CONTACT ME:
gioscialudovica@gmail.com

LUDOVICA GIOSCIA

Website of London based artist Ludovica Gioscia represented by Baert Gallery (Los Angeles) and VITRINE (London/Basel). The studio is a magical portal in Gioscia’s practice, through which artworks from other dimensions or from the future appear, and past works are constantly reconsidered. Strongly process-based, Gioscia’s oeuvre alchemically fuses everyday experiences with approaches and scenarios commonly found in science fiction.

Gifts For Trees 2 (detail), 2019 @ VITRINE, Basel. Photo Nici Jost © Ludovica Gioscia

This section hosts recent works. The Infrasustainable refers to a state of heart and mind in which my studio practice has been infused with a holistic approach that is driven by the necessity to find a new equilibrium with the world around me, deploying methods of production that are respectful of my own limitations as a human.

Infrasustainable
Mercurial Flow (detail), appeared 2017 @ Baert Gallery. Aluminium and ceramic shell. © Photograph Joshua White.

The Infinite Present is my non-linear modus operandi, which I adopted in 2016.

INFINITE PRESENT (2016-ongoing)
X-Ray Amethyst Expands Silver Sun (detail), 2014 @ Marcelle Joseph Projects. Photograph Michele Panzeri © Ludovica Gioscia

Examples of various types of installations, including the Giant Decollages and Debris series.

Wallpaper site-specific installations (2004-2019)
Painted Lady, 2020. 108 x 9 x 116 cm. Paper mache made from pulps of: distilled joy, Canson and Fabriano paper, India ink, hessian, Mary's handmade paper, paper in recycling bag, Arturo's hair, natural and artificial pigments, silver, gold and iridescent card, coffee, surface attractor and surface seductor GIF paper, glitter, electricity cards, screen printing ink, studio draw mixed papers, screen printed and commercial wallpaper, screen print from 2006, debris from previous Giant Decollage, acrylic paint, distilled affection, wallpaper paste and pva glue in Oak frame.

This section houses paper and wallpaper works created as a by-product of the Giant Decollages or from the debris of the latter. The paper maches, the most recent evolution in this line of enquiry, are alchemical compressions of energy and experience.

Paper maches, WALLPAPER SCULPTURES & SMALL SCALE DEBRIS (2008-2020)
Gold Flint, 2017. Ceramic, 9 x 22 x 3 cm. © Ludovica Gioscia Photograph Dean Brannagan.

CERAMICS
Overview of solo show Infinite Present @ Baert Gallery, 2017. © Photograph Joshua White.

There are many actors within the Infinite Present’s ecosystem which are made from fabric, and they perform a number of roles.

Textiles
Exothermic Reaction, 2018. Paper mache realised with pulped c-print tests, various coloured papers, magazines acrylic paint, screenprinting ink, wallpaper paste, debris from previous works, mdf, primer, gloss paint, rope and plastic . 102 x 37 x 8 cm. Photography Michele Panzeri © Ludovica Gioscia

The Giant Accessories borrow and elevate elements from other series, such as the wallpaper sculptures and Debrocks.

GIANT ACCESSORIES (2016-2018)
Debrock 32, Art Australia magazine and glue, 30 x 28 x 28 cm. © Photograph Alex Wisser.

The Debrocks have evolved from a previous line of enquiry: the Wallpaper Sculptures. The aforementioned are three-dimensional structures created from paper.

DEBROCKS (2011-2017)
Pan-Stack, 2012 (part of Product Placement @ Angus Hughes Gallery). Screenprinting ink on cardboard, 300 x 75 x 75 cm. © Photograph Michele Panzeri.

Previous lines of enquiry (2007-2016)

MISCELLANEOUS