Born in Taormina (Sicily), lives between Milan, Paris and Noto.
Graduated in Geology at Bologna University, he attended the Academy of Fine Arts in Venice studying under three protagonists of italian art of the second part of the twentieth century: Emilio Vedova, Giuseppe Santomaso e Virgilio Guidi.
After a quick experience in Conceptual, during the 70s, -using wax, strawberries, smoke and burned paper- he began an original research that brings him to develop a painting style «where light's energy blends with metamorphism of the material to create remote geological views» as the french critic of Informal Pierre Restany wrote about him.
For the catalogue of a personal exhibition held at Galleria del Naviglio in Milan, the critic Olivier Meessen wrote: «His “sedimentary” painting is structured by several intervents on the canvas, in which colors, oils and pigments are spread with thick coatings, layed one upon the other, buried and then ri-emerged on the surface in various phases (with spatula's scratchings, abrasions, removals, levelings). Matter gives shape to heavy and matt bodies that are going to enliven the iridescent pigments. The lines upon the surface developes interlaced designs, crossroads, interferences, bridges, pathways, canals, blind alleys, mirages.»
During the years he continues the collaboration with the Galleria del Naviglio in Milan.
Rapidly recognised as an artist with international spirit and extent, he exhibited in 1987 at the Samuel lallouz Gallery of Montreal; not even three years later he he exhibited in Sweden. In 2003 he arrived even in Muscat, in the Sultanat of Oman. A stronger and more enduring relationship is established with France, where the artist exhibit his works more and more specially in the last years.
His painting style has been analized also by Achille Bonito Oliva, who curated his personal exhibition at MUDIMA Foundation in Milan and selected him for the collective “Sublime's ways” which took place in 1998 in Palermo.
In Reverie Geologique, Restany's critical text, Lo Giudice is defined as «a “telluric” painter for his bond with organic and visceral nature» and for his «affection for the profound, geological substance of the matter: his unique, global and unlimited ambition is the cyclical marriage between the human being with the cosmic energy: it's the core of Creation, always running over the knife's edge of sensibility, where emotions become the feeding for matter's soul. [...] it's like getting out of a polluted city to regain purity of original nature. A trip with no past nor future into the eternal present of the triumphant geology of our feelings.»
This journey's principal stations are respect for nature and cohabitation with it, issues faced by his paintings, and respect for human being so -aligning with first european Informal artists- the reject for war and it's barbary, as in his sculpture works.
About his sculpture, Lo Giudice says: «With Totem and Primavera's I didn't leave painting for sculpture, it's more a perpetuation of it: I just amplifyed painting experimenting new materials like ceramic».
Since 1989, Lo Giudice brings on a very peculiar research with his Totem series: mattresses burned, slashed, emptied, and then painted with several and plentiful colour (pigment and enamel) layers which simbolize atrocities of war: a recall to a television image about the first Gulf War, where a civil house has been hitted by a rocket by error: rubbles, racked bodies and various common, destroyed object like, indeed, a mattress.
Borned from the need of attesting those events, Totems become the emblem of such violence and at the same time recuperate their original “religious” use as a means of exorcism and protection.
This typology of artwork is enriched, since 2000, with a new variant: the “Dalla Primavera del Botticelli” (from Botticelli's Spring): in this case, the mattress is totally emptied and his primary structure now accommodate a large number of Albisola's ceramic butterflies which represents «The Beauty laying on violence and war».
As an universally reknowed and emblematic symbol of spring, rebirth and evolution, Lo Giudice's butterflies represents the hope that humanity entrust in young generations and in their new consciousness. An awareness based on the fatal errors committed, specially during the last century.
In this way is renewed the experiece of an art that not only esplicate an aesthetic and trascendental performing, but rather remains permeated by the terrestrial and concrete spirit from which comes to life, to better fullfill his duty as a cultural medium between artist and public, history and his interpretation, dream and hope.
In June 2011, the artist has been invited to participate, on the recommendation of Prof. Giorgio Pressburger, at the 54th Venice Biennale, Italian Pavilion - Corderie dell'Arsenale