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Bio: Caroline Del Giudice was born and reared in Arlington, Virginia. As the daughter of two journalists, she was always encouraged to explore her creativity and curiosity. She received her BA in studio art and anthropology from Kenyon College in 2015 and her MFA in Sculpture at Cranbrook Academy of Art in 2020. Caroline works at Newlab at Michigan Central as the Art and Product Realization Manager and is also an adjunct instructor at the College for Creative Studies in Detroit. Her sculptures have been exhibited at galleries and institutions across the United States, including Playground Detroit, David Klein Gallery in Detroit, MI; the Museum of Contemporary Art, Detroit, MI; The Sculpture Center, Cleveland, OH; the Honolulu Museum of Art, Honolulu, HI; and the Gund Gallery at Kenyon College, Gambier, OH.


Statement: My practice revolves around fabrication- of both physical objects and intangible ideas. My sculptures emphasize that dominant beliefs are fabricated cultural constructs. I create pieces that focus upon closed loop thought processes and the cycles of life. I began this work as a way to understand society and those around me, but it has become a process of self-reflection.

My understanding of the world- my concerns, confusions, and struggles- are not universal. In my practice I lean into these differences of perception and understanding. Rather than interpreting my reflection according to dominant beliefs, I am refocusing and seeing myself in a new way.

My current body of work is focused on the design and fabrication of closed loop steel sculptures. The sculptures are mesmerizing and inviting- neverending in shape, a depiction of infinity. I attempt, though it’s futile, to create perfect geometries. There is so much satisfaction and accomplishment in working with metal- whether it’s laying down the perfect weld or cutting a piece of tube to an exact measurement. My desire to make immaculate sculptures derives partially from my drive to improve my craft but also from my inability to completely control my own life, as a way to counteract and compensate for the expectations society assigns to me.

I look at my sculptures as extensions of myself. On a simple level, the amount of time and physical labor that they require makes them extensions. But in form, design, and color, they have come to represent my understanding of cultural feedback, domination, perfection, and futility.  I rely upon my background in metal working, furniture making, and design to resolve my curiosities. At heart I am a welder and fabricator, I am at ease with steel and fire.

Eight years in the industrial landscape of Detroit has greatly impacted my process and interests as an artist. I aim to push the boundaries of my preferred materials as well as my own skills. I am always learning and changing, as are my sculptures. I subvert expectations of macho modern and contemporary metal sculpture as well as other accepted cultural beliefs.

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