"...One has to walk into a room where the wedding dress
sculpture created by Ms. N. Giulini visually dominates the
space where it stands in order to experience the full, very
profound and disturbing effect of its impact; to truly
comprehend the magnitude of this achievement...There is
meaning in this sculpture that says all of our ideas about
relationships must be reviewed if they are to ever succeed.
What we bring to each other is not some fairy tale filled
with freshly scrubbed chastity but, rather, our true
humanity, vulnerable, tender, often soiled, occasionally
discarded and refound, but always filled with our own
material...See this piece if it is anywhere near you..."
......from Year of Dog, 21: 4: 97
"...In another work, titled Artist's Statement, Giulini has
push-pinned dozens of rubber bands to the wall. Arranged in
the form of a text block, the five rows of sagging ellipses
take on the quality of coded writing in a greeked alphabet,
which gives us the form of language but not its content. It
is indeed an artist's statement. A delicate balance between
concept and materials. An elegant recitation of the
artist's classic admonition about the inadequacy of
language to yield full meaning. With syllables comprised of
only form and color, it spells out the mantra of no
content--Let The Work Stand For Itself..."
......Jake Seniuk in "On
Center," publication of the Port Angeles Fine Arts
Center, vol 1X, No. 5, 1997
"...the most extraordinary work is by Giulini, who
fabricates giant brown carnival figures like medieval
mummers or Miro's Ubu Roi characters from layers of fungal
skin. She cultivates this in her backyard, shapes, dries
and varnishes it before stitching it together..."
......Japan Times, April 13, 1997
"...Cross the threshold of Gallery One and you encounter
Nöle Giulini's Wedding Dress, a gender-neutral sculpture
constructed from recycled men's and women's undergarments.
Hardly a patchwork that conjures up the traditional
lace-curtain circus, these off-white undies have been
through the wringer (they're hand-me-downs appropriated
from friends and thrift shops)...And while it may be OK for
us to air--or even wear--our dirty laundry in
Madonna-or-Oprah-land, Giulini's figure takes you under
(literally) to deeper, less free-spirited, less--for most
of the world's women--free territory..."
......San Francisco Bay Guardian, March 9,
1994
"...I do admire Nöle Giulini's sculpture. Along one wall,
she has a row of untitled puppets made of discarded
underwear on wire armatures. A kind of sexual joke winks in
the idea of underwear rising to perform on its own. These
ungendered little figures are like friendly ghosts of the
social unconscious..."
......Datebook, San Francisco Chronicle,
'Bad Girls in N.Y., '(Dis)Order' in S.F., February,27, 1994
"...As she has in the past, Nöle Giulini steals the
show...Following the classic surrealist precept to make it
strange, Giulini has succeeded in astonishing the viewer
with a simple insight executed to perfection...Other work
of hers, such as slippers and a jacket sewn from banana
peels, address survival issues and the nature of skin as a
barrier between the hostile world and the inner being..."
......San Francisco Examiner, February 18,
1994
"...Also noteworthy are Giulini's puppetlike figures made
of underwear on wire armatures. These are truly silly
things, yet they possess a sense of erotic
ventriloquism--and of underwear's weird mix of anonymity
and privacy--that I have not seen elsewhere in contemporary
art..."
......Datebook, San Francisco Chronicle,
March 14, 1993
"...As she has in past group shows, Nöle giulini walks off
with the honors; here she is accompanied by worthy
colleagues...Tied, knotted, pulled this way and that,
jockey shorts, camisoles, tank tops and brassieres form a
delightful menagerie that also hints at the terror inherent
in metamorphosis..."
......San Francisco Examiner, March 12,
1993
"...At Paula Anglim, four artists shared the space. The
most compelling work in the gallery was indisputably Nöle
Giulini's installation of a suite of dried banana skins,
each with its own meticulously constructed, bandage like
shroud-cumcarrying case. Horrifyingly attractive, these
withered fetish-like lumps suggest voodoo, or maybe the
pious preservation of some peculiar portion of saintly
anatomy..."
......Artspace Magazine: On the Scene: San
Francisco, Sept/Oct 1992
"...Magical procedures happen to be a theme in this show,
too. There is a quality of the fairy-tale grotesque about
Giulini's "Untitled (Bananashoes)." Here pairs of shoes
made from stitched-up banana peels sit atop a row of glass
shoe boxes. The paradox in making shoes from stuff that
symbolizes a pratfall turns to pity for our efforts to
dress up our mortality the better to bear it...The
desperation of the ego's doomed battle with time is
Giulini's theme..."
......San Francisco Chronicle, Three Women At New
Langston, August, 15, 1991
"...Nöle Giulini's notion of metaphor is subversive. Her
most striking work, golden pellets heaped on the floor and
spotlit, plays with the medieval tradition of alchemy that
sought to transform dross into gold...Alchemy has
re-emerged as a powerful metaphor for the artistic endeavor
in the work of people such as the German Joseph Beuys and
the Italian arte povera artists...In her work, Giulini
questions society's values, where surface flash is confused
with depth of meaning..."
......San Francisco Examiner, August 9,
1991