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.”



MORE ABOUT

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


AVAILABLES WORKS

KIKONYSËR II | 2022

CITY TWO DAKAR | 2022

HUBLOT | 2022

MONOCHORME OR | 2022

ORANGE BLEU | 2022

MONOCHROME BLEU | 2022

PIRAMIDS | 2022

FLOWERS OF LIFE | 2022

BLUE WATER | 2022

QUASAR ONIX | 2021

SAINT PIERRE | 2022

MONACO TO MARRAKECH | 2022

STEAMSHIP POP POP | 2021

CASCADE N°1 | 2018

SANS TITRE | 2012

TRUMPET CRANE | 2018

GONDOLO | 2015

TAKE OFF | 2019

SHIP'S HORN | 2019

DON QUICHOTTE | 1999

DISCIPLINE ANGLAISE | 2001

CLIPPER | 2007

SCULPTURE LUMIÈRE | 1969

Double cylindre | 1972

COULEUR LUMIÈRE | 1965

SUBWAY SURFER | 2022

SUBWAY POSTER | 2022

MORPHOLOGIE | 2011

PARADOXAL BREATHING | 2019

SLICE & DICE | 2019

VISIONS | 2014

WHITE BLADE I | 2022

WHITE BLADE II | 2022

BLACK BLADE II | 2022

WHITE BLADE III | 2022

WHITE BLADE IV | 2022

ONE STEP FORWARD, TWO STEP BACK | 2018

ECHOED PULSATION | 2019

COULEUR LUMIÈRE FILM | 1991

COULEUR LUMIÈRE TRANSPARENCE n°2 | 2005

COULEUR LUMIÈRE TRANSPARENCE n°1 | 2005

COULEUR LUMIÈRE PALETTE | 2005

COULEUR LUMIÈRE EN CAGE n°2 | 1993

COULEUR LUMIÈRE EN CAGE n°1 | 1993

COULEUR LUMIÈRE n°4 | 2005

COULEUR LUMIÈRE n°3 | 2005

COULEUR LUMIÈRE n°2 | 2005

COULEUR LUMIÈRE n°1 | 2005

COULEUR LUMIÈRE TRIPTIQUE | 1986

SOBRINO | 1959

SOBRINO | 1959

FORMES VIRTUELLES PAR DÉPLACEMENT | 2012

MOBILE RECTANGLE DANS L'ESPACE | 2009

MOBILE NOIR SUR NOIR | 1960

MOBILE BLEU SUR BLANC | 2017

MOBILE BLEU | 2016

FORME EN CONTORSION | 1966

CONTINUEL LUMIÉRE À CYLINDRE | 2014

ALCHIMIE N°34 | 1989

VOLUME VIRTUEL | 1974

VAGUE BINAIRE | 2009

MÉTA-CITÉ VIDÉO | 2016

TRANS-NATURE | 2020

MÉTA-CITÉ LINÉAIRE | 2016

MÉTA-CITÉ n°4 | 2013

MÉTA-CITÉ n°1 | 2017

PIXEL BRUSH (RVB) | 2017

ARCHI-PIXEL | 2014

GOONFIT | 2020

GREY MATTER | 2020

THE SPACE MERCHANT | 2007

BRILLO | 2008

SHEEP | 2008

PURISM | 2006

GAZEBO | 2005

CONPENDIUM | 2010

CLOUDY | 2008

VENEZIA | 2008

POPPY | 2010

STRUCTURES N°5 | 2013

CLOSE UP N°8 | 2013

CLOSE UP N°6

CLOSE UP N°3 | 2013

RED PERSISTENCE | 2013

GREY PERSISTANCE  | 2013

STRUCTURES | 2012

YELLOW LINES | 2013

BLUE FADES | 2013

ORANGES FADES | 2013

PINK RECTANGLES | 2013

PINK LINES | 2013

PINK LINES | 2013

BLACK & YELLOW LINES | 2013

ICONIC SQUARE | 2015

RUBY | 2019

TRESTELS | 2019

THE DANCE | 2019

FANTASMA | 2020

ICARUS PEARL | 2020

EVENTIDES | 2019

IPANEMA COMMUNITY

MIAMI | 2022

SERTY31 - 2021

Titre : Mima Sol II, 1985
Technique : Sérigraphie couleur, Edition /175.
signée et numérotée par l'artiste.
Dimension : 77,5 x 77 cm
Prix : 1 500 €

Titre : Test Tarka, 1990
Technique : Sérigraphie couleur, Edition /300.
Epreuve d'artiste signée
Dimension : 86 x 75 cm
Prix : 1 800 €