I prefer dialogue and questioning in interpretative positions. The interdisciplinary art is also combined in aesthetic operations which lead to reconsidering disciplinary autonomies. Art -be it ceramic, graphic, sculptural, pictorial, photographic or mixed- is the foundation of my work, in which the object is hoisted as the icon of my project. By assembling, fragmenting, multiplying, serializing, unifying, fusing, printing and modelling I work on both raw and fired material. Raw material becomes part of my ceramic work, completes it and articulates it in the foundational axis of my aesthetics: the mixed medium.

The path of my work can be brought together in thematic series which are constantly reshaped. These can be defined as: Social Satire, Saga of Discovery, Automata, Contemporary Bestiaries, Dwarfs, Self-referential work, Uselessly Decorative Objects, Project South (work in progress) and The Collector.

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