Giordan Rubio's Interview
Maison Kargani Magazine
Where do you live?
When did you start painting?
I started painting at a very young age. Actually, I started drawing first. Since primary school. We had to draw atomic drawings, and I drew a heart. I said to myself, go ahead, I'm going to be a cardiologist. I went to study medicine. But I didn’t like it and I went straight back to drawing.
Three words to describe your art?
Wacky, contemporary, amazing (loud laugh).
What are your favorite themes?Paintings that are much more abstract. There are some which are much more figurative. I love words. I love to write. When you look at a painting, I know exactly where every word on that canvas comes from. Only I can know that. My friends and my girlfriend know a little more about my art because they know me personally. Depending on the level of our friendship, you will know a little more about the history of my paintings.
What tools do you use?
Acrylic painting mostly. Some oil painting at the moment, with a Kargani scarf (laugh).
What is art to you?
It's super complicated to answer this question. If we talk about contemporary art, we often talk about emotions, sensations and feelings, that's what I like. If I am delirious in front of a canvas or if there is someone who makes me delirious, who creates something else, something new, instructive, often humorous, that's great. In the end, you love it.
What inspires you?
The street. When I say the street I mean everything outside. You wander around, you look at the names and the logos of the brands. Things that are related to what I was doing before also inspire me. Everything related to medicine. Scientific equations. I used to understand them, now I don't. But I find it aesthetic that we can't understand them. Everything that is astronomical I find more and more interesting. That's why the structures that are coming, the atlas, the terrestrial globes, I find them amazing to work with. Taking all that and mixing it with what I do, I think it can be fun. Antiques inspire me. I like to mix eras. To put a bunch of cigarettes next to Julius Caesar's head. It's incredible. I mix my stories. Stories that I haven't known, dates, eras. We create a kind of incredible historical reminder with the things we have on a daily basis, things that are finished, things that are unfinished, things that did not exist. I try to put everything in one canvas.
Who are your favorite artists?
Daniel Arsham. Heavy. Very very strong. The future, the past, the time, all that. Robert Nava. Ivan Argote from Perrottin. He resumes everything in the form of sculptures, very digital.
How do you see the evolution of art in the next 10 years?
The FNT’s came out not too long ago. It is getting closer and closer to digigraphy. Intangible things. Very little paint. I think sculptures will take the step enormously in the next 10 years.
What are your dreams in relation to your job?
If we talk about dreams, it was more about when I left my medicine studies. I had dreams about becoming an artist, a certain ideology of it. When I decided to stop my medicine studies to become an artist, I told myself that it would be great if I could do exhibitions, if I could sell my paintings. Maybe at 30 or 35 years old I was going to get there. So those were the dreams and the foundations of everything I did. In the end it happened very quickly. I left my medicine studies and six months later I entered my first gallery in Nice. The first paintings are sold. Prices increase. In one year I do 4 or 5 openings. I'm so happy at that time. Suddenly it becomes reality. It's exactly what you imagined. It's almost impossible for that to happen. In two years everything was done. So now my new dreams would be to have new objectives. The first gallery I went to, there were only small pieces of art. The gallery director tells me to make a big one. I tell myself that I have to do something cool, it's a great opportunity if I enter this gallery. My first gallery in Nice… I have 22 euros in my bank account. I buy a canvas for 20 euros. I have 2 euros left. I do the Marianne with a small kalash with huge “fuck culture” written on it. When I bring my piece of art to him, I tell myself “but why on earth did I do that? I could have done something beautiful, instead I did this”. I still have that piece of art. I never sold it. The Marianne is too ugly, too badly made.
Can you tell us about this collaboration with Maison Kargani?
I met Mr. Kargani six months ago, in Nice. We were introduced. This is how I entered the Kargani universe. By participating in “Douceur De Soi” project, we began to think about two or three models. We started putting everything in shape and it turned out to be something really cool. With the Kargani collaboration, there are two different scarves, which are in limited editions out of ten. I wanted to create different patterns from each other to bring out something original that represents what I do. Which takes up my current themes, that is to say very contemporary things with older patterns. Apollo's head on the side, including words such as Leonardo. On the other side we find something more sensitive, with a full pattern. We're going to be on something more feminine, with beige and white tones, with a hint of burgundy and black. We find the symbolism of an abstract flower. We find the words at the bottom but with the minimalist side.
"Douceur de Soi" is a new mean of expression for art and a new medium, what do you think?
I have always thought that art should not be limited to a support, like a canvas. The fact of having a subject that even I would not have thought of, I find it revealing. This is another way of sharing art. In the sense that normally you would physically go to see the art, you go to the museum, you see it in the streets outside. You don't often see it in real life on fabric. You see it squarely in motion. The person wears the art and takes it for a ride. It's another way to share art.