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I have three studios. The car is my studio as I travel between Florida and Cape Cod. Images pass my vision at speeds of 70 miles per hour. It is a strange yet liberating way to draw. I see something wonderful, then it is gone before I make more than three marks. But then something equally wonderful always turns up. In this manner,
images merge together into a kind of selective process very fluid and automatic. In the last four years, I have found that it is the calligraphic gesture that is the truest form of mark making. These drawings have developed into countless etchings and lithographs as well as informing the direction of my abstract prints.
In Florida my garage is my studio. I clip to the wall my paper with push pins. That method of working allows me to draw images as large as 6 1/2 feet.
If on a vertical dimension; I simply climb the ladder, make my marks, descend the ladder and then contemplate what the image says. Then climb the ladder again and make more marks. My drawings for the exhibition, “Etch & Sketch” at the Art Complex
Museum in Duxbury, MA. were all done that way. Since the garage studio is in Florida, I have all that I need with the subject close at hand. I will be with “Palms in the Wind” for a long time. I love it.
On Cape Cod my studio houses a French American Tool EtchingPress. It weighs 2,000 lbs. and allows me to pull prints as large as 38”X28”, however the studio is so small that turning the wheel requires a major feat of
acrobatics as I squirm between the wheel and the wall. In my printmaking, I try to synthesize my “Sketches From a Moving Car” with the process and the materials. The materials and the process guide me toward the message”.
The dialogue continues after that.
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