Patrizia Biondi’s intricate, quasi-architectural constructions, built out of salvaged cardboard, arise from her interest in contemporary socio-political issues, with a particular emphasis on the relationship between the rapidly changing nature of society and the establishment of global finance as culture.

Patrizia Biondi’s intricate, quasi-architectural constructions, built out of salvaged cardboard, arise from her interest in contemporary socio-political issues, with a particular emphasis on the relationship between the rapidly changing nature of society and the establishment of global finance as culture.

The packaging materials ask the viewer to ponder the notion that contemporary subjectivities are engendered within the realm of consumerism, therefore social relations are increasingly becoming based on the values of economic ambition and competitiveness – which manifest through the ownership and worth of objects. Through this process, the humanistic values of solidarity and empathy, which were once considered the connective tissue of society, are gradually being abandoned and, as a result, traditional concepts of community and the common good are rapidly disappearing.


Our attitudes towards the present environmental crisis, epitomised by the obsolescent cardboard, are part and parcel of this dialogue, as Biondi’s objects lyrically emphasise the criticality of the issue at hand and plead that it be acted upon in earnest.

The materials employed are integral to this narrative, as consumerism, storage, global transport, aesthetic appeal and, ultimately, obsolescence, inevitably point to packaging. Therefore, Biondi makes sure that the packaging detritus employed retains all the characteristics that it was found in, thus rendering the artwork indexical. The marks, the rips, the packing tape, the delivery labels and all the elements that form the lexicon of commerce are left visible or only partially covered by the paint, documenting the entrenchment of economy and consumerism within culture and turning the objects into anthropological relics.

As the making process involves states of cutting and fragmentation, the artworks suggest aspects of fracturing of the human condition, while the melting of the paint seems to question the proxies of art within a global economy that has subsumed every aspect of life – public, private and cultural. However, the gentle and poetic beauty of Biondi’s forms is reminiscent of utopian architecture, therefore evoking ideas of reconstruction and conveying the possibility of reframing our social discourses, with the underlying hope of forging brand-new identities.

Consequently, these artworks represent reality and potential, light and dark, entropy and rebirth. Within this conversation, Biondi views her artistic practice not only as a location of contemporary discourses and future possibilities, but also a site of protest. The endless sifting through discarded rubble, the subsequent cleaning, treating, painting, cutting, slicing, layering and constructing of the salvageable parts, result into a substantial investment of time and labour – the kind of commitment that subverts a contemporary economy that privileges fast, disposable production and efficiency. Here, the avenues to engender alternative, non-alienated subjectivities can be critically explored through the idea of “slow making”, resulting in what Biondi refers to as her “dissident objects”.

Patrizia Biondi was the recipient of the 2018 Artereal Gallery Mentorship Award. Awarded each year to one graduating Bachelor of Visual Arts Honours student from Sydney College of the Arts, the recipient of the award is mentored closely by the Artereal Gallery team for one year and given the opportunity to exhibit their work at the gallery. The Artereal Gallery Mentorship Award allows the recipient opportunities to seek advice and guidance pertaining to and relating to her professional development, the development of artistic practice, exhibition opportunities, art prizes, residencies and artist profiling opportunities.

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Patrizia Biondi, Carton 3 of 3 – Marx & Engels, 2019, Cardboard and paint, 200cm x 110cm x 21cm. Patrizia Biondi, The Clever Cube Guarantees Your Happiness and freedom, Because Flexi Storage Means Flexi Life, 2019, Cardboard and paint, 177cm x 118cm x 22cm Patrizia Biondi, To Ensure an Enhanced Experience for Your Senses, Store in a Cool, Dry Place, 2019, Cardboard and paint, 159cm x 84cm x 15cm Patrizia Biondi, Fedex International Priority Package, Happiness in a Box 2019, Cardboard and paint, 135cm x 83cm x 22cm. Patrizia Biondi_The great enemy of clear language is insincerity. When there is a gap between one's real and one's declared aims, one turns, as it were, instinctively to long words and exhausted idioms, like a cuttlefish squirting out ink - Orwell_2020_Cardboard and paint_44.5 x 57 x 11.5cm Patrizia Biondi_The very concept of objective truth is fading out of the world. Lies will pass into history - Orwell_2020_Cardboard and paint_53 x 42 x 11.5cm Patrizia Biondi_Political Chaos Is Connected with the Decay of Language. One Can Probably Bring About Some Improvement by Starting at the Verbal End_2020_Cardboard and paint_34.5 x 43.5 x 12.5cm Patrizia Biondi, 'It’s a Circus Out There', 2021. Instillation photography by Zan Wimberley Patrizia Biondi_A Dummies’ Guide on How to Eat Raw Onions in Public and Other Tactical Acts of Vacuous Performance_2021_Cardboard, paint_150 x 100 x 14cm_Instillation photography by Zan Wimberley Patrizia Biondi_Richgro, Richgro, Rich Rich Richgro_2020_Cardboard, paint_65 x 82 x 12cm_Instillation photography by Zan Wimberley Patrizia Biondi_It’s All Verdant Fecundity and Sweet Oranges, Outside the Circus Tent_2021_Cardboard, paint_160 x 110 x 15cm_Instillation photography by Zan Wimberley Patrizia Biondi_The Arrogant Frog, the Rampant Dragon..._2021_Cardboard, paint and wood. 70 x 39 x 27cm_and_The Ancient Kingdom Did Not Belong to the Bull..._2021_Cardboard, paint and wood_72 x 47 x 23cm_Instillation photography by Zan Wimberley Patrizia Biondi_Not All Is Lost. We Will Jump Through Fire Hoops to Stand for That Which Is Good. We Will Do Summersaults to Leave a Legacy of Beauty. We Will Tame the Lion of Selfishness and Talk About Universal Love_2021_Cardboard, paint_Triptych. 160 x 125 x 17cm, 160 x 57 x 13cm, 160 x 56 x 15cm_Instillation photography by Zan Wimberley