In many ways, I seek to be a researcher, a technician of visual language. I produce objects and images to stimulate discussion and discovery. Within my practice, there are two veins of inquiry that I follow. At times I take photographs to document the world, at other times I create work to elicit the rediscovery of the ordinary. Thus, one embodiment of my practice as an artist is that of the documentarian, and the other is that of the tinkerer who is fascinated with incongruence and dysfunction. Yet, these ideas are tied together by the need to see and understand what surrounds me.
My need to act as a documentarian comes from a need to make sense of the world that surrounds me. The camera, by its nature, is the perfect tool to simplify and grasp the world; it frames, crops, isolates, and highlights impressions of "the real," breaking it up into small morsels that we can digest. In this case, the urge to photograph is driven by a necessity to create, organize, and share memories.
Ideas of incongruence and dysfunction animate the tinkerer in me. These ideas are articulated through subsequent bodies of work that vary in methods and materials. While the aesthetics of the images produced varies, the underlying experimental structure used to create them remains constant. As an experimenter, I create situations whereby coupling methodological rigor with attention for the incongruent and surprising aspects of reality I can make the unremarkable, the unnoticed, noticeable once again.
On the first day of orientation of my foundation year in London, one of the faculty members said to the students “I am here to render myself superfluous,” paused for a moment, and then continued “I am here to teach you how to learn without me.” That has stayed with me and has become the bedrock of my teaching philosophy. The students’ interests, the skills necessary to succeed, and the students themselves evolve continuously both before and after leaving the classroom. There is no way for us to teach them everything they will need to know in their lives. It is essential to teach them how to think critically and learn on their own so that the students can retool their skills and knowledge base for an ever-changing environment.
This is a temporary place holder. The statement is currently being written.
Thank you for your patience,
Giordano Angeletti was born in Rome, Italy in 1974. His education and art practice span three cultures and two continents. He acquired a love for art and art history growing up in Rome surrounded by Baroque and Renaissance masterpieces, going from church to museum looking for the works he saw in his textbooks. Giordano started training as a professional photographer at the age of fourteen. He then continued his studies in London, UK, where he started working in different media and earned a BA in Critical Fine Art Practice from Central Saint Martins. While in London he combined his technical skills with a passion for theory and conceptual/contemporary art. Giordano went back to school in the United States and completed a photography MFA and art-history MA at the Savannah College of Art and Design. Giordano is now a professor of art at South Carolina State University where he teaches digital media, photography, and art history, and works closely with the I.P. Stanback Museum.