Gianna Putrino is a 2014 graduate from the State University of New York at Oswego where she received her BFA in studio art. Currently she studies at the New York Academy of Art obtaining her Masters in Fine Arts (2017). She has exhibited her work in group shows and solo exhibitions throughout Broome County and the Southern Tier of New York as well as New York, NY. She is the recipient of the Fredrick R Xlander Emerging Artist Award, is one of two 2106 Exhibitions Scholars at the New York academy of Art and has received a 2016 award from the Elizabeth Greenshields Foundation. Her work, however has begun to evolve immensely during her time at the New York Academy of Art. Her Interests have transitioned from an exploration into the individual, to that of our society, environment and our human and organic natures.
As an artist in today’s world, I feel that I am faced with a certain responsibility to share my privileged position and voice. My conceptual interests have transitioned from an exploration into the individual, to that of our society, environment and our human and organic natures. We all have a responsibility to our earth, and the connections we feel to it need to be embraced. Conceptually, my work seeks to shed light on the relationships between the man made and the organic world. Moving from a more rural environment to New York City has further opened my eyes to humanities overwhelming desires to conquer our landscapes. My worlds are largely fictional and have evolved into quiet monuments with personal narratives based on my celebration for, and concern for the future of natural environments. My imaginary landscapes play with positive versus negative transitions, flatness versus illusionism, depth versus acknowledgement of the picture plane, and depicted reality versus portrayed reality. At first, I choose to represent platonic solids in the majority of my landscape paintings because they felt like a representation of the man made in juxtaposition with the organic. However, as I continued working, the shapes have become less about a divide, and more about a connection. They began as geometries because of the mathematical and logical constructs that I felt had connected them to the man made world, but the more I painted with them, the more I felt a connection to them beyond just a superficial representation. They have become symbolic of a soul, a window, a portal or a being existing within a reality. They feel like a representation of ideas, emotions, and energy, something beyond human and beyond material. The shapes have also in many cases taken on organic forms, and acted as positive and negative spaces within the landscape. These connections have an energy that flows between all living things, and humans are as much a part of this connection as are the mountains and the trees.