INTERVIEW WITH CAROLINA SARDI

When metal becomes sensibility, By Claudia Taboada Churchman

April 1, 2020

“Empty spaces are like silence in music, without them you just have noise…”

Do you think that your studies in architecture have influenced the conceptual and aesthetic profile of your work?

I have a Master’s Degree in Sculpture and I studied Architecture. It comes natural to me to work with a particular space in mind. I always admired great architects like Frank Lloyd Wright and Mies van der Rohe. As a matter of fact my first solo show was in a house of Le Corbusier in La Plata, Argentina. I believe architectural masterpieces are like sculptures you can inhabit. Space can be occupied, we can live in it  or we can play with it as we do with Sculpture. On the other hand, a lot of my work has the support of the walls and architectural elements. The walls are the blank canvases where I can do my sculptural installations.

The reference in your work to the abstract movement that was very important in Argentina is remarkable. But tell us how you arrive at this solution, why you adopt it as an artistic language? And what other influences have been incorporated?

I studied Sculpture with Enio Iommi, one of the masters of the Argentinean movement Arte Concreto Invención. Since I was in art school I was attracted to pure forms. I obviously studied Kandinsky and Malevich then and I identified myself with the idea of creating art with pure visual elements. Pure visual elements and geometric forms are for me essential elements which when combined in a piece can create concepts and ideas. Later on I studied the works of Martin Puryear and Louise Bourgeois and their work  is also an influence in my art. I believe my works explore an organic geometry where essential shapes are as important as the concepts they express. The concept behind each artwork is for me as important as the aesthetic image it stands for, and space is as important as the shapes that create the whole composition. 

What story lies behind those forms and those empty spaces that make your work so distinctive?

Empty spaces are like silence in music, without them you just have noise. The empty space is for me a place to breathe. Those spaces let you see better the shapes that inhabit the composition. Void or negative spaces can have a lot of significance and they represent for me distances and separation. The organic shapes I use are related to nature, essential shapes like eggs or cells, stones as foundations, feminine and masculine forms as part of the same body that constitutes the universe.

In addition to the gallery space, where else do you have a place to exhibit your work?

My work can be adapted to different spaces: galleries, museums, private homes and corporate spaces, outdoor spaces, architectural applications and design.

You have incorporated your aesthetic concepts to jewelry design. How do you think they apply to this expansion into fashion?

I believe fashion is an expression of who we are and how we feel. Jewelry and furniture design are an extension of my artistic practice. When you are a sculptor, it is usually a natural thing to design different objects. You most likely have the skills to fabricate them, you enjoy doing that and you have a particular sensibility about the space and the objects that take part of that space. 

What projects do you have planned for this 2020 and next year?

I would like to create a new series of works with ideas that have been wandering in my sketchbooks for a while. I always have scheduled exhibitions and projects. I have been very busy with exhibitions, commissions and installations during last year and the beginning of 2020, so I’m looking forward to a productive studio time this year in order to develop new ideas and projects.

Most significant artistic projects …

Every solo show is for me a significant one.They present the opportunity to create a new body of work, explore new concepts and enjoy my studio time to the fullest. 

I believe in the importance of solo exhibitions as a fundamental and significant part of my artistic career.

The biggest challenge …

To emigrate from my country, settle in a country where I didn’t know anybody, I didn’t speak the language and I was far away from loved ones.

The dream …

A house far away from everything but close to the ocean, where I will be able to read as many books as I want and work on my art. 

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