Gabriela Nirino
We are pleased to share the art and ideas of Gabriela Nirino in the fifth installment of the NWDC Artist Interview series. Gabi writes this about herself and her process, "I am a weaver. The first thing I think about when I find something new is whether it can become yarn or be woven. Weaving opens up the possibility of building a small world almost out of nothing, making order out of chaos. It is to interrelate and connect: materials, people, and ideas."
How were you introduced to art?
I didn’t call it art back in that time. I used to draw a lot, on all surfaces available (newspaper margins, white pages in the books, the top of my desk at school), since I was a little child. My mother allowed me to do it on one of the walls of the house. When I was 8, my godmother gave me the best present ever: 10 big illustration boards, a box of professional tempera and a book about famous artists, organized by movement. I was totally delighted with the word “professional”. In the book, I saw the picture of one Braque painting and I thought “But I can do that”. I don’t call myself an artist, I identified more with the word maker, I think. I never thought in terms of I am doing art. Doing with my hands was always something that creates for me an internal safe space.
Where do you find inspiration when creating new work?
Books are very important. The other thing that I used to do like a maniac, since I learned how, was reading. That was my other safe place when I was growing up. I used to read at lunch, when walking in the street, at family reunions, at school when I was supposed to do other things, and late at night under the blanket. Books were and are my friends. So I found a lot of inspiration in words. I would mention photography too. Certain types of images are so evocative and intriguing. In the last years, I was more and more driven by the material itself. Experimenting with something I found (a plant, for example) or a new material I discover sometimes is more interesting than finishing an actual piece. I think probably all the garage became my studio after the very strange experiments my husband found in the refrigerator.
What do you consider your greatest artistic achievement?
Having more time and space to do what I love. Time is a big achievement when you need to work a lot to support yourself and your family doing other things. I always tried to choose what I like as a job over the money. Teaching was my way to be in touch with craft and survive and I never became rich but I had fun, I learned a lot. I retired as soon as I could and now I have (I hope) still years to continue working on what I like to do. So to build a life where you do what you love is the best achievement to me. And of course, I can mention some recognitions, that is always nice. I get a couple of awards I am very happy about, one was the 1st prize in the textile category in the National Exhibition of Visual Arts, the national competition organized by the Secretary of Culture of the Nation of my country of origin, Argentina.
How To Make Your Own Sanctuary II - Detail. Wood, paint, bronze. | To Be Or Not To Be - Ramie, cherry wood. Handwoven.
What is the quality you most like in an artist?
I like people who are always learning and who are generous and humble about what they do and know. I enjoy studying and learning and I appreciate that in others. Being curious about things keeps you young.
Which living artist do you most admire?
Artists don’t die if their work moves you (a good way to avoid this question). Some work moves me. The group of pieces about the terrible military dictatorial government in Argentina was done by Carlos Alonso, for example, an Argentine painter. The photographs of Sebastião Salgado. His movie “The Salt of the Earth” is powerful. The incredible textile structures of Philippa Brock. The women of Vermeer. Pretty much any ethnographic collection of artifacts. All the books and the thinking of John Berger. And more, but of course, these are the first than come to my mind at this moment.
If you could change one thing about yourself, what would it be?
Talking less, listen more. It is easier in English than in Spanish, of course. I am used to organizing things because of my many years teaching and coordinating groups, so my first impulse is to make suggestions or to do things not always thinking a lot first.
What is your most treasured possession?
Of course my books, first. And some objects that belong to one of my grandmothers, Argia. I never met her, she died very young. She use to paint, draw and make beautiful pieces of cloth and hats. I feel always close to her. A few tools that belong to my father, a leather craftsman and a couple of bags he did for me. All the good yarns.
Travelling Chuspa - Husk corn fiber and hemp yarn (weft), nylon thread (warp), ramie cord. Handwoven. | The Marking. Linen, cotton. Electronic Jacquard
Who has had a significant influence over your work?
My professor of textiles at the University, Gracia Cutuli. She gave me confidence. Isabel Iriarte, an extraordinary art history professor who transmitted to me her love for pre-columbian textiles in the Andes. Some brilliant students and collegues: the exchange of working with others always modifies me. I was working the last year on a project with a friend, Andrea Nosetti, and she changed my perspective all the time.
How has your studio practice changed?
I am reading again very old booklets I have with ideas. Also organizing old drawings. Looking back makes me realize what aspects or ideas are always there.
I am not so worried about doing it all perfectly, I am learning to lose control. In a way, the pandemic was a reason for that.
What is your idea of perfect happiness?
To do meaningful things you love with people you like (and some good food always is a plus).
