Giannina Coppiano Dwin lives and works in South Florida. She has been the recipient of grants and awards such as the prestigious South Florida Cultural Consortium Fellowship for Visual and Media Artists funded in part by the National Endowment for the Art, the Women in the Visual Arts Award; as well as, several sponsorships and grants including research in Spain and Brazil. Her work has been included in national and international exhibitions as part of solo and group shows. Some of her more notable exhibitions include solo installations at the Fundacion Valdes-Salas in Asturias, Spain, Project Space in The Art and Culture Center in Hollywood, the contemporary wing of the Museo Municipal de Guayaquil, Ecuador; Ornare, Miami, as a collateral event during Art Basel; the Coral Springs Museum of Art, Coral Springs; Illegal Gallery, Florence, Italy. Selected group shows include venues such as the ArtHill, Gallery, London, UK., University Galleries, Boca Raton; Whitespace at the Mordes Collection, The Box Gallery in WPB, 18 Rabbit Gallery, Ft. Lauderdale, Duncan Gallery, St. Petersburg, Armory Art Center, Palm Beach; Cornell Museum, Delray Beach; Casa De Espanha, Rio de Janeiro, Brazil. She was invited by the government of Ecuador to jury the prominent Salon de Julio along with Gerardo Mosquera, Curator for the New Museum in New York. Coppiano Dwin has also curated exhibitions such as Contemporary Ceramics and Textiles at the Coral Springs Museum, Corporal at the Schmidt Galleries, Fabricated, at FC Gallery among others. She has completed a public art sculpture commissioned by the Broward County Cultural Council and the Broward County Main Library in Ft. Lauderdale. Some of her past public works include an outdoor sculpture for the Cultural Loop at Pineapple Grove in Delray Beach and an Office Depot commission to design and execute their Visionary Women Award in bronze. Giannina works on installations, sculpture, ceramics, photography, and performance.
|Master of Fine Art
Florida Atlantic University, Boca Raton, Florida. The Dorothy F. Schmidt College of Arts and Letters.
|SELECTED EXHIBITIONS / PERFORMANCES
|FELLOWSHIPS, GRANTS, SCHOLARSHIPS, AND SPONSORHIPS
|Awarded The South Florida Cultural Consortium Fellowship Grant for Visual Artists, Broward County, 2006.
|Women in the Visual Arts Student Scholarship Award, 2002.
|John McCoy Ceramic Scholarship Award, 2002.
|Sponsorship from Badia Spices, Miami, Florida, 2001.
|Graduate Grants Committee Funding for Presenting in Sao Paulo, Brazil, Florida Atlantic University, 2001.
|Graduate Grants Committee Funding for Research in Salamanca, Spain, Florida Atlantic University, 2000.
|Sponsorship from Vasp Brazilian Airlines, Miami, Florida, 1999.
|COMMISSIONS / PUBLIC WORKS
|Commission to create installation in the chapel at Valdes-Salas Castle
|Broward County Cultural Council.
|Commission to design and execute site-specific public art work for Hispanic Cultural and Educational Center, Ft. Lauderdale, Fl. 2007. Budget $25,000
|Commission to design and execute the bronze sculptures for Visionary Women Awards, with nation wide distribution ceremonies from main office in Delray Beach, Fl., 2004, 2005, 2006, 2007. Budget $30,000
|Hispanic Unity Organization.
|Commission to design and execute the sculptures for Gracias Award, Hollywood, Fl., 2001, 2002, 2003, 2004. Budget $ 4000
|ArtWalk Cultural Loop.
|Invited to install public sculpture at Pineapple Grove Street, DelrayBeach, Fl. . 2003. Budget $ 1500
|Corporal: Contemporary Women Artists from Latin America, October 25, 2003 to January 24, 2004 Schmidt Gallery.
|Contemporary Ceramics and Textiles, February 13 – April 18,1999, Coral Springs Museum.
|John McCoy and Friends. January 23 to March 5, 2010. Guest Curator. Ritter Gallery, FAU, Boca Raton, Fl.
|Fabricated, September to November 2010, Co-curated with Elizabeth Kowsloski, Florida Craftsmen Gallery, St. Petersburg, Fl.
|The Voice of the Stitch, September 2010, Guest Curator, FC Gallery, St. Petersburg, Fl.
|VISITING ARTIST / LECTURE / WORKSHOPS
|Fundacion Valdes-Salas, Asturias, Spain. 2016
|Florida Craftsmen Gallery, St. Petersburg, Fl. 2010
|Universidad Santa Maria de Chile, Lecture, 2007.
|Museo Municipal de Guayaquil, Ecuador, Lecture. 2007.
|Florida Atlantic University Artist Lecture Series from the South Florida Consortium Fellowship Exhibition, Nu Art. Invited Artist Lecturer, 2006.
|Universidad Santa Maria de Chile, Visiting Artist, Lecture, 2006.
|Salon de Julio, Guayaquil, Ecuador, Lecture, International Juror in conjunction with Gerardo Mosquera and Oscar Munoz, 2006.
|VI Festival de Arte, Guayaquil, Ecuador, Visiting Artist/Juror, 2005.
|Palm Beach Institute of Contemporary Art, Lake Worth, Fl. Artist to Artist Talk. 2003.
|Asociación Internacional de Literatura Femenina Hispanica. Boca Raton, Fl. Marriot Hotel XIV Conference. Presenter. 2003.
|Clara Purchio Atelier de Ceramica, Sao Paulo, Brazil. Lecture and Workshop, 2001.
|Boca Museum Artist Guild, Boca Raton, Florida. Guest Speaker, 1999.
|Casa de Espanha, Rio de Janeiro, Brazil. Postais do Caminho. Lecture and Video Presentation, 1999.
|Schacknow Museum, Coral Springs, Fl. Art & Lunch Series, Fl. Guest Speaker, 1997.
|Palm Beach Community College, Palm Beach, Florida. Art of the Earth, Presenter, 1995.
|Catalogue for Exhibition at Schmidt Center Gallery, Florida Atlantic University, Corporal: Contemporary Women Artists from Latin America, October 25, 2003.
|Artistically Speaking: Women’s Roles in Contemporary Art and Society, Catalogue for the Exhibition.
|Where Transient Becomes Symbol, Catalogue for the Exhibition. Museo Municipal de Guayaquil, September 2007.
|Playing with Food, Catalogue for the exhibition. John D. MacArthur Campus Library, Florida Atlantic University, 2008.
|Abracadabra, Catalogue for exhbition. Art and Culture Center of Hollywood, Fl., 2015
|PLAYING WITH FOOD SERIES
Like the Vanitas paintings of the seventeenth century, which reflect upon the transient nature of all material things, my work presents attractive, sensuous images and forms which may evoke youth, sexuality, pleasure, finery, beauty. They are mostly made of non-durable materials such as sugar, flour, spices and other non-traditional materials. Upon first look, the forms are easily understood, however, it is only when the simple, inexpensive materials that make up the work and the apparent intensive labor put into them begin to disclose themselves to the viewer, that the process of the work and it’s ephemeral nature become apparent revealing the concept implicit in the pieces.
Many of the forms address the female body alluding to sexuality and the dichotomy of natural aging but living to media standards of eternal youth. The ordinary materials are elevated into “preciousness” by the complexity of the design, which very often resemble very fine lace or delicate, expensive cloth. It is also a nod to women’s craftwork through the ages and to the history of lace. The food materials are symbolic of nourishment. The daily meals served and shared, the food/meal as a bond making ritual and a social connector, the communal table. When spices, are used, they engage more than the visual sense. Certain scents oblige the viewer to connect with the work through the sense of smell. Weather working with sugar, or flour or spices, all the work is imbued with an inviting tactile quality to create a desire to touch, to feel the work. The implication of sight, smell, touch, trigger in the viewer the sensorial memory.
To reinforce the impermanence of the pieces and their fragility, a performance to destroy or transform the work is implemented at the end of each exhibition. The performative intervention is made to accelerate the inevitability of change, decay, and transformation. The performances take a variety of modes, from sweeping, to using water, or burying the design.
My work is not in any way morally related in purpose to the concerns of the after-life or judgment. It merely hopes to elicit analysis of the transient nature of the human condition and comments on gender issues and the fragility of life in general. It is a sort of contemporary Memento Mori.
We are as small as a grain of salt, we are ephemeral. The series INFINITUM portray galaxies and billions of stars alluding to our impermanence, fragility and minute stature with the cosmos, while at the same time implies that we are a part of something grandiose and indefinable as the universe. Most elements on earth, including the human race, originated from stardust.
The ephemeral concept of the work is reinforced by the materials from which is made. Salt, a natural mineral that comes from the oceans and covers a large part of our planet, also brings to mind the daily usage in our food preparation to add taste to our meals. Salt also plays an important part in human history. It’s indispensable in human and animal systems for nutrition because too much or too little salt can harm us, therefore forcing us to find balance. Salt has been used to represent cleanliness and preservation, purity and fidelity, as well as hospitality and alliance in many traditions.
From the female perspective, we as the people who traditionally provide nourishment in a home or community, use it in the daily food rituals in our kitchens and tables. In antiquity new born babies were cleaned with salt. Its whiteness reminds us of mother’s milk, also a symbol of sustenance. Ancient Greeks named the Milky Way –our galaxy- based on the mythology of Goddess Hera, sister of Zeus, who refused to breastfeed Heracles spilling all her milk into the cosmos.
There is undisputable evidence that we are having anthropogenic climate changes not only seen from extreme weather patterns and climate caused events around the world such as rising sea levels, record temperatures and retreating glaciers, but top scientists in an overwhelming majority have confirmed, backed by academic and scientific studies that most of the warming is attributable to human activities.
The danger to the planet is extreme, and yet climate deniers are individuals who work to undermine public trust in climate science. They reject the overwhelming irrefutable scientific data and align with industry and politicians to serve their ideological and/or economic interests without regards for the planet or for the people affected by climate change. Deniers constantly and systematically undermine, at every level, any effort for control or prevention of climate change.
One of the most vulnerable places in the nation being affected by climate change is Florida. We are at the top of the list. In the counties that make up coastal South Florida, salt water is already pushing through our porous bedrock affecting water supplies, tropical storms clog rivers and canals making it harder to drain into the ocean. Millions of people in our area at danger of the grave effects of sea level rise now and in the very near future.
This body of work is directed to call attention to this predicament. When the waters start to permeate they will not discriminate between climate change deniers or the rest of us. It will be too late for them too.