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当月光越过亚平宁的山脊，悄然洒入卡拉拉的采石场；当童话中的木偶挣脱丝线，在撕开的纸页间获得新生——我们终于得以走进Graziano Guiso用四十年光阴构筑的世界。这里，每一道撕痕都是通往记忆的密道，每一抹色彩都是时光凝结的琥珀。
When moonlight glides over the Apennine ridges, softly spilling into Carrara's quarries; when fairy-tale puppets break free from their strings, finding new life among torn pages—we finally step into the world Graziano Guiso has built over four decades. Here, every tear is a secret passage to memory, every stroke of color amber crystallized by time.
《II Grillo parlante》 acrylicon paper 22×22(cm) 2020
Graziano Guiso毕业于卡拉拉美术学院，并曾师从布鲁诺·穆纳里（Bruno Munari，意大利著名艺术家、设计师）、西尔维奥·科波拉（Silvio Coppola，设计师）和皮尔·卡洛·桑蒂尼（Pier Carlo Santini，艺术史学家）。这将他置于一个深厚的现代艺术与设计传统之中。
Graziano Guiso graduated from the Academy of Fine Arts in Carrara and studied under Bruno Munari (renowned Italian artist and designer), Silvio Coppola (designer), and Pier Carlo Santini (art historian). This placed him within a profound tradition of modern art and design.
《IlGiudice》 acrylicon paper 22×22(cm) 2020
《Il Gatto e la Volpe》 acrylicon paper 22×22(cm) 2020
艺术评论家费鲁乔·巴托利尼（Ferruccio Battolini）将他的作品纳入其个人收藏，位于拉斯佩齐亚市的现代与当代艺术中心。他的作品被乌戈·圭迪博物馆（福尔泰德伊马尔米）、“Ciocco”美术馆（巴尔加）、以及最重要的——自2016年起被国家卡洛·科洛迪基金会（即匹诺曹基金会）和圣米尼亚托的匹诺曹博物馆收藏。他的艺术与意大利最重要的文化IP之一“匹诺曹”建立了官方联系。于2011年被著名评论家维托里奥·斯加尔比（Vittorio Sgarbi）选入第54届威尼斯双年展“意大利馆” 的展览体系。在Graziano Guiso的艺术世界里，现实采石场与幻想童话在撕贴的薄纸间相遇，记忆与想象在丙烯的斑驳中交融。他的创作是一场持续的"考古"——通过撕开、擦拭、覆盖的往复动作，他不仅解构了纸张与颜料的物质性，更在视觉层面上开启了对时间本质的探寻。
Art critic Ferruccio Battolini has included his works in his personal collection at the Center for Modern and Contemporary Art in La Spezia. His works are held by the Ugo Guidi Museum (Forte dei Marmi), the “Ciocco” Gallery (Barga), and most significantly—since 2016—by the National Carlo Collodi Foundation (Pinocchio Foundation) and the Pinocchio Museum in San Miniato. His art has established an official connection with “Pinocchio,” one of Italy's most important cultural IPs. In 2011, his work was selected by renowned critic Vittorio Sgarbi for inclusion in the exhibition framework of the Italian Pavilion at the 54th Venice Biennale.
《Cava 01》 acrylicon paper 20×29(cm) 2023
在Graziano Guiso的艺术世界里，现实采石场与幻想童话在撕贴的薄纸间相遇，记忆与想象在丙烯的斑驳中交融。他的创作是一场持续的"考古"——通过撕开、擦拭、覆盖的往复动作，他不仅解构了纸张与颜料的物质性，更在视觉层面上开启了对时间本质的探寻。
Within Graziano Guiso's artistic universe, real quarries and fantastical fairy tales converge amidst torn layers of paper, while memory and imagination intertwine within the mottled textures of acrylic. His practice constitutes an ongoing “archaeology”—through the cyclical actions of tearing, wiping, and layering, he deconstructs the materiality of paper and pigment while visually probing the essence of time.
《Cava 02》 acrylicon paper 11×16(cm) 2023
《Cava 03》 acrylicon paper 11×16(cm) 2023
那些撕开的裂痕成为通往记忆深处的甬道，斑驳的色层仿佛时光沉积的地质构造，他如穿梭在不同时空维度的旅人，游走在匹诺曹的故事与月光下的采石场中，将意大利传统中的明媚光线引入内心世界的幽微处，在童话与现实的交界地带构建起一个充满诗性张力的视觉宇宙。他的作品既不重复表象世界，也不沉溺于纯粹抽象，而是在物质与精神、具象与抽象、叙事与诗意的临界点上，创造了一种独特的"视觉哲学"——让我们在每一处撕痕的震颤中，感知存在本身的微妙韵律；在每一道色彩的呼吸间，聆听时光流逝的深沉回响。超越了单纯的视觉创造，成为一场关于记忆、时间与存在的深刻冥想，在看似平凡的材料痕迹中，发现非凡的精神图景。
The torn fissures become passageways into memory's depths, while mottled layers of color resemble geological formations of time's sedimentation. Like a traveler traversing different temporal dimensions, he wanders between Pinocchio's tales and moonlit quarries, channeling Italy's luminous tradition into the subtle recesses of the inner world. At the intersection of fairy tale and reality, he constructs a visual universe brimming with poetic tension. His work neither replicates the superficial world nor indulges in pure abstraction. Instead, at the critical juncture between matter and spirit, figuration and abstraction, narrative and poetry, he creates a unique “visual philosophy”—allowing us to perceive the subtle rhythms of existence itself in the tremors of each tear; to listen to the profound echoes of time's passage in the breath of each hue. Transcending mere visual creation, his work becomes a profound meditation on memory, time, and existence, uncovering extraordinary spiritual landscapes within seemingly ordinary material traces.
《Canto alla Luna》 acrylicon paper 18×15(cm) 2022
这是一场与材料的深情对话。他撕开、擦拭、覆盖，不是为了抹去，而是为了唤醒。在他的工作室里，每一张纸都是时间的容器，每一笔色彩都是情感的化石。
This is a deeply affectionate dialogue with materials. He tears, wipes, and overlays—not to erase, but to awaken. In his studio, each sheet of paper is a vessel of time, each stroke of color a fossil of emotion.
《Dichiarazione d'amore》 acrylicon paper 26×18(cm) 2022
“我不创造形象，”他曾说，“我只是帮助那些已经存在的形象从层层覆盖中显现。”
“I do not create images,” he once said, “I merely help those already present emerge from layers of concealment.”
这种创作观，让他的作品超越了视觉的范畴，进入了哲学的境域。那些撕开的薄层，是记忆的切片；那些游走的余象，是精神的踪迹；那些低语的采石场，是灵魂的回音壁。
This creative philosophy elevates his work beyond the visual realm into philosophical territory. The torn layers are slices of memory; the lingering traces are paths of the spirit; the whispering quarries are echo chambers of the soul.
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