Studio Diane Giraud

Studio Diane Giraud Visual arts and Artistic Direction

25/11/2025

ARTIST VOICES . DOWN THE RABBIT HOLE PAVILION WITH DIANE GIRAUD ***

🎧 Full audio available — see website link in bio (linktree)

“A basic tenets of somatics holds true for better or for worse: we become what we practise and we’re always practising something. ” - Alta Starr

In Diane Giraud’s practice, the act of burning paper began as intuition - neither ritual nor rebellion, but a gesture of transformation. Over time, it became a vocabulary for loss, memory and renewal. As Aishwarya Kumar wrote in an Arte Capital essay, she is a “painter without paint” , an artist whose work unfolds in the liminal space between what is seen and what is felt.

From burnt paper and ash to cast sculpture and voice, Giraud moves between mediums as one might move between memories - tracing how fragments, encounters and inherited gestures reconfigure the architectures of remembering. Rooted in her French-Vietnamese-Greek heritage, her work resists linguistic fixity, revealing instead a quiet philosophy of making that repetition, attention, and disappearance are also ways of becoming.

Presented as part of The Down The Rabbit Hole Pavilion, curated by Aishwarya Kumar for The Wrong Biennale, her ongoing experiments invite us to listen to the residue of what remains - to see practice itself as a form of relation.

*** Words by   with 

Animation design and sound editing 




 

(Closing) that chapter — days of officially engaging with my ongoing research on the fragmentation of memories following...
26/10/2025

(Closing) that chapter — days of officially engaging with my ongoing research on the fragmentation of memories following childhood amnesia (more on this soon).

This piece, titled Pressing Matters #6, didn’t survive the move to my new studio — it broke along the way. Perhaps fittingly so…A reminder that memory itself is fragile, always reconstituting through its fractures.

Do you find it (dis)orderly?



_

FACE, 2024Burnt papers, glass, industrial metal bars, nuts100 x 30 x 42 cmPhotography: Alexandre RamosEditing: .desiree ...
20/07/2025

FACE, 2024
Burnt papers, glass, industrial metal bars, nuts
100 x 30 x 42 cm

Photography: Alexandre Ramos
Editing: .desiree

Pressing Matters  #4100 cm x 21 cm x 29.7 cm Burnt papers, glass, industrial metal bars and nuts2024Photo: Alexandre Ram...
27/06/2025

Pressing Matters #4
100 cm x 21 cm x 29.7 cm
Burnt papers, glass, industrial metal bars and nuts
2024
Photo: Alexandre Ramos
Edited by .desiree




From all its 17 angles,A single burnt fragment, turned slowly—obsessively—through the lens. Photogrammetry as resistance...
23/06/2025

From all its 17 angles,

A single burnt fragment, turned slowly—obsessively—through the lens. Photogrammetry as resistance: to pause, observe, render with care.
These are just a few frames from the hundreds we captured—preparatory work for a future digital series.

Burnt paper—the original material in my practice. Not destruction, nor something without value to be discarded, but an essential form. A residue that holds potential. A passage.

If you look carefully: folds that carry process, layers of black in shifting light.
The surface—crumpled, scorched, textured, fragile.

A not-so-Instagrammable Instagram post.
An anti-scroll.
A meditation on presence, on focus, on resisting the urge to look away.
An invitation to come closer.

Photos: .agaci
Studio: .ateliers

17 ways to look at the same thing.A single burnt fragment, turned slowly—obsessively—through the lens. Photogrammetry as...
23/06/2025

17 ways to look at the same thing.

A single burnt fragment, turned slowly—obsessively—through the lens. Photogrammetry as resistance: to pause, observe, render with care.
These are just a few frames from the hundreds we captured—preparatory work for a future digital series.

Burnt paper—the original material in my practice. Not destruction, nor something without value to be discarded, but an essential form. A residue that holds potential. A passage.

If you look carefully: folds that carry process, layers of black in shifting light.
The surface—crumpled, scorched, textured, fragile.

A not-so-Instagrammable Instagram post.
An anti-scroll.
A meditation on presence, on focus, on resisting the urge to look away.
An invitation to come closer.

Photos: .agaci
Studio: .ateliers

17 ways to look at the same thing.A single burnt fragment, turned slowly—obsessively—through the lens. Photogrammetry as...
23/06/2025

17 ways to look at the same thing.

A single burnt fragment, turned slowly—obsessively—through the lens. Photogrammetry as resistance: to pause, observe, render with care.
These are just a few frames from the hundreds we captured—preparatory work for a future digital series.

Burnt paper—the original material in my practice. Not destruction, nor something without value to be discarded, but an essential form. A residue that holds potential. A passage.

If you look carefully: folds that carry the process, layers of black in shifting light.
The surface—crumpled, scorched, textured, fragile.

A not-so-Instagrammable Instagram post.
An anti-scroll.
A meditation on presence, on focus, on resisting the urge to look away.
An invitation to come closer.

Photo .agaci
Studio: .ateliers

I have been asked many times about the origins of burning papers in my works.The honest answer is I do not remember why ...
20/01/2025

I have been asked many times about the origins of burning papers in my works.

The honest answer is I do not remember why I started this process years ago, but eventually, it felt fitting.

I often grapple with squeezing my practice into a few words, given the many ramifications of the concepts I am toying with—from the multidimensional aspects of human existence and my interest for liminal emotions like confusion and wonder, to the dynamics of freedom, the magical power of words, the absurdities of language, and the mysterious ways my multicultural heritage (Vietnamese, French) is permeating through my work. The list goes on…

Intriguingly, the Vietnamese tradition of burning 'vàng mã'—votive papers—is a ritual to honor and support the deceased in the afterlife. My own artistic use of burning papers, which began as a spontaneous tribute to the continuum of death and life, unknowingly connected with this cultural practice. This was a profound discovery for me.

Moreover, 'vàng mã' translates literally to 'gold code'—a term that echoed with the thoughts I kept having about gold leaves as I became familiar with handling burnt papers, recognizing in both a fragility that demanded extra care. This parallel inspired me to incorporate a mordant, traditionally used in gilding, into my early compositions with burnt papers.

Fast forward to my recent work: I have developed an interest in glass and how it can interact and be used to create these new artworks. These experimentations through various materials and cultural inspirations continue to shape my artistic path, each piece speaking to the fluidity of space and time. 🌟

✨ Works from the installation "Tout Est Bien Qui Finit Bien", 2024

Photography (slide 1):
Photography (slides 2,5,6): Alexandre Ramos

             artlovers                               

This is where it all starts.Some burnt paper.Ready, Steady...Go!Slide 3 *Eric Hobsbawm            
04/11/2024

This is where it all starts.
Some burnt paper.
Ready, Steady...Go!

Slide 3 *Eric Hobsbawm

         

Aloha Everyone, 🤗I am delighted to announce that Atelier Concorde is one of the selected participants in the Lisbon Art ...
30/10/2024

Aloha Everyone, 🤗

I am delighted to announce that Atelier Concorde is one of the selected participants in the Lisbon Art Weekend (7-10 November) 🎉✨🚀
👉 Swipe right to see our program!

😎 I will be presenting a new interdisciplinary installation during our group show, opening on Thursday, 7 November.
Y.O.U.M.U.S.T.C.O.M.E 😘

🙌🙏 A MASSIVE thank you to for the INCREDIBLE work they are doing to support the arts in Lisbon! We see you, we love you! 💗

👉 About Atelier Concorde
Atelier Concorde is a collective and interdisciplinary workspace, founded by a group of artists in January 2010. It currently houses fourteen artists and features a project room for the Atelier's exhibitions and events, as well as occasional residencies.

With Artists: Ana Sofia Sá, Andrea Paz, Diane Giraud, Eunice Gonçalves Duarte, Inês Teles, Irit Batsry, Joana Teixeira, Juliana Matsumura, Lior Eshel, Natalie Woolf, Pedro Faria,
Pinelopi Triantafyllou, Tiago Rocha Costa
And Curator: Alexia Alexandropoulou

 

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Lisbon

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