Galerie Dusseldorf - Galliano Fardin

GALLIANO FARDIN

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Galliano Fardin : Fear of Failure / Regeneration - Galerie Düsseldorf 11 July - 8 August 2010

Galliano Fardin : Nothing stays the same - everything remains - Galerie Düsseldorf 20 April - 18 May 2008

My paintings are derived from the landscape but more from the experience of being there than from the desire to represent it literally. Ideas and recollections find their way into the canvasses as marks and colours which reflect a subjective perception rather than an objective analysis of nature. Time is an important element in my paintings as the reference to the landscape is a remembered one and therefore the landscape is introspective as much as it is about "real" space. Also the process of painting is what gives the structure and discipline to the work. Usually I don't do preliminary sketches for my paintings. They derive from an ongoing stream of ideas. Ideas for my paintings flow intuitively from one work to the next in a series of themes not in a planned, premeditated way but as a series of improvisations. The physical experience of the landscape, allowing time to filter the impressions and memories, enables me to paint what I think is essential, in the confines of my studio. The inspiration for the work comes from Coastal South West WA and the Pilbara Region where I have spent much of my time in recent years.
Galliano Fardin 2004
The paintings of Galliano Fardin are a consequence of memories and impressions of the Western Australian landscape. Fardin's primary concern is to find a physical experience and understanding of the land, rather than the traditional need to charaderise landscape in a literal sense. Fardin translates his memories and notions of the land onto canvas through marks, textures and colour, which echo a subjective observation rather than an analytical study of the environment. The inspiration for Fardin's paintings comes from coastal south-west Western Australia and the Pilbara Region where the artist has spent much of his time in recent years.
(Murdoch University 30th Anniversary Card 2005)


Galliano Fardin was born in Mogliano Veneto, Italy in 1948 and arrived in Australia in 1972. 1984-86 BA Fine Art (with Distinction), Curtin University of Technology 1986 Studied Fine Art at the School of Museum of Fine Art in Boston, USA 1987-89 Built a Studio and House in Waroona, Western Australia 1990-91 Travelled with family and taught Art with wife Nancy at Tjukurla, Aboriginal Primary School near Alice Springs and Warburton 1992-94 Living and working, Tjukurla Aboriginal Community near Alice Springs. Involved in starting 'anTEP' course for Aboriginal Student Teachers. 1993-4 Graduate certificate 'Aboriginal Studies' University of South Australia 1994-95 Worked as Language Production Supervisor at RAWA Community School, Punmu, Western Desert, WA 1996-97 Part-time lecturer to Aboriginal Students, TAFE, Midland 1998 Part-time lecturer, Painting, Edith Cowan University, WA 1999 Lecturer, Edith Cowan University, Bunbury, WA

Artist's Home and Studio at Lake Clifton - 2 hours south of Perth

Exhibition

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9 November - 7 December 2003

During the last few years, I have been bothered by the decline of the Tuart forest. Many of the old trees in the Lake Clifton area have died or are dying, and I have deliberately sought to convey some of my feelings about these issues in “Salt of the Earth” and “Yalgorup” in particular. Prior to the first evidence of these problems, I had planted hundreds of Tuart seedlings near my studio, several of these young trees have died or are looking sick, while some continue to grow vigorously. Because of this, I see the uncertainties about things that I used to take for granted near my home, as a metaphor for the uncertainties of our troubled times on a global scale.
As an attempt to bring real issues of everyday life into the process of painting, I have avoided the descriptive and the literal. Instead I have tried to use colour, texture and paint application as a means of conveying the feelings of fear and hope that are very much part of my own experience. In the isolation of my studio, I have learned to mistrust what comes easily or what needs to be propped up by theory ... trends come and go and riding on them can lead us astray. In art, as in life there is nothing new and nothing is absolutely right or absolutely wrong. But while we can never really create anything completely new our reinterpretation of the same old themes can be different in the sense that we all bring our own individual subjectivity’s to them.
In our contemporary society there is an obsession with the “new” and with doing things “right”, but newness doesn’t last long and everything becomes obsolete. Doing things right implies doing things according to dogmas or ideologies, or by following a mechanistic interpretation of the universe. Unfortunately ideals of newness and rightness are artificial, for in nature the all-important issue is survival. In art, mistakes are important because they often show us dimensions of reality that our rational minds cannot grasp. In a sense, mistakes may not really be mistakes but rather the coming to terms with something intangible revealed by the workings of our subconscious.
Maybe the trees are dying then because our activities have become separated from issues of survival. The focus should thus be more on future outcomes rather than present correctness.
Download / Read full Biographical Information 2003 in pdf format

Exhibition

UNSPOKEN THOUGHTS :An exhibition of New Paintings

3 - 24 February 2002

Galliano Fardin and Howard Taylor included in

PHENOMENA NEW PAINTING IN AUSTRALIA : 1

14 Australian Artists

Curator Michael Wardell of The Art Gallery of New South Wales

Art Gallery of New South Wales : 23 June - 12 August 2001

Ian Potter Museum of Art - The University of Melbourne : 24 November 2001 - 20 January 2001

This is the first of three such surveys to be held in 2001, 2002 and 2003