Sheila Giolitti

“Physics proves the fundamental unity of all material existence.

Quantum physics suggest that human consciousness may affect the outcome of physical experiments, suggesting the essential unity of everything extends beyond the physical universe of matter and energy, and that the deepest reality is not some minuscule particle of matter, but a universal consciousness that pervades everything.

My preoccupation with interconnectedness of all matter and consciousness as an ongoing process is present in the construction of my work as well as the concept. Each experience, be it organic or constructed, leaves its mark. As a whole or in fragments, sometimes less defined than others, but always affecting what comes next. In many instances this is carried on to the next work in the series, allowing for a continuing dialogue from one piece to the next, and directly tying the existence on the newer piece to the piece created before it, and the piece created before that.”

Sheila Giolitti, 2015

Sheila Giolitti’s work has been exhibited widely throughout the United States, Europe and Asia, where it has received both critical and commercial success. Her work has been included in group museum shows at the Mobile Museum of Art, Mobile Alabama, Virginia Museum of Contemporary Art, Virginia Beach, VA and the Daegu Culture and Art Center, Daegu, South Korea. Her solo museum exhibitions include the Rawls Museum and the Portsmouth Art Museum.

Art in America magazine Washington editor J.W. Mahoney wrote about her show at the Portsmouth Museum, “Sheila Giolitti’s mysterious fables are curiosities of a different order altogether. These are deeply autobiographical works, and as such they take us into the complexities of a personality that can be – equally – enraptured by the abstract beauty of the natural geometry of a thatcheria shell and by the sensual reality of a female nude. She will also occasionally include texts, fragments of poetry or open thoughts that take a painting to a further dimension of meaning. In “Transcendence,” the word itself is drawn across a large blue triangle, upon which is set a smaller panel containing a collaged drawing of a woman and, below her, three squares with images of oak leaves in them. All of these elements are symbolic signals from within Giolitti’s own evolving psyche; like a company of dancers, each of them draws and modifies significance from each other. And what we see is an assemblage of secrets that tells a tale about the mysterious interior life of memory, dream, and possibility.”

interrupted ii

Giolitti’s most recent work explores the dialogue between the interconnectedness of all matter and consciousness as an ongoing process. This preoccupation is present in the construction of her work, as well as the concept. The works are composed in layers of mark making built up and stripped away. As a whole or in fragments, sometimes less defined than others, but always affecting what comes next. Giolitti’s involvement with the physical making of the surface is an integral part of the work. Each layer of clear resin allows for a cataloging of time and the change that it brings within each piece. These different elements find themselves bound within a determined space. These boundaries serve both to unite and separate. They are definite or subtle, encroaching and ignored, erased only to reappear, self-organizing themselves into larger more stable wholes.

Sheila Giolitti received her BFA in  ceramics from Middlesex University, London UK.

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