“I don’t often make work for its end result. I make work to exorcise the former perfectionist in me. And as much as it creates discomfort in me when I make it, I revel in the idea that the viewer experiences an equal and opposite discomfort.”

Francesca P. Giuliano is a London-based contemporary artist. Her practice is centred on portrait of place and self, and addresses two interdependent interests.

Both interests draw on her background in Experience Design and involve the manipulation of perception, comprehension and decision-making.

Giuliano’s first area of exploration is how different instances of self, time or place help build a single persona, story or world. Especially when those instances are fractured, disrupted, or interfere with each other.

Rooted in process and self-imposed rules, Giuliano doesn’t often make work for its end result. So her second area of consideration is the mechanics of her practice which aims to exorcise the former perfectionist. As much as it creates discomfort in herself while making, she also revels in the idea that the audience experiences and equal and opposite discomfort while viewing her work.

These two interests loop around and connect to each other in iterative cycles.

Giuliano creates material and immaterial installations using ingredients such as her household detritus, personal possessions, the spoken and written word, found footage, schematics, speech-to-text transcripts, screen captures, re-enactments of memories, and data generated from making her work. These are driven together in ways that sometimes complement and sometimes resist each other.

At the core of Giuliano’s process is the push and pull between creating by design or by intuition. Between making work that is considered versus working without thinking. Between engaging the decision-making conscious or not.

She has a desire to make work purposely difficult to appreciate and even uncomfortable to view. At the micro level she creates discomfort in herself, both in the production of her work (e.g. with low fidelity tools) and in its display (cacophonous soundscapes, letting the back show). At the macro level the discomfort emerges from the endurance of making longitudinal works in multi-year series based on defined rules that are often broken.

This tension circles back to inform the materials, the techniques, and the production values used.

In turn this has led Giuliano to new paradigms for showing work, asking if it matters how work is shown and whether it is seen. A recent group exhibition, Unfinished Business (2021), was in a shell house only accessible by appointment with an estate agent. The data she collects about making her 900 Self Portraits (2019ff) assemblages is available in an open-source spreadsheet. Giuliano actively seeks out alternative locations, both physical and digital, in which to activate her work.

Giuliano holds a Graduate Diploma in Fine Art (Chelsea College of Art, UAL), an MSc in Human-Computer Interaction (UCL, Distinction), and a BA (Hons) in Media Production (Bournemouth University, 2:i).


As a collector, Francesca P. Giuliano is focussed on contemporary women artists and seeks to build a rapport through a genuine interest in their practices and ways of thinking. She numbers Fleur Deakin, Elspeth Hamilton, Lindsay Mapes, Alicia Velazquez and emerging artist Claire Palmer in her collection.


Download Francesca Giuliano’s CV here:


If you would like to know more about Francesca P. Giuliano’s work or arrange a studio visit, please get in touch using the contact form, or message her on Instagram @francesca.giuliano.here or on Twitter @GiulianoHere.

Self-portrait on pink paper