LUCIANA GUIOT

Luciana Guiot was born in San Miguel de Tucumán on April 13, 1973. In 1991 she received the title of "Master of Fine Arts", awarded by the School of Fine Arts of the National University of Tucumán, and in 2004, the title of " Degree in Plastic Arts", awarded by the Faculty of Arts of the U.N.T. In 1998 she obtained the "Production Meetings and Work Analysis" Scholarship, led by Claudia Fontes, Jorge Gumier Maier and Pablo Pacheco; awarded by the Antorchas Foundation and the U.N.T.

She also received the following distinctions:

1st Mention: Grupo Fulcro small-format salon, 2011.

2nd UNT Hall Prize:  2008.

"Iris Marga" Award for Choreographic Composition, 2001.

3rd Prize "Object" Navarro Hall, 1999.

1st Prize "Object" Navarro Hall, 1998. 2nd Prize "Sculpture" Spilimbergo Hall.

1st Prize Illustration Poetry, Municipality of S.M. of Tucumán, 1997.

1st Mention Caps de Arte Hall, MUNT, S. M de Tuc., 2011.

 

Luciana has participated in countless exhibitions, in Tucuman, Buenos Aires but far beyond the borders of her country too: Japan, Brazil, Spain, the United States, Chile. She has been part of the Artistic Collective "El Ingenio". Besides of being an artist, Luciana also currently works in the field of Conservation of the National and Cultural Heritage in Tucuman.

 

“About women and dolls.”

A series of painted ceramic sculptures.    

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In her own words: "This series began to take shape in 1998, when I felt a need to combine

two languages ​​that I am passionate about: sculpture and painting. Over the years these

pieces were named in different ways and it is now that I finish elucidating their title.

The body of women, which has always been a territory of conquest, an object of

contemplation and/or manipulation, is currently positioned as a desiring body.

My pieces are located in a somewhat ambiguous place. From their stillness, sensuality

and a certain dose of hieraticism, they encourage us to be contemplated like dolls,

but they emanate stories, like women. Their bodies, the matter, become support for

something more subtle. The paint expands on the sculptural surface, enveloping it,

clothing it and undressing it. I am interested in that the pictorial language,

far from decorating, is the very flesh of these forms."