My name is Luciana Gianello, I live in Vicenza, Italy, I am married and have three daughters.
I approached textile art in 1978 when I saw a Renata Bonfanti's tapestry: it was a sort of illumination! I went to a first level weaving course in Padova, other stages in Milan and Tuscany, design stages in Friuli, at the same time making experiments and creating weaved tissues for clothes, belts, bags; every day my passion gratified me more and more.
In 1986 I gave my contribution to the creation of the Centro Creativo Exodus, born to re-introduce young people who had past experiences of drug and terrorism inside society and work.
Working in this field gratified and satisfied me: the interest pushed me to study and to deepen themes, together with different techniques and at the same time I attended various stages. Thus I tried water colour, collages, anthroposofic painting, carving, hand-made paper, the language of forms and colours. I was struck by a piece of tissue named “Sforbiciato” or “Taiado Taiuzado”, worked in a technique used in the XVIth century as witnessed by ancient documents, seen in palazzo Mocenigo in Venice; I tried to elaborate this technique which attracted me for his simplicity because I felt an inner need to “take away” instead of “add” matter and colour to my compositions.
Up to then I had used loom and threads in the same way the painter does with his palette, enriching my works of colours and various materials. I put the result of this new research in the realization of a chasuble (a religious dress), winning then the second prize at the first competition of my life. (Koiné, Vicenza 1990). The satisfaction was great and I understood that I had undertaken my way at last.
Afterwards I understood that the re-elaboration of a technique was not enough; it was important discovering how to realize it like transferring an image, a sensation, an idea into a concrete work.
If you have an idea but have not means to express it, the results are disappointing: it means to use only a technique and do not create anything personal. I started then to think about textile art like an instrument of knowledge and of inside change, which made me live in harmony with the world and with my life. I searched new hints for reflection in mythology, symbols, recurring enigmas, all related to the origin of Universal Culture.
Colours changed in my work: I felt the need to use white, as Kandinskji said: “White has the sound of a silence that we suddenly are able to comprehend”. I discovered light blue, “the deeper and less material colour, the means of truth, the transparence of compressed emptiness: in air, in water, in crystal or in diamond”.
After a long physical and psychic illness, I tried the suffering for an emptiness in my creativeness.
In these last years, the themes of identity and intercultural dialogue passionate me: “...To be where the other is.....”, this is what Emmanuel Levinas suggests me....