A. GARUFI, 36X24, A. GARUFI, 36X36, OIL, PIGMENT, PAPER ON MUSLIN, STILL LIFE 2008, PORTRAIT 2004
A. GARUFI, IMAGE SIZE 18 X 10, SIGNED MONOTYPE
A. GARUFI, IMAGE SIZE 10 1/8 X 4 7/8, SIGNED MONOTYPE
A. GARUFI, IMAGE SIZE 16 3/4 X 14 1/4, SIGNED MONOTYPE
A. GARUFI, IMAGE SIZE 17 1/4 X 7 1/2, SIGNED MONOTYPE
A. GARUFI, IMAGE SIZE 9 1/2 X 9 1/2, SIGNED MONOTYPE
My art making practice is based on finding relationships between objects and materials through continuous composing and rearranging that is intuitive but precise. I create parameters for the work to reveal itself to me by bringing objects together. My background in physiology informs this approach. I act as a facilitator looking for new relationships by gathering various reference materials and observing their reactions to one another in space.
The body of work reflects how memory functions and examines the act of seeing and understanding. This interest stems from the notion that everything in the universe is constantly moving. Every moment is not the same moment as the moment before. The space between every molecule, every sound, every atom, every thing, changes all the time.
My use of materials is based on what is needed to balance the equation of the work. Materials communicate their own meaning and purpose without my insistence; sit is, therefore, my job to listen. The materials have no hierarchy; they serve to represent an experience or moment, and create connections. I feel that everything that is in existence is represented by something else and cannot be understood independently. Therefore the choice of bronze is no greater than lead or paper, and texts don’t prescribe any more definition to a work than paint. All materials simply layer together to create a microcosm of the universe we inhabit.
My belief in eternal impermanence is embedded within the installations. There is always potential for an installation to be altered, even if not by my hand. Everything will change with time through decomposition or other natural occurrences, resulting in new combinations of information. It is for this reason that my installations often evolve, and remnants from one work get re-worked into new pieces.
As a result, the artworks exist most coherently in relationship to one another rather than as individual artworks because they are part of one large body. My studio practice and resulting artworks exist as living beings to be shared and experienced. It is a path to its own understanding.