The analysis of art has led me to an analysis of self; this contributed to a growing cynicism detachment from humanity. Despite the distance I perceive, the human element remains the central component of my work; perhaps in a desperate attempt to understand or clarify that which has thus far eluded me. The investigation is ongoing, borrowing legal terms we nowadays are so familiar with; but similarly to the law does this mean the investigation is going nowhere? Or is there still a possibility to understand, comprehend, and perhaps apprehend the fleeting truth?
My art mimics life, my life in many ways. It searches, it changes, evolves, perhaps simplifies to the point of seemingly devolving, but each transition allows for further reading, imagining scenarios, outcomes. Material becomes field, color is shape, thought is mood; united from an idea, a visual manifestation of a moment. The entire sequence is at times irrelevant to the beauty of the instant. They must capture nano-second of geniality followed by universes of idiocy.
Everything may follow an abstraction but eventually it shall systematically fall into a trend, a philosophy, an approach. The whole shall declare the intention of the single, unveiling and deciphering each step, each decision, chromatic, aesthetic, narrative. The work manifests itself as life does, dynamic and erratic. How can there be clarity in art when there is none in life? Now more than ever before, as oceans of data invade us, waves submerging our senses in ceaseless emotionless rhythm; the audacity may prove overly ambitious in presuming any kind of logical understanding. No scheme, no plan, pure instinct. Life, at its basic form, and from form to function. interpret , reinterpret, decipher…..question….wonder; and endlessly roam in perennial doubt.
Karim Ghidinelli was born in Brescia, in northern Italy. At age eleven his family began to travel for extensive periods of time, no longer recreationally. They moved to Guinea Bissau, where they lived for a period of fourteen months. Ghidinelli returned to Italy where he continued attending regular school, though his language skills had been much improved by the tempering experience of travel. His views of the world began to change.
After a period of about one year, Ghidinelli and his family moved again, this time to Ethiopia. He lived in Addis Ababa for more than two years. Here he began to understand his passion for art, and started to read social symbolism much more clearly than he could have in the pampered society of Italy.
In Ethiopia Ghidinelli began attending English school, which allowed him to interact with students from a multitude of cultures, religions, races and nationalities. After Ethiopia, Ghidinelli returned to Italy, where he attended The International School of Milan.
Milan represented a necessary transition; though Ghidinelli was catapulted into a bourgeoisie environment he was not used to, he observed and learned. After little more than a year he left again, headed for the Southern African country of Namibia. In Windhoek, the capital city, he lived for over two years and completed his high school education at St. Paul’s College, a strict Catholic school, which presented a set of unexplored realities.
Unable to anchor himself to a solid base, Karim departed Namibia and went back to Italy, though only for a short while; in the summer of 1995 he moved to London, England, attending the Chelsea College of Art and Design.
Another year went by and Ghidinelli moved once again. This time his travels took him to the southern city of Savannah, in Georgia, U.S.A. Here Ghidinelli completed his undergraduate and graduate studies in painting, and has since moved to Miami, where he now resides.
My work is based upon passage, mark, and assurance. Identity is naturally a part of the evolutionary process of the passage; the mark is embodied by my distinctive trace on the page. As my work documents the passage of others, it simultaneously assures me of my own journey.
The mutation from print, to portrait, to metal, oil or collage represents the myriad of influences I draw upon when composing my thought. Being the living testament of an eclectic path, it is impossible for me to ignore the possibilities that surround me. My eye reads them all as one.
The work needs to achieve a political identity and needs to express its provenance or dissidence, as life constantly reminds us of the inevitability of politics. The piece is never concluded; rather it symbolizes the continuation of a phase, from myself to the public, from my interpretation to yours. Through its exposure the work obtains necessary nutrients, indispensable for further creation and maintaining the link.
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