Overview

 The empty space is for me a place to breathe. Those spaces let you see better the shapes that inhabit the composition. Void or negative spaces can have a lot of significance and they represent for me distances and separation. The organic shapes I use are related to nature, essential shapes like eggs or cells, stones as foundations, feminine and masculine forms as part of the same body that constitutes the universe.

...Since I was in art school I was attracted to pure forms. I obviously studied Kandinsky and Malevich then and I identified myself with the idea of creating art with pure visual elements. Pure visual elements and geometric forms are for me essential elements which when combined in a piece can create concepts and ideas. Later on I studied the works of Martin Puryear and Louise Bourgeois and their work  is also an influence in my art. I believe my works explore an organic geometry where essential shapes are as important as the concepts they express. The concept behind each artwork is for me as important as the aesthetic image it stands for, and space is as important as the shapes that create the whole composition. 

 

- Carolina Sardi

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She is best known for her wall installations comprised of organic elements cut from steel and aluminum. She plays with the effects of volume, light, and shadow, adding to the work another layer of possibilities. In a recent series, she uses polished gold, copper, or chrome surfaces, in which the viewers can find their own reflections, thereby introducing a variety of added readings.

Sardi was born in Argentina and was educated at the National University of La Plata, in Argentina, then studied with the sculptor Ennio Iommi. Sardi moved to Miami in 1995, and first took a studio space at the Art Center on Lincoln Road. Later on she moved her studio to Little Haiti.

Sardi has been commissioned for several site-specific large scale installations in many of this city’s acclaimed buildings and private homes, including most recently the newly finished Apogee Hollywood condominiums and the Icon Bay project.

She has also been included in the prestigious Heavy Metal exhibition at the National Museum for Women in the Artist in Washington, D.C.

Some of her solo exhibitions include: Panamerican Art Projects Gallery in Miami and Dallas, Lelia Mordoch Gallery in Paris, Cheryl Hazan Gallery in New York; Steps Gallery in London, UK; Heriard Cimino Gallery in New Orleans, Exquisite Tension at the Gulf Coast Museum of Art in Largo, FL; Blue at the Government Center Gallery from Miami-Dade County Department of Cultural Affairs; Over/Under at Flashpoint Gallery in Washington DC; Forest at the Bass Museum of Art in Miami Beach, Bee at Mia Gallery, Miami International Airport ; Imaginary Lines at the Museum of the Americas in Washington DC and Free to be Captive at the Museum of Art of Fort Lauderdale.

She has a broad experience in designing, fabricating and installing public, private and corporate art projects. Some examples of commissioned works include Miami-Dade Art in Public Places, Port of Miami, Baggage Claim, Terminals 4 and 5, Water and Suitcase Projects (2003); Oppenheim Architecture, Ilona Buiding Fence and Gate, Miami Beach (2001); Related Group of Florida, Icon Building Miami Beach Lobby’s Sculptures and The Slade Palm Beach Suspended Sculpture (2004-2005); Grand Venetian Miami Beach Lobby’s Wall Sculpture and Epic Hotel Miami Wall Sculpture for the Front Desk (2011); Gates, Fence, Louvers and Lamps for the Apogee Beach Building in Hollywood, FL (2014); Icon Bay Fence for Sculpture Park (2015) in Miami for the Related Group of Florida; Wall Installations for the lobby at the Belfiore Building in Houston, TX ( 2016) and Wall Installations for the Cleveland Clinic in Cleveland, OH (2017).

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