REVIEWS

SCULPTURE Magazine
by Jonathan Goodman

Giordano’s vertical presences might easily stand for actual figures. At the same time, they are exquisite examples of abstract sculptures.

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WAXING POETIC
ENCAUSTIC ART in AMERICA
catalogue Montclair Art Museum
by Gail Stavitsky

Evoking a childhood ritual of lighting candles at altars, Giordano's use of wax also invokes the forces of nature, especially water and fire, and how they alter materiality. Thus Red Swamp "is as much a metaphor for the swampiness of paper-making as it is for life in flux
and how time changes matter." Relating the swamp's precariousness to human vulnerability, Giordano also embraces the mutability of wax as part of her continuing inquiry into the transitory nature of reality.

The Philadelphia Inquirer
by Victoria Donohoe

Giordano's handsomely textured sculptures are the result of a complex thought and work process that moves between freedom and rational control.

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MAINLINE TIMES, PHILADELPHIA, PA
by Marie Fowler

During her sojourn in Japan, Giordano found herself absorbing elements of the Japanese aesthetic, which she terms as "getting to the essence".

New York Times
by Vincent Katz

Impostoed pigment funeled together in a rush; furious repetitive slashes, only hints at the tactility of her surfaces.

ARTnews
by Hillary Sheets

Moving Out is evocative of hot lava streaming down undulating hills.

The Advocate & Greenwich Time
by L.P. Streitfeld

Her skills as a colorist create lyrical landscapes, extending inside and out of the unique forms.

Sarasota Herald Tribune
by Joan Altabe

In Giordano's hands, paper - the marble of modern sculpture - ranges beyond history, past prehistory, back to places of legend where paintings had magical function.

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Fiberarts
Interview with Sandra Sider
7 pages with photos:

SS: This technique, not to mention, your manipulation of metal sheets, must be physically demanding, almost violent at times. Yet your pieces seem to have such a serene presence, almost a timelessness, similar to archaeological treasures. How do you manage to produce that atmosphere, almost as if the work has been around for centuries?
JG: Metal is always aging. The whole idea of the work is about transformation