Graziela's work starts with the deconstruction of linen, re-signifying the support and materiality of both the painting and textile works. In this sense, the artist takes the opposite path expected for the construction of the two works: instead of adding layers, she removes them. Her experimentation with color, form, materials, and composition transforms the idea of weaving from a two-dimensional element to an architectural component that challenges the limits, not only of the support but also of space. Her lines seem to always unconsciously test the boundaries between the object and the work of art. It is in this unraveling of the wefts that the artist's work reveals itself.
Guardino's woven paintings-sculptures are the result of experimentation and studies of materials, forming a unique visual language of minimalist abstraction. They are based on deconstruction to expand new possibilities of reading about reconnection with nature, the feminine, and ancestry. Graziela does not renounce the knowledge of the mystical process associated with textile work. In contrast, she freely incorporates her inquiries regarding this support and the interpretations into the contemporary art world, in the sense that it still succinctly conjures up in our imagination. Unaware of its subordinate condition, it produced systematic abstract composition long before suprematism, a knowledge that inscribes concrete and conceptual intangible symbols. Graziela retraces our way of thinking about this construction, from ancestral to contemporary.
