In the vibrant world of contemporary art, understanding the diverse inspirations and perspectives of artists is key to appreciating their work. Today, we delve into a conversation with Gia Canali, a Los Angeles-based artist whose work spans painting and photography, revealing what we can learn about artistic diversity through her unique lens, particularly in how she draws inspiration from landscapes and her environment.
GLB: How long have you been engaged in painting and photography?
Gia: Art has been a part of my life for as long as I can recall. Even as a young girl growing up in the Rocky Mountains, I was immersed in creating imagined worlds within my wildflower garden. My formal journey with photography began around 1998 or 1999 when I acquired my first SLR film camera. Since then, photography has consistently been a vital tool in my artistic endeavors. Painting, however, is a more recent passion, truly taking hold around 2018 when I decided to pursue my art practice more seriously. Interestingly, I believe my approach to painting is influenced by my photographic background, particularly in my ongoing fascination with capturing the essence of time within my paintings.
GLB: Where do you typically find your inspiration?
Gia: Being an LA native, I find a significant amount of inspiration simply by being out in the world, particularly during my runs or drives. There’s a unique way you learn to quickly observe and process your surroundings when you’re in motion, whether driving or running. It’s similar to the focused vision one develops when setting out to take a photograph. Plus, being outdoors immerses you in a world of signs, which are a recurring motif in my work.
My Colorwash series, for instance, was initially sparked by my fascination with drive-through car washes. The way they splash those pastel colors across the windshield is just captivating! It’s truly an event to witness. Sometimes, even being stuck in traffic can trigger inspiration. I might notice a chain swinging on a truck door and see the beautiful gesture it creates. I’m drawn to observing shadows and reflections as I move through spaces, and this observation has found its way into my Reflections series. Salt for Salt, my recent Morse Code Series, specifically evolved from photographs I took while running. And the series I’m currently deeply engrossed in is also inspired by my experiences running and driving on a mountain in Sicily.
GLB: If you had to describe your work in just three words, what would they be?
Gia: Serendipity meets devotion.
GLB: Do you have a favorite piece among your creations?
Gia: My preferences tend to shift! Usually, within each series, there are one or two pieces that I become particularly attached to. Currently, I’m especially drawn to these cyanotype directional signs that incorporate snakes.
GLB: Are there any new projects you’re currently working on that you’d like to share?
Gia: Yes, absolutely! This past summer, I had a residency in Tusa, a mountaintop village in Sicily. Although my intention was to create work while there, I found myself primarily moving up and down the mountain – driving, taking the bus, running. I encountered my fair share of challenges – snakes, farm dogs, flat tires, herds of animals, wildfires, you name it! And with my limited Italian, I had to navigate my way through these situations. I fell deeply in love with the town itself, but also with the striking geometric abstraction of the Italian directional signs, which are quite different from those in Los Angeles. I was also fascinated by the often-damaged, layered, and improvisational fences that seemed ineffective at containing the wild plants and animals of the countryside.
As I was leaving Sicily – or perhaps more accurately, fleeing the wildfires – I began creating cyanotype pieces that explore the language of the road. This includes construction fences, chains, ropes, and especially the wordless “universal” code of directional signs. These signs, in their abstraction, implicate and can represent the body and bodies. I’m also weaving personal narratives and symbolism into these pieces. I’m deeply immersed in this project right now, and I’m very eager to see how it all unfolds.
Just before my trip to Sicily, I was finishing Salt for Salt, a project I initiated in Sardinia in the summer of 2022. This series combines photographs, largely taken during runs, holographic material borrowed from my Reflections series, and hand-punched Morse code – primarily Q codes and literary quotes – to construct a one-sided narrative conversation. Similar to the Sicily work, this series is also “about” code. However, Morse code is designed to be understood across distances and even in darkness, whereas directional signs are inherently in person. The series features various outdated forms of communication – antennae, telephone poles, a lighthouse – alongside beautiful vistas that evoke postcards, always hinting at an absent recipient. Now, as I delve into my new body of work, I’m gaining a different understanding of Salt for Salt. I now see it as a body of work centered around the choice to disconnect.
An interesting tidbit I discovered while working on the Morse code series: Samuel Morse was a painter before he invented Morse Code!
GLB: Where can people view your work?
Gia: I tend to maintain a low digital profile, but you can find me intermittently on Instagram @giacanali or at www.giacanali.art. For a more personal experience, studio visits can be booked.
I also have a monograph of my Colorwash / Reflections series, titled CW/R, which is available here.
GLB: What do you appreciate most about being an artist in Los Angeles?
Gia: I truly believe Los Angeles is the place to be for making art right now. There’s an incredible amount of quality art to experience here every weekend. Unlike New York, where art seems almost unavoidable, in LA, you need to actively seek it out, often by driving around to different shows, performances, or exhibits. But this effort is incredibly rewarding. I value studio visits, both giving and receiving them with fellow artists. Moreover, there’s a palpable sense of possibility in LA; we believe things can happen here, which is practically magical for an art practice. There are so many artists working in diverse and inventive ways, coming from a wide range of creative and cultural backgrounds. We constantly encourage each other to experiment and explore new directions. That, too, is magical.
GLB: Could you share some of your favorite spots in LA?
Gia:
- Griffith Park
- Studio City Farmer’s Market
- Skylight Books
- The Iliad
- Tabula Rasa Bar and Shop
- Golddiggers
- Joy on York
- Too many galleries and museums to list, but Ochi Gallery, De Boer, M+B, David Kordansky Gallery, and Hauser + Wirth are all favorites.
- The Craft in America Center
- The Corita Art Center
- My Friend’s Place in Hollywood
Through Gia Canali’s experiences and perspectives, we gain insight into the diverse ways artists find inspiration and cultivate their creative vision. Her journey, deeply rooted in observation and engagement with her surroundings, highlights the rich tapestry of influences that shape contemporary art. From the urban landscapes of Los Angeles to the rural scenes of Sicily, Canali’s work reflects a profound connection to place and the diverse visual languages it offers.
