Great-grandma Mimi’s Recipe

"Typewriter Series". Showcasing these works, Daniel takes objects such as old typewriters and 35mm cameras: "Discarded remnants of the industrial world," transforming these objects into high-end art. The objects are placed in concrete, creating an altered composition. He then encases the subject in a white wooden box, affecting the composition along with elements of perspective and proportion. The change of color from utilitarian to artistic is spotlighted to great effect. The new white color enhances the form. This is also aided by the isolation of the object. The moving parts of the old piece are now stilled making the motion implied, thus creating an affect completely different and unique in every possible way. Fiorda began recycling objects that were once useful but had been discarded or abandoned as now useless. Because of his creativity and his ability to see beauty in refuse, the ''objets trouves'' are turned into ''objets d'art.'' By finding the aesthetic element in what has been discarded, Fiorda, through his sculpture, is preserving our environment from a new point of view. His font of debris may include antiquated machinery, foldout beds, pianos, and the ubiquitous automobile. Knowing that these had once been part of somebody's life, Fiorda creates a dialogue between the pieces first use and their re-thought second use, thus bringing anthropology into his art work. There is often a kinetic element that the sculptor creates that was not inherent in the original pieces. The use of man-made light is also often incorporated into the work. Finalized forms also tend to point in a particular direction, be it up, down, over or diagonally. Daniel Fiorda's sculpture breaks up the logic of representation characterized by traditional Western-art sculptures. His works are made with discarded metals assembled in a complex and busy structure that recalls a Neo-baroque approach to art.

"Typewriter Series". Showcasing these works, Daniel takes objects such as old typewriters and 35mm cameras: "Discarded remnants of the industrial world," transforming these objects into high-end art. The objects are placed in concrete, creating an altered composition. He then encases the subject in a white wooden box, affecting the composition along with elements of perspective and proportion. The change of color from utilitarian to artistic is spotlighted to great effect. The new white color enhances the form. This is also aided by the isolation of the object. The moving parts of the old piece are now stilled making the motion implied, thus creating an affect completely different and unique in every possible way. Fiorda began recycling objects that were once useful but had been discarded or abandoned as now useless. Because of his creativity and his ability to see beauty in refuse, the ''objets trouves'' are turned into ''objets d'art.'' By finding the aesthetic element in what has been discarded, Fiorda, through his sculpture, is preserving our environment from a new point of view. His font of debris may include antiquated machinery, foldout beds, pianos, and the ubiquitous automobile. Knowing that these had once been part of somebody's life, Fiorda creates a dialogue between the pieces first use and their re-thought second use, thus bringing anthropology into his art work. There is often a kinetic element that the sculptor creates that was not inherent in the original pieces. The use of man-made light is also often incorporated into the work. Finalized forms also tend to point in a particular direction, be it up, down, over or diagonally. Daniel Fiorda's sculpture breaks up the logic of representation characterized by traditional Western-art sculptures. His works are made with discarded metals assembled in a complex and busy structure that recalls a Neo-baroque approach to art