I’m interested in paint’s malleability. In my work, I transform the physical possibilities of paint by using it as a tactile material to be cut apart and reassembled. My paintings are labor-intensive. They are not predetermined, they are meticulously pieced together; crafted rather 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. In this way, process is sometimes the impetus for making the work. I often find it difficult to make a painting without considering the romantic mythology surrounding the history of painting. By literally tearing paint to pieces and uncovering the framework beneath my paintings, I intend to dispel these myths. I don’t know if my paintings are about painting and its history, I do know that my paintings are about paint. In my work, there is no illusion, the material is meant to reiterate itself.
Like an unreachable world that you can almost touch! Somewhere between exhilarating strolls and endless daydreams, the paintings of Jacin Giordano open doors onto universes and atmospheres which, without ever waxing lyrical, invite the eye and the imagination to infinite digressions, but somehow always find the right balance in their integral ambiguousness - between reality and fiction, certainty and uncertainty.
Rhythmic, almost musical, his work patiently threads every string of painting, observes them, and questions them one by one. Colour, matter, space, sculptural – even objectal - dimension of the painting, narration, optical play… like so many ingredients which, when added one to the other in ever-changing expressions, keep the eye alert and the mind awakened.
With an approach – an accroach – that is direct, frontal and forthright, contradicting the idea of any possible pictorial illusion. All may not be revealed, but nothing is ever concealed.