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ADVANCING THE ARTS ACROSS MARYLAND

George Lorio

George Lorio

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Artist Work

Injury
2019
Mixed media sculpture: found twigs on constructed armature
15.5" x 14" x 8.25"
wound
2019
Mixed media sculpture: found twigs on constructed armature
14.5" x 13.25" x 4"
Notch
2019
Mixed media sculpture: found twigs on constructed armature
17" x 30.75" x 15"
Great Tree Memorial
2019
Mixed media sculpture: found twigs on constructed armature & bark
7" x 47" x 47"
Paradise Elegy
2019
Painted tree bark on wood panel
80"x 12" x 4"
Clear Cut
2018
Installation of found twigs on armature surrounded by tree bark
84" x 90" x 90"

Artist Information

County
Montgomery County
Phone
956-371-2770
Artistic Category

Visual Arts

Artist Statement

My sculptures subtly arouse concern with visual prods into contemporary issues. I use a narrative of social engagement to generate discussion with my constructions. Current images comment on ecological destruction. I enjoy the physicality of materials. I am fascinated by found matter; following that inclination, I am presently using twigs from neighboring gardens and parks to construct fictions of trees, stumps and logs. I usually do not alter the natural color of the sticks. I glue them to an armature and complete the attachment with an overlay of transparent matte medium. The placement of the cross-cut sticks forms a veneer with a pattern where the growth rings would appear. Pattern ritualizes the form allowing modifications which embellishes the original observation from which it emerged. Swirls and concentric curves are apparent reminiscent of goddess culture motifs. Like human skin, bark conforms to a tree. Like skin, tree bark heals with scars. The end grain of logs notes the distortions in the growth rings resulting from injury, a callus, which is almost like the swelling around a cut in human flesh. Twigs are ephemeral; they are the cast off fragments of trees. To construct a sculpture with these pieces is a poetic process: like letters are to words, words to sentences, or sentences to stories. My sculptures subtly arouse concern with visual prods into contemporary issues. I use a narrative of social engagement to generate discussion with my constructions. Current images comment on ecological destruction. I enjoy the physicality of materials. I am fascinated by found matter; following that inclination, I am presently using twigs from neighboring gardens and parks to construct fictions of trees, stumps and logs. I usually do not alter the natural color of the sticks. I glue them to an armature and complete the attachment with an overlay of transparent matte medium. The placement of the cross-cut sticks forms a veneer with a pattern where the growth rings would appear. Pattern ritualizes the form allowing modifications which embellishes the original observation from which it emerged. Swirls and concentric curves are apparent reminiscent of goddess culture motifs. Like human skin, bark conforms to a tree. Like skin, tree bark heals with scars. The end grain of logs notes the distortions in the growth rings resulting from injury, a callus, which is almost like the swelling around a cut in human flesh. Twigs are ephemeral; they are the cast-off fragments of trees. To construct a sculpture with these pieces is a poetic process: like letters are to words, words to sentences, or sentences to stories.

Artist Bio

I was born and raised through my teenaged years, in New Orleans. It framed my vision of life. It was and continues to be a place of extremes: beauty and decay, religion and ritual, custom and iconoclasm. From that experience, I acquired an excitement for visual matters: colors, forms and even artifacts. Having lived on the border with Mexico for ten years changed my view of contemporary culture and our collective social responsibility. As a result, the expression of my imagery has become more topical.