• Review-Detritus-San Jose Institute of Contemporary Art

    http://www.squarecylinder.com/2017/08/detritus-san-jose-institute-of-contemporary-art/

  • Detritus

    Detritus

    Exhibition at San Jose Institute of Contemporary Art, San Jose, CA

    June 27-August 6

    By-products of creative practices

  • Drawing Workshop offered in Italy - JUNE 25th-JULY 1, 2017

    Drawing Workshop offered in Italy - JUNE 25th-JULY 1, 2017

    All levels of drawing abilities welcomed! Learn the fundamentals of observational drawing or be inspired by this gorgeous location to create abstract works on paper. A variety of media will be explored as a means of documenting this experience. Sketchbooks will play an active role in recording and responding to this fabulous location in Northern Italy. Drawing skills will be developed through specific daily assignments as we tour through the area.














  • Reclaimed: Elevating the Art of Reuse

    Reclaimed: Elevating the Art of Reuse

    October 1-23rd
    1275 Minnesota Street
    San Francisco, CA

    A group show of works which incorporate reused materials and objects

  • What becomes home?

    A group installation/meditation by g.l.u.e. (girl's league of urban epistemology) exploring what creates one's sense of home.

    May 7-May 27, 2016

    Bridgemaker Arts
    23 Maine
    Richmond, CA 94804

    Opening: Saturday, May 7th, 2-5pm

  • Drawing in book of poetry

    One of my drawings is included in a book of poems, by Dania Ari, One Way to Ask. 2016, published by Norfolk Press, SF

  • A Fleeting Grace

    A one person exhibition at Chandra Cerrito Contemporary
    Oakland, CA
    Opening Feb. 5 -March 25th, 2016

  • An essay published in Woman Environmental Artist Directory

    http://weadartists.org/farewell-forest-place

  • Objects of Contemplation

    Chandra Cerrito Contemporary
    480 23rd St.
    Oakland, CA 94612

    Cathy Cunningham Little
    Lewis deSoto
    Lisa Espenmiller
    Sheila Ghidini
    Dale Kristemaker
    Alexandra Lederer
    Penny Olson
    Jenn Shifflet

    December 4-Janurary 28th, 2016
    Opening Reception: December 4, 6-8pm

  • Kala Off-site Project

    Day Re-dreamed
    Sept. 25-December 6, 2014
    Berkeley Central Arts Passage
    2055 Center St., Berkeley, CA 94704
    (between Shattuck and Milvia)

  • Sky

    A group exhibition at the Bedford Gallery, Walnut Creek, CA
    March 9-May 25th, 2014

  • Drawing workshop offered in Italy

    Two Drawing Fundamentals Classes will be offered by Sheila Ghidini at an Art Retreat in Vittorio Veneto, Italy during the weeks of June 16-22 and June 23-29, 2014,through Art &Travel. Along with developing the skills of drawing, participants will have the opportunity to tour local sites through organized drawing excursions. During the last few sessions, Alma Ortolan will introduce fresco techniques and one drawing will be transferred using a technique called graphitto, onto a tile. The basics of contour line, value and shading, texture and space, as well as an introduction to fresco, will be covered in this enjoyable summer workshop for all levels of artists and travelers. If interested in participating view the website at WWW.ARTANDTRAVELITALY.COM and email any questions.

  • Writing on Conversations at Chandra Cerrito's Contemporary

    “Art does not reproduce the visible, it makes the visible.”
    Paul Klee
    by Summer Lee

    The most profound artwork questions what exists, but at the same time what is not there. Sheila Ghidini's exhibition at Chandra Cerritos Contemporary Art Gallery, "Conversations," addresses the seen and unseen through a series of drawings and installations of intricate choreographies of chairs and birds -- and negative space. Her careful drawing and skillful compositional choices remind us: See in order to draw, draw in order to see -- but most importantly, draw in order to illuminate the unseen.

    Sheila composes her chairs with an infinite number of graphite marks with the facility of a deftly focused draftsperson, creating a tension between the object's stillness and the energy of mark-making. This intense focus brings equal attention to the swaths of energized negative space surrounding the drawn object. For example, in the piece entitled, "One Chair," the composition precipitates a question, a longing. And what exactly is longed for is the inviolate mystery that makes Sheila's drawings philosophical, bringing an untranslatable insight into the human condition.


    The earliest artists, traditional Chinese brush painters, heralded negative space as much as modern, Western artists delighted in filling the entire picture plane. For them the space untouched by brush was the nothing that is something, a space for contemplating what is beyond that something. That space is deeply connected to the philosophical concept of nothingness running through Taoism and Buddhism. In that vein, the Mustard Seed Garden Manual contains an admonishment from the 13th century painter, Jao Tzu-Jan, to always paint a scene with places made inaccessible to humans by nature. Because, as it is here surrounding Sheila's lovingly rendered chairs, the dense, white nothingness obscures the contexts of their existence -- and incandesces what is most beautiful in the mind. And true to the Buddhist aesthetic concept, yugen, we are most entranced by mystery.

    Even in a composition of a group of chairs, as in the piece, "Conversation," where different vanishing points for each object are used within the same composition, the same longing persists. The chairs, whether metaphorical or iconic of ourselves, are alone together. They inhabit the same context, but in different perspective realities. Recalling the ubiquitous dark matter that makes up our universe, only detectable by instrument and not by light, these drawings are of presences, interactions, and possibilities that are around us always, but unseen. But here, lights and shadows figure centrally in Sheila's rigorous drawing. The areas of highest values on the chairs are the same as the space engulfing the chairs. One could conclude that the negative space is the same entity as that which reflects light –and perhaps light itself.


    Therefore, when her installation of a sculpted, white chair enters pictorial space by a graphite murmuration of birds drawn around and through the architecture of the chair and wall, the chair and wall similarly dissolve. The firmament, the reality, that you and I rely on itself becomes negative space, becomes light. And true to thousands of years of mystical understanding of the mediatory role of birds, as with the Asian affinity for negative space, Sheila's work reminds us to what is easily forgotten outside moments of poetic and artistic attention: There is a horizon beyond our knowing. And let it be full of light.


    "We don't need to see anything out of the ordinary, we already see so much." Robert Walser, A Little Ramble.

  • Solo exhibition

    Chandra Cerrito Contemporary
    August 2-September 26th, 2013

  • Almost Together

    A group exhibition at The Hazel Wolf Gallery
    David Brower Center
    2150 Allston Way
    Berkeley, CA 94704

    May 16th-August 30, 2013

  • Sheila Ghidini

    Sheila Ghidini at Chandra Cerritto Contemporary
    June -July 2012

  • Review of exhibition at Chandra Cerrito Contemporary

    http://www.artpractical.com/review/you_cant_make_art_by_making_art/

  • You Can't Make Art By Making Art-Exhibition

    Group Exhibit at Chandra Cerrito Gallery, Oakland
    You Can't Make Art By Making Art
    Honoring the legacy of David Ireland
    Oct. 7-Nov.19, 2011