Painter and sculptor
Jef Gianadda seeks above all to communicate a universe, an atmosphere, a vibration, even an energy. His work is focused on emotion and suggestion.
From adolescence, I roam galleries and museums. My first professional path is teaching, the second is artistic. At 32, my training in visual arts began with talented and generous artists. In 2012, installation of my studio-gallery in Rolle. This place gives me the opportunity to develop my creativity, give painting lessons and organize various events.
Currently, bodies and portraits are at the center of my painting. It is with my senses that I paint, with the memories of the heart and the body. It is a form of dialogue between intimacy and current affairs.
The need to “say” with materials, colors and gestures. One way to reveal myself. My way of being in the world.
After studying at the Beaux-Arts in Paris, I traveled a lot and lived abroad for a long time. I have been back in Switzerland since 2009 and dedicate myself entirely to sculpture.
My sculpture is a compromise between the abstract and the figurative, between tradition and modernity, between an almost academicism of realism and the modernity of emotion… but when you think about it better, my sculpture speaks above all about duality. Because for me duality is one of the characteristics of human beings, perfect beauty and absolute evil do not exist, black without white would be nothing, laughter without tears would have no value, and I am looking for a balance between all these notions, a fragile balance, of course, but a vital balance.
The Covid has been a catalyst for me. It allowed me to stage the limits of our internal systems, but also the interactions between the impact of human beings on the planet and the malaise of our society.
By daring the unthinkable: breaking marble. By putting face to face, by interweaving, these broken marbles (destructured according to the way in which the grounds cracks because of the drought) with human emotions, I express our discomfort. I use what is called marble scraps (leftovers). By breaking them down, by sublimating them, I give them back meaning and I also question our society of overconsumption.
After studying sociology and anthropology as well as law, I became a journalist, actor and visual artist. Since 1990, I have also attended numerous training courses in the fields of health, care, support and helping relationships. I have been exhibiting since 1996.
Through my artistic work, long devoted to traces, memory, I try to evoke the invisible, the subtle rather than giving - not to say imposing - a ready-made image, ready to be "consumed".
I prefer to suggest… a universe, an atmosphere, a vibration, even an energy. In this sense, I prefer the ready-to-dream to the ready-to-understand.
Short-circuit the mind, the rational, the cognitive; with me as with the spectator, the “visitor” (I like the idea that the other “visits” a painting or a sculpture, discovers it, as a traveler from an unknown land would do).
Parasitize analysis in favor of emotion and sensation. To appeal, without detours, to the intelligence ... of the heart. To touch the soul rather than the brain, because beyond the simple look, we see, we perceive, I believe.
Both my paintings and my sculptures are invitations to overcome our limitations to better welcome the unknown, the occult and the unexpected, escorted by their procession of wonders.
I work without any prospect or other intention of seduction. When what I propose finds an echo in the other, it is then that it all begins!
Straddling hyperrealism and light and obscure Caravaggio, Moti's very large drawings bring the viewer back to the fundamental themes of the human condition, life, death, transformation, magnificence ... with the ambiguous feelings that their visual representation can trigger.
Moti's images, often in the form of triptychs or diptychs, essentially tell about the impermanence of things, and the endless tragicomedy of existence. They are the result of hundreds of hours of meticulous work combining painting and drawing (inks, dry and oily leads, charcoals, pastels etc.). The theme of death, without being explicitly mentioned, fits naturally into its theme.
Moti lived for twenty years in Amsterdam, and is now settled in Switzerland on the shores of Lake Geneva, where she works tirelessly, away from the tumult of contemporary art, in the calm of the studio. .