Rochester, New York based artist Briell Giancola collects moments and materials, combining them with concepts and imagery to inform her work and bring her intention into existence. Giancola uses her work to create narratives about new discoveries and experiences, referencing general knowledge, specific details and personal connections to her media. Using research and time she refers to a personal material dictionary to create a deeper understanding of space. Marrying old and new, traditions and borrowed ideas, independent work and diverse collaboration, her work contains depth and history that cannot be invented, only pulled from her surroundings, requiring displacement and independence to bring history, tradition, material, and communication to an artistic practice led by intention and collection. By unloading these concepts into a blank space, without the clutter of everyday life, she can see them on their own.
Throughout the month of May PINEA-LINEA DE COSTA served as a new pool of inspiration and material for Giancola to pull from. Personal history and references to family reaffirm her personal connection to the art, while her observations, research and experiences in Rota permeate the work from different angles, adding to her collection of experience. In ‘The building of a home’ (La Construcción de un Hogar) we are invited to enter the space and view the installation as an experience rather than a piece, brought into the framework of a home. The material list includes, but is not limited to, Piel de Sapo seeds, sunflower seeds, fish hooks, cotton handmade doilies, saffron, thread, fishing line, tulle, wire and gold beads. Each material is chosen for a technical quality or for its relation to the artist and the local area, while imagery serves as another element in the artist’s material dictionary.
Parts of the installation have a two dimensional quality that gives an observable understanding of an inaccessible setting. This includes common imagery such as a recognizable Spanish door that refers to the architectural style of the region while its open position takes on the concept of opportunity. Throughout the installation the artist makes careful parallels between material/concepts, historic /communal references, and personal past/current experience.
Her choice of technique references the home and tradition making practices of her grandmother, combining it with more widely experienced patterns of home making, such as the practice of making linens for a dowry chest and religious motifs integrated into Spanish homes. The artist’s personal history and references to her family inform her personal connection to the work, a connection she brings with her through life. The artist-built experience layers visual and conceptual content to build space, exploring what a home is built of, bringing our awareness to both the idea of, and the literal sense of, home.