About me

“…She was the newest member in the foundry: she had to study first. After the arts high school, she attended the sculpture course at the Academy of fine arts in Florence and graduated with the highest mark cum laude. Some said that she was skilful, but I thought that she was even better when, after finishing her studies, she occasionally worked with me. The routine, the repetition of the same gestures each day, may incredibly lead to the revelation of a miracle, something that we didn’t know before; who knows how many times this has happened!

Her real school, as happed with me, was the foundry, a place where you learn and gain experience through practical activities and teachings.

Sarah’s sculptures reflect her desires, expectations and conception of the world, or rather as it should be. A world suspended between game and the absurdity of life. Among doubts and certainties, she has followed her path, one footstep at a time, not necessarily in the desired direction, but always and inevitably ahead.”

“… Sarah has precisely followed in her father’s footsteps, her artistic skills are deeply rooted in the fertile ground of her family…”

“… The foundry that belonged to her father and, even before to her grandfather, is the place where Sarah’s talent has been enhanced through the contact with the principles of this profession, listening to and observing many sculptors at work – both professionals and amateurs – absorbing the different creative approaches with the simplicity of one who lives art, and is one with it; there is no better place for her, nothing like a foundry which recalls the ancient workshops…”

“… I have known Sarah for many years, yet I realize only today – when I observe her works with different eyes and a greater attention – that many aspects of her personality as a woman, mother and artist are still unknown to me…”

“… Sarah’s favourite subjects are all linked to her private and emotional sphere, and are portrayed in a friendly and protective context. In her works, the alternating presence of strength and fragility stresses and reveals the delicate essence of the ever-changing sensitivity of an artist. As in life so in art. Her favourite subjects are female and male characters, regarded as the indivisible elements of a couple, like two human beings who live in symbiosis all the moments of their lives and recall them through their memory. Moreover, I love Sarah’s creations concerning motherhood and travel, where hats, shoes and suitcases symbolically and ironically remind of life, intended as an  inevitable evolution as well as a necessity for the heart and mind to always hope for another travel sometime in the future.

Sarah’s sculptures are an act of love for her world. A world which looks like a floating microcosm coming from a faraway place, able to survive the changes of times, sincere and solid, where the ancient traditions are not rejected but revisited with the unbiased awareness of one who has the key to read the intrinsic reality of an authentic poem…”

“… When I met Sarah, she was a very young student at the Florence Art Academy. At the Meleto Foundry, some sculptures were leaning on the stairs and I asked myself who the author could be. They were made by Sarah. These works somehow recall the atmosphere of Paris in the 50’s, with an expressive material far from expressionism. Sarah is always calm, she doesn’t let the emotions get the best of her. At the end of her studies at the Academy, she probably had no alternative. She decided to follow the path designed for her like the lines on one’s hands…”

“… Today Sarah continues to create sculptures, even large ones, and she is lucky somehow, because she is able to take whatever is coming. Her last works show a sense of happiness resulting from youthful charm and bright colours, like those which enliven the foundry after the birth of her children. Meanwhile, in fact, Sarah has got married and has two children, Manuel and Luca. When I think about the concern of the youth for their future, I find a pleasant positivity in her eyes, as well as in the eyes of the people like her. Sarah’s talent is already mature; it was so already when she attended the Academy. ‘Artists are born’ Totò said, and even during her daily work at the foundry, sometimes particularly boring, like keeping accounts, the fruits of her imagination unexpectedly appear here and there, whose maturation hasn’t been foreseen by anyone…”

The works of Sarah Del Giudice recall the Dancers painted by Degas, as well as Arturo Martini, Marino Marini, Alberto Giacometti and Marino Mazzacurati, both for some formal references and for the common bronze technique. Del Giudice believes that it is impossible to separate the creative aspects from the technical ones, especially because the in-depth technical know-how precisely helps the artists express themselves: in this case, the technical skills act as the instruments underlying the communication of thoughts and feelings … On the one hand, I consider the practical and technical issues (it is a professional bias), then, on the other hand, I tend to focus on the creative and intimate aspects of the idea leading to a sculpture. In another statement, the artist describes the nature of her art: “I started with an academic approach, then shifted to a funnier and ironic stage: I may seem to take things lightly, but actually, as my acquaintances may declare, I rarely behave so. take hardly ever anything lightly. I began a thorough investigation of the body, including the anatomical drawing and the study of the human shapes based on posing models, then, over time, my attention shifted towards the emotional aspects; an attitude, the verse of a song, a painting or the title of a portray, the posture or gait of a person may strike me.” All this leads to works such as: Il primo bacio, Progettando, Scarpe grosse cervello fino, Colloquio sul cappello, Viva l’Italia, which may look ironic and “light” but actually hide a sensitive poetic inspiration.

The Del Giudice family is one of the greatest creative examples in our territory. It can boast a centuries-old artistic tradition which relies on proven inventiveness, imagination, manual and technical skills. The town of Greve in Chianti is fortunate to be able to count on this extraordinary resource. Sarah and Giacomo, the latest generation of the foundry, are two brilliant and promising artists who put all their skills, generosity and love for the territory in this work. Their art, in fact, has a “public” vocation. After the creation of the bronze statue designed by Fuad and situated some months ago in the Tirinnanzi Piazzetta square of the main town in the area, they now debut as designers and present their first work, this beautiful medallion intended for Panzano, and in particular to one of the most popular places in the country. Well done Sarah and Giacomo. We all root for you …”

(during the official presentation of the Bronze Medallion for Panzano in Chianti)

The first works of art of Sarah Del Giudice already show different branches leading, on the one hand, to the classic lines of portraits – like “Silvia” – and, on the other hand, to modern installations, such as “Riflessi in strada” made of a combination of spoons, and “Giubileo”, a series of many small plaster busts (…) Since the very beginning, Sarah has proved her ability to follow an ideal figurative path, without getting lost in the infinite possible directions, through the use of different materials, including wood, plaster and cement; she often focuses on the intimate emotions of the character instead of its appearance.