Although Jacin Giordano often blurs the line between painting and sculpture, his work can be primarily seen through the lens of painting. His main interest consists in deconstructing the medium and reconfiguring it. Constantly exploring material, texture and process, Jacin Giordanoâs work is often the result of experimentation. His paintings are rather crafted than executed: remnant material from one painting, the result of a working process of pouring, scraping, cutting, gouging, tearing, and sanding, leads directly to the production of a new piece. By "tearing paint to pieces" â in the artistâs words â and uncovering the framework beneath his paintings, Jacin Giordano intends to dispel the romantic mythology surrounding the history of painting to get the viewer closer to its materiality. The result invites "the eye and the imagination to infinite digressions somewhere between exhilarating strolls and endless daydreams" (FrĂ©dĂ©ric Bonnet).
Bien que brouillant la frontiĂšre entre peinture et sculpture, le travail de Jacin Giordano peut ĂȘtre principalement apprĂ©hender Ă travers le prisme de la peinture. Lâartiste cherche Ă dĂ©construire le mĂ©dium et Ă le reconfigurer. Explorant constamment la matiĂšre et les processus, les Ćuvres de Jacin Giordano sont souvent le rĂ©sultat dâexpĂ©rimentations. Ses peintures sont moins exĂ©cutĂ©es que fabriquĂ©es : les reliquats d'une peinture, rĂ©sultat d'un long processus de travail consistant Ă couler, gratter, couper, gouger, dĂ©chirer et poncer, amĂšnent directement Ă la production de piĂšces nouvelles. En "mettant la peinture en piĂšces" â selon les mots de lâartiste â et en rendant visible la structure de ses tableaux, Jacin Giordano entend dissiper la mythologie romantique qui entoure l'histoire de la peinture pour rapprocher le spectateur de sa matĂ©rialitĂ©. Le rĂ©sultat invite "l'Ćil et l'imagination Ă d'infinies digressions entre balades exaltantes et rĂȘveries sans fin" (FrĂ©dĂ©ric Bonnet).