DANIEL FIORDA

AVEC LA GALERIE DEPUIS 2005

Daniel Fiorda was born in Buenos Aires, Argentina. 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 Highland 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 Museum’s Garden. The MoLAA , Museum of Latin-American Art in Los Angeles, has incorporated one of Fiorda’s “Square series 2008” in their permanent collection, and was the recipient of “Auction 08: Contemporary, Honorary Award.”

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Archeology of 20th century Book | 2016

The new series of sculptures by Daniel Fiorda continues in many ways the themes that have infused his previous work. For the last several years, Fiorda has dealt with technology, obsolescence, with the trail of discarded tech that humanity leaves behind and what it says about us. The new work takes this thematic one step further. Here, concrete is both material and symbol. Each sculptural element is almost entirely made of reinforced concrete, cast in the shape of a miniature Brutalist building. These towers feature barely concealed found objects, almost fully engulfed by concrete, and yet still eerily discernible: industrial gears, old cameras and lenses, objects that evoke industrial and pre-digital eras. The overall sense is dystopian rather than apocalyptic. In Fiorda’s previous work, found objects were displayed as if unearthed from a bed of clay by a tacit anthropologist, perhaps decades into the future. A cell phone would be partially buried by dry soil and weathered by the passing of time. The underlying narrative was that of a future civilization unearthing the objects left by ours. Destruction or extinction were implied. In the new work, the obsolete technology is not found but rather engulfed by a new technology. Concrete, as a material and as a technology, has the capabilities to fully encase and envelope. In Fiorda’s new work, the concrete structures—towers, pseud-pyramids—exude authority and uniformity, and the appropriation of old technology into new structures suggests a historical and technological challenge right around the corner, mirroring the ones in our recent past: the digital age fully replacing the analog world, financial capitalism swallowing economies whole, etc. These are astounding sculptures, asymmetrical, with hidden planes and embedded objects. Concrete is worked into a wide variety of appearances; transfer of color and texture from other objects is apparent. These are pieces to examine closely, to walk around, and make connections between theme, material, and shape.

Sebastian Leder -Kremer

DANIEL FIORDA

AVEC LA GALERIE DEPUIS 2005

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