Biography
My painting is not intended to be a direct representation of anything. My attention is focused on my materials and the memories they generate. In paper, ink, twine, raw canvas and paint I find my expressive means. My process of placing, superimposing and eliminating material is repeated many times in search of an equilibrium between construction and destruction.
Eliminating things is a necessity sometimes, and with time and maturity, I reduced even my palette to a few dark colors, chosen because they suggest an expanse—a dilation of space, in opposition to the weight of the material. These reductions are intended to guide the attention of the observer to the actual material of the work where even the smallest detail of texture is important. The quality of the surface, be it coarse or smooth, is the means of expression for me, becoming a “skin” in which one may find profound meaning. It is the imperfections, the folds, and the tears which bring to mind the layers of time. These abstract images give birth to the unexpected, unveiling hidden traces and connections.
Reducing my means also extents to titling my work. Most works are untitled or titles exist only to indicate a color, allowing observers to create their own associations, sometimes very different from mine.
In the end, much of my work springs from precepts of Near and Far Eastern Art, which was the focus of my studies in university. The search for what is essential, the intrinsic beauty of one’s materials, and the quality of close tonal relationships are inexhaustible sources for me.
Curriculum
Selected Group Exhibitions
Una Stanza tutta per sé. Sguardi femminili nell’Arte Contemporanea, Scuderie Aldobrandini, Frascati 2018, a cura di Eloisa Saldari
T+T=A – Tusculanae & Tusculani artisti in città. Scuderie Aldobrandini, Frascati, 2009
Nel Chiostro, Mostra d’arte contemporanea. Convento di San Bonaventura, Frascati 2008 a cura di Fabrizia Ranelletti
Tusculanae III edizione Scuderie Aldobrandini, Frascati 2008
Tusculanae II edizione 20 artiste a confronto. Scuderie Aldobrandini, Frascati 2007, a cura di Giovanna Cappelli
Lilith, l’aspetto femminile della creazione. Scuderie Aldobrandini, Frascati 2004, a cura di Maria Luisa Trevisan
I Colori delle Donne. Scuderie Aldobrandini, Frascati 2003
Les Artistes du Cern. Geneva, Switzerland 1999
Torri d’Avvistamento, IV edizione del Festival. Palestrina 1999
Torri d’Avvistamento, III edizione del Festival. Tuscania/Tarquinia 1998
Domina – Rassegna Internazionale d’arte. Palazzo Rospigliosi, Zagarolo (RM) 1997, a cura di Lidia Reghini di Pontremoli
Torri di Babele. Chiesa di San Giacomo, Tarquinia (VT), 1996. La sezione Arti visive è a cura di Lidia Reghini di Pontremoli.
Artolina. Galleria Spazio Oltre, Roma 1996, a cura di Claudio Crescentini, P. de’ Medici, Roberta Perfetti, Loredana Rea e C. Sorrentino. *
Gilda Leoni e Jody Joseph – Opere recenti. Studio Watts, San Gemini (TR) 1996, con un testo narrativo d’introduzione di Simone Perotti
Gilda Leoni & Jody Joseph. ISA Gallery, Montecastello di Vibio (PG) 1996
Paintings. Northern Trust Bank Gallery, Naples, Florida (USA)1995
Paintings. ISA Gallery, Montecastello di Vibio (PG) 1995
Paintings. ISA Gallery, Montecastello di Vibio (PG) 1994
Gilda Leoni Paintings and Collages. Galleria Vicolo 6 , Frascati 1994
* in occasione della Mostra “Artolina” Galleria Spazio Oltre, Roma 1996 ha realizzato con lo scrittore Simone Perotti un primo esperimento di incontro tra testo letterario e immagine pittorica
Grey Ink
2021
Senza titolo #2
2019
Untitled (Charcoal)
2020
Untitled Blue VI
2020
Wall Series I
2020
