Daniel Fiorda

Daniel Fiorda was born in Buenos Aires, Argentina, Live and work in Miami

He is self-taught , and has exhibited widely throughout the US including the OK Harris Gallery, Allan Stone Gallery in New York as well as the Heriard-Cimino Gallery in New Orleans and Lelia Mordoch Gallery, Paris France.

Daniel was one of the winners in the 7th Annual Sculptures Competition (2003) held at Washburn University in Topeka, Kansas. Selected on the inaugural 2006 Palm Beach International Sculpture Biennale, and exhibited for a 3rd time in Sculpture Key West. He is an alumni Artist of ArtCenter/South Florida.

Two Pieces from his “Convertible Couch projects” were selected by Art in Public Places in Orlando (2002/03) and was on display for one year in the entrance to the Orlando Science center.

The Higland Museum of Art in Sebring FL, has acquired for their permanent collection the “Red Hunter”, one of “the heavy toys series 2008” sculpture, which has been installed in front of the Museumʼs Garden.

The MoLAA, Museum of Latinamerican Art in Los Angeles, has incorporated one of Fiordaʼs “Square series 2008” in their permanent collection, and was the recipient of “Auction 08: Contemporary, Honorary Award.”

Daniel Fiorda is a multifaceted artist whose inspiration is orchestrated by chance encounters with a wide variety of objects.

His first sculptures were born in the beginning of his childhood: tinkering with his father’s soldering torch and leaving his mark on watches, revolvers, car parts and recovered scraps.

A curved form might even evolve into a three dimensional comic monster or a space age flying machine.

Now many works recall the memory of obsolete objects washed up on the shores of a consumer society: a sewing machine, a typewriter, a telephone or a camera. Memory recalls the hands that worked these once useful but now discarded and lost fragments. Emerging from a half erased remembrance, they are given new meaning.

Brought out of buried nostalgia and then transferred into an art form, they attract the collective memory of a previous generation and an earlier culture. Sound images of the clicking of typewriter keys or the ring of a dated telephone emerge.

In our present day technological world, these heirlooms have been left behind, now useless artifacts of a world running out of steam on the highways of the web sights to transhumanism. We will soon be more computer memories trapped for eternity in a virtual world where the likes of sewing machines will no longer be needed.

In response to this, Daniel Fiorda offers us an “Archeology of the 20th Century” where these objects are holders of souls.

Lélia Mordoch