im-age ar´chae-ol´o-gy™, [im-ij] [ahr-kee-ol-uh-jee], n. 1. The systematic recovery by artistic methods of imagery within the ground of a painting. 2. A dig into the surface ground with the butt of a paintbrush to imprint an image. 3. The space between the figure and the ground from which emerges a skeletal impression of an image. 4. A constant searching for the middle ground through the application of paint and projected thought that culminates into a work of art.

Saturday, March 28, 2015

New Studio Location

I have a new studio location in Rockville, Maryland at Artist & Makers Studio.




There will be a grand opening and show at the new location.

6:00 PM – 9:00 PM
Friday, April 17, 2015
11810 Parklawn Dr.
Rockville, Maryland 20852
RSVP Judith@ArtistsAndMakersStudios.com

 

Wednesday, October 16, 2013

Born in the USA and damn proud of it....eat your heart out Jasper Johns!

I think this is a timely post considering that we are in the middle of a Govy shutdown and there is a disgruntled attitude at present in general around DC.  However, I am one the THE most patriotic people I know and fourth of July is my favorite day.  I had intended to finish these for the celebration this year, but my research took a front seat.  Thus, USA...enjoy!  And I am damn proud to be an American!
USA, Joan Marie Giampa, 12 x 12 inch panels, tryptich, 2013

This work is for sale.  Please send me an email at joni33033@gmail.com.

Thursday, September 26, 2013

"Returning to Zero"


Dreams, 1976

I think I am "returning to zero" to quote Robert Redford...
Matthew Rothschild:
"Q: You have this concept that you call "returning to zero." What does that mean?
Redford:
To refresh yourself, you stop and say, "OK, I'm going to take some time off and rethink, and pretend that I'm just starting out again and look at things freshly for the first time." It gives you a kind of energy. It's recharging, and it allows you to keep taking chances rather than getting safe with the ones you've taken."

Source: Matthew Rothschild. "Robert Redford Interview." The Progressive. 6/02/2009. pg. 35.

I remember what it felt like to paint "Dreams".  I was 16 and the song "Dreams" by Fleetwood Mac had a huge influence on my work.  I was trying to paint my "crystal visions".  It was magical and I had a passion to "dive" into the canvas--to paint color.  

I want to feel all those feelings again and remove the debris in my mind--cluttered mounds of aesthetic criticism from years of exposure and attempt.  I paint as I have always painted--for me!  That sums it up.  I paint for me!

Storms, 2013

This new image is called "Storms".  I guess it sums up what I am feeling lately.  I am in the process of making some big life changes that will alter my destiny.  They say there comes a time when we choose in life as to whether or not we are going to be a "master" or "slave" of our destiny.  I am focused on neither at the moment.  And for the first time in many years, I am not thinking so much about destiny.  I am focusing on the present--"I am returning to zero"!
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Friday, July 19, 2013

Closing Reception for Anagramation

Closing reception at Red Caboose Gallery tomorrow--Saturday July 20th from 3-5 pm.  Got the summer doldrums...come by and grab some vino or some H20 and enjoy the afternoon with friends,  family and art...

Friday, June 21, 2013

Caboose Rides Again Tonight

Tonight the gallery re-opens to the public with new works by Joan Marie Giampa: Anagramation.


The opening is from 6-8 pm.  There will be a special sneak preview in the small gallery with works by Jeremy Kunkel.  Jeremy is a former student of Dr. Giampa's at Northern Virginia Community College where he studied color.  Jeremy will have a solo show at the Caboose in November, 2013.





About Jeremy Kunkel



Monument
Jeremy Kunkel has spent considerable time over the years as an artist and collaborator.  Having studied formally in different media and with a style distinguished as his own, he continues to expand his understanding of materials and method to best serve and express his ideas.
Initially Kunkel was drawn into photography, elevating his attention for light and composition. With years of darkroom printing experience and an appreciation for refining ones craft he worked primarily with liquid silver emulsion and controlled bleaching techniques. Unlike paintings, a photographed image is intended initially to be a record of reality. The addition of surreal notions and juxtaposed symbolisms tie to it a balanced division of sacrifice and succession, or commitment and accomplishment. During several years of collaboration with other Los Angeles based artists Kunkel began to incorporate painting into his work and for a few years broke away from photography to better understand painting. Experimenting with method and gaining a comprehension of elements such as color theory and other aspects of painting that would eventually allow for his style to unfold.

Please join us for this celebration.   Wine and Cheese will be served.

Tuesday, June 11, 2013

The Bridge

The Bridge, 1993, Joan Marie Giampa
I feel as if every painting is a bridge to the next painting. There is no time to reason when working. The term abstract is abstract to me in the sense that everything is abstract beyond the objective. Art is subjective and subject to the analytical. It can be felt and experienced during the creative process as well as during the viewing process. I prefer to feel my way through the process and then analyze afterward--like most. It is difficult to analyze ones work. 

Looping Process,  2004, Joan Marie Giampa
My teachers told me to leave that part to the people who do that best--curators and writers. Language and art is a looping process for this artist. One feeds the other. As a trained visual communicator it was important to decipher the process--deconstruct--in order to teach it. In other words which came first--the picture or the word. We know that symbols or pictures came before words and words can look like symbols, but our conscious mind likes to direct traffic and categorize the words into pictures and pictures into words. 

Its a looping process kind of like the fibonacci spiral. But the question remains, do we need to create a language to be abstract. I think not. I think that a language evolves as the artist evolves and every stroke, color, and texture extruded speaks a truth that is individual to the artist.



Monday, June 3, 2013

SHE

she  (sh) pron.
1. Used to refer to the woman or girl previously mentioned or implied.  Used to refer to a female   animal.
2. Used in place of it to refer to certain inanimate things, such as ships and nations, traditionally perceived as female: "The sea is mother-death and she is a mighty female" (Anne Sexton).

Friday, May 31, 2013

What the heck is a TRA?



Tra (tra) verb

1. Said before departing, a farewell
2. Bye, I'm off to the mall! Tra!
3. Spanish slang meaning "go!"
4. Italian means "between".

On Impulse

Glass House, 1998, Joan Marie Giampa
The word "language" in art is subjective. We use words in our language as tools to communicate with each other. But I feel that we use art to communicate with each other on a perceptual (sensorial) basis and as such there really are no words to describe this experience. I am always open to others ideas and analysis especially when it comes to my work. 

It helps me to grow and connect to others "words" and I enjoy how they connect to my "perceptions" of reality. Again its a looping process and words seem to get in the way at times because they are invented. But sometimes great wordsmiths concoct just the right words to describe just the right feeling. Both are invented during the impulse that propelled them.