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Diane Giraud
Visual artist / Site specific installations -
LIsbon, Portugal
Diane Giraud is a visual artist, born in Paris (1976), France.  With a particular interest in immersive site specific installations whether as a piece or a means to deconstruct format and presentation for art, her projects stems from a study of language and an inclination towards storytelling using a variety of media including painting, sculpture and creative writing. Collaboration is also woven in her practice. For her latest installation ‘Splendid stories of Disorder’, she invited her artist friend Aurélien Rivière to produce a soundscape titled ‘Time does not exist’. Giraud first graduated from the Université Paris X Nanterre with a Master's degree in Business Law. She then had a stint in the corporate world before pursuing her creative path, studying oil painting and drawing at the Ateliers des Beaux Arts in Paris. She subsequently moved to London to attend Camberwell College of Arts followed by the London College of Fashion where she earned a BA (Hons) in Fashion Design Technology and a Diploma in Handcraft Tailoring Menswear (Savile Row techniques). Naturally drawn to experimentation and craftsmanship, she honed her skills in the couture ateliers of Alexander McQueen, Boudicca and Giles Deacon and worked later as a Senior designer at an influential fashion design agency. Ten years after she had arrived in London she decided to quit her job to engage again with her artistic practice. Since in Lisbon she has shown and collaborated with Museu Nacional de Historia Natural e da Ciência (MUHNAC), Lisboa, Portugal; FOCO Gallery Lisboa, Portugal; Fernando Santos Gallery, Porto, Portugal; Centro Cultural de Belém, Belém, Portugal, Underdogs gallery, Lisboa, Portugal.
  Over the last couple of years Diane Giraud has been focusing on a series of works presenting compositions using as raw materials fragments from the burnt pages of books, ashes and transparent tape. 

The pervasiveness of language in setting-up thinking patterns, the exploration of time as well as the recording of memories that all encompass one self are a few of the concepts that animate these pieces.

The artist chose to burn books from her personal collection including literary novels, scholar books as well as carefully picked magazines. In some of the canvases, remnants of the original pieces though barely recognisable pop out in fragments of wording or imagery.

 Never complete, they are left for the viewers to discover and wander in these unseen existences, juxtaposing metaphors of life and death in an attempt to demonstrate that everything is everything.