Mar
28
2022Carla Erizzo è pittrice versatile che, nella piena consapevolezza dei movimenti e mutamenti attraversati dalle arti visive, ama sperimentare più stili e modalità espressive oltre che differenti tecniche pittoriche transitando agevolmente dal figurativo all’astratto.
Il suo pennello declina sulla tela delicate campiture chiaroscurali, intense macchie di colore che si trasformano in immagini di biancheria stesa ad asciugare, di vecchie finestre, di barche abbandonate. Con sapiente tratto impressionista ottiene suggestivi effetti di luce in accecanti candori e cromatismi di grande espressività che spiccano su sfondi cupi di grigio o di indefinito chiarore.
Nei dipinti qui presentati ha scelto come tema Venezia, ma non la Venezia internazionale, affollata di turisti né quella dei gloriosi monumenti della Serenissima.
È una Venezia inedita, quasi sconosciuta quella che ci indica, che pur mutando con il mutare delle stagioni, mostra una insita pacata tristezza. Una Venezia decadente, intima, dimessa, di angoli nascosti, di case fatiscenti, di muri screpolati, di sedie vuote, di poveri panni al sole stesi come emblemi di una miseria occulta che gli antichi gonfaloni della grande Storia e i maneggi dell’industria turistica tendono a celare.
Ed è talmente stridente il contrasto tra questa e quella da risultare quasi sconvolgente nelle nostre coscienze. E soprattutto, e ciò è ancora più toccante, è una Venezia solitaria.
Solitaria perfino nei sagrati delle sue celebri chiese candide di luce splendente, disertate dagli esseri umani.
Solitaria specialmente di una solitudine intima profonda esistenziale che rimanda ad Edward Hopper, alla malinconia e all’angoscia degli uomini nella società contemporanea. Le rare figure umane sono accennate appena.
E l’uomo è solo, immobile di fronte al suo sogno di felicità che si allontana come un panno rosso che se ne vola via.
YVONNE CARBONARO
Sep
20
2017Fin dalla sua formazione, Carla Erizzo elabora una particolare ricerca pittorica che affonda le sue radici nella tradizione tonale veneziana e nella più ampia cultura artistica di matrice “impressionista”.
Lo studio dei materiali e le procedure acquisite durante la lunga pratica di bottega consentono di elaborare un personale “modus operandi” e di costituire le fondamenta concettuali del suo pensiero. Lontano da qualsiasi intento anacronistico, l’artista individua nel “lavoro di bottega” il luogo privilegiato in cui sperimentare e ricombinare pratiche antiche e moderne capaci di esprimere nell’opera d’arte una personale interpretazione della realtà contemporanea.
Le singolari strutture compositive, i densi impasti di pigmenti, le ricercate tonalità cromatiche costituiscono gli elementi di una sintassi pittorica elaborata nel tempo. Attraverso la libera sperimentazione dell’artista, le pratiche del mestiere, gli antichi telai, le tele consumate e reimpiegate acquistano un nuovo valore nell’attualità. L’opera quindi nasce da un processo dinamico in cui ogni singolo elemento costitutivo può veicolare sempre diversi significati grazie alla particolare continuità tra il passato e il presente. Le infinite suggestioni visive della vita
quotidiana si caricano di una singolare forza espressiva tramite la ricercata gamma cromatica e la lavorazione dei materiali. Gli scorci veneziani, i panni al vento nelle calli, i particolari dei passanti spesso vengono trasfigurati dai colpi di spatola che si susseguono velocemente creando vibrazioni luminose e costruendo arditi tagli compositivi. La densità delle stesure pittoriche varia continuamente sulla superficie della tela creando infinite suggestioni percettive ed emotive. A volte le campiture rompono lo spazio come lame taglienti, sezionando le forme e delineando l’architettura dell’opera, a volte invece il colore si espande sulla superficie quasi vaporizzato creando un’atmosfera fluttuante e impalpabile. La luce si materializza nel colore fino a giungere alla massima intensità nelle dense stesure bianche che attraversano e intersecano i piani cromatici. La “materia luminosa” trascinata dalla gestualità dell’artista diviene l’elemento primario e strutturale che costruisce le forme e definisce lo spazio. I riferimenti visivi al dato reale e naturalistico si stemperano e i dettagli a volte si espandono su tutta la dimensione dell’opera. La tela di supporto diviene materia che interagisce con i pigmenti, sia quando la trama del lino emerge tra le diverse stesure cromatiche, sia quando i ritagli di recupero vengono applicati sulla superficie come sigillo e marchio concreto dell’artista. Nella varietà della produzione di Carla Erizzo, emerge la volontà di superare la netta separazione tra le categorie artistiche, tra figurativo e non figurativo, senza dichiarare esplicite rotture con la tradizione. Il suo lavoro sottolinea la complessità del processo creativo capace di rinnovarsi nel libero dialogo con la cultura artistica del passato.
Roberta Gubitosi
Nov
16
2011Formed in the study of his painter father, Carla Erizzo shows particular sensitivity to color, visible in the Venetian atmosphere immersed in a vibrant light. Since the first works, the artist’s research focuses on the analysis of light as pure, disassembled and reassembled, reaching almost abstract outcomes. Beams of light, sudden flashes break and shape the space that expands like a fluid matter, beyond the two-dimensionality of the support. The strokes of the spatula are moving very fast, creating vibrations of light, which make visible the forms and simultaneously appear to absorb increases as their intensity.
Significant in this regard are the series of paintings that mark the artist’s artistic career: My Venezie, sensations of water, of light and reality, parallel paths. Inevitable is to note the references to tonal painting and Venetian culture matrix Impressionist, especially in careful recording and in the decomposition of the changing effects of light. According to the laws of visual perception, the light itself is invisible and is propagated through space in every direction making things visible. For these reasons, the light has often been thought of as an entity in opposition to matter, solid bodies, standing in the way that the direction of its rays, they are illuminated.
The latest works of Carla Erizzo represent a new and evocative reflection on the relationship between light and matter. In the pictorial research of the artist, it captures the intent to materialize in the color of the light in such a way as to make the latter fluid entity with its own structural function. If you look at the work inside with bottles, light is a visible, with its own physicality and corporeality. Flow almost at full intensity, the light thickens, becoming the material that builds the forms and space. The objects, bottles, they seem evanescent, shrouded in the “luminous matter”.
Presence in the masses break space as bright and sharp edges outline the architecture of a figure immersed in a fluctuating and intangible.
The light moves away from the contingency of natural fact, and becomes applicable to structural work: the space that is defined visual distorts reality, to evoke another dimension, sometimes almost mystical symbol of an inner reality.
The works of Carla Erizzo show the consistency of his research, able to free the eye from the habits of perception and innovate processes acquired. In lyrical balance between figurative and non figurative, show an intimate and emotional reality whose boundaries are increasingly difficult to perceive and control; the artist can only grasp some fragments In the practice of the creative process.
For Carla Erizzo action is not designed nor rash: is accomplished through a gradual accumulation of experience and refinement in the course of doing. Significant in this regard are the words of Mark Rothko: “The paintings are to be miracles. The completion marks the end of intimacy between creation and creator. The artist if he finds out”. It’s simple and perfect description of a creative process where the artist is one with the canvas and only the conclusion the work becomes an autonomous reality, ready to emerge as a revelation to the user open to infinite interpretations.
Roberta Gubitosi
Nov
16
2010The latest paintings by Carla Erizzo.
It ‘a fundamental problem: innovation consistently; progress without deviating. And ‘what he does in his painting Carla Erizzo. Some years ago I wrote about her with the title “Tra Luce e Realtà Erizzo Carla’s painting”; now considering his most recent find that in light of the fact he had nothing to add and edit: there was and remains a absolute rigor provided with an intense emotional charge. The light in his paintings is the result of a shrewd and chromaticism communication, where the design and structure play a subordinate. Continuing the line of tonal painting of the Venetian Renaissance, Carla Erizzo was able to take in this respect the best that has produced the twentieth century, especially the non-figurative of the twentieth century.
But where we see a deepening conceptual painting in the definition of reality, which manifests itself more specifically as a subject. One subject from the outside, as it should matter in the real painting, but intrinsically it, if we can play with words I would say, a material matter.
Moreover, the term reality, especially in painting, is cloaked with meanings that are normally a function dissimulatrice: just think of all the nineteenth century impressionism, a reality that we ammanniva illusory and deceptive, whose magnitude was in the alteration. Thus we speak of “matter”. But the pictorial at this point takes on new meanings and different values and trust in a key element in the structure (here the structure is so important for the “stuff”, not for the light), with two strong complements, the ‘ dedication and figurative presences, which together constitute the meaning of the work.
The dedication. I’ve already written about Carla Erizzo (and a few other artists): “Octavio Paz wrote (speaking of Duchamp), which are becoming increasingly important in modern titles of the paintings. I think the title is the other half of the picture, the hidden meaning, hidden and revealed at the same time the representation. ” But here in these later works there is something to add here because sometimes the naming merely clarified the meaning of the pictorial, describes and summarizes how it can be a title such as “Sailing Lessons” or ” In daddy’s arm “(but already in the latter context that is said in English suggests an emotional element different from what might be” In the arms of the Father “). But mostly for other works, the title says a lot more, take a deep conceptual meaning, such as “yield” or “alternation of mood” or “Come on, get up” and somehow continues and expands the meaning of the picture .
And we come to the figurative presences. We’re coming from a century of painting
Non-figurative and do not appear bold or controversial to recognize that while many so-called potential of abstraction were nearly exhausted. Already with Rothko (who died forty years ago) producing non-figurative seemed to have reached the maximum level possible. Going beyond that time was already difficult, perhaps impossible. Nor was it easy to return to figurative, from the end of the nineteenth century had been evolving in Europe, except for the overly static socialist realism.
Carla Erizzo deals decisively with the problem by proposing a solution with the figurative presences in a substantially non-figurative painting. This gives to his works, and an aspect resolution, as well as a very intense emotional content.
See for example “Sky Driving”. The red cars all are immersed in a reality that the title suggests, the clouds of heaven. But this cloudy sky is a successful experiment in abstract art. The work seems (and to some extent is) the realization of the thesis of Wilhelm Worringer, in “Abstraction and Empathy”, which dates back to 1907, which is perhaps more relevant today than then. The term “empathy” which translates a little ‘about the German word Einfühlung indicates a kind of harmonic condition, an intuitive understanding of the natural world, and Carla Erizzo harmonizes in an organic unity produced by the structure and coloring, the red cars and those clouds.
Similar is true for many other works: Consider for example, “Alternating mood.” The reality is fully recognizable: heaven and earth. A star in the sky, a human figure on the ground with his arm raised, but the star is unsound, the earth is blood red, barely recognizable human figure, and the sky furrowed by numerous thin white marks that seem to be traces of paths a series of confused and disorderly heavenly bodies. Here the reality of the landscape and figure fade into the background overwhelmed by the conceptual meaning of the work that somehow wants to report the cosmic chaos and human suffering that produces the indignant protest of the raised arm. Exegesis but could also be different. The lability of the things they lived for up to dive over into total immateriality: the perception of appearances seems to be the only element of external reality, that softly says: I am, though. But constantly alludes and refers to another reality.
In “Come on, get up” the reality is even more disguised by pictorial form that has the upper hand and is loaded content is primarily emotional. The gloomy light, which brings out the white center, assumes considerable importance for the transmission of data here more emotional and conceptual.
An interesting document is “The Challenge”, the only work of Carla Erizzo compartments developing a highly conceptualized and articulated speech. The challenge is in an industrial world polluted and dark, foggy, essentially inhumane, natural world and a clear, sunny, which fully reveals the beauty of nature. Here the game of abstraction occurs in the blanks and once again a mainly psychological, underscore concepts.
A final consideration, almost superfluous, which applies to almost all of his works. His paintings are also beautiful. That is, no. Belli is a tricky word, no one should ever use for a work of art, either literary or pictorial. Let’s say you are very nice, they’re in a room well furnished. The important thing is to realize that they are also something more. One could continue with the examination of all the works of Carla Erizzo and would find a given constant thought. Behind the appearance there is a pleasant thought, every picture tells more of his image, each painting reveals and conceals at the same time a profound thought, a strong emotion.
Bruno Rosada
Nov
16
2009Review of the pictorial art of Carla Erizzo.
Carla Erizzo Venetian birth, comes to painting about twenty years ago, but over the last ten that her personality emerges in a consistent manner at the end of a long maturation process, which started at his father’s workshop, renowned painter, where the young artist not only learn the techniques (which later perfected alongside a teacher like Sandro Parenti), but, more importantly, is seduced by the color.
Mix the pigments, domestic servants and funds to prepare the canvases of his father, gives birth in her an almost visceral relationship with the pictorial substance, which will remain as indelible mark of his artistic language, proving in this daughter of the great Venetian tradition.
Of course an artist is that, when associated with the technical expertise, “the trade”, with a particular sensitivity and communication skills. In the work of the painter of these two elements come together perfectly on the common ground of a fabric of pure color and material, which is the emotional base from which stem forms.
You can not separate the “language of color” by Carla from his birthplace.
It is the lagoon environment characterized by the kaleidoscope of colors and reflections of light that has always fascinated generations of artists, to be the primary source of inspiration for the creations of the painter, but we are far away from the idea of ”view” .
In the series: Le Mie Venezie, recovery en plein air, turns to deep interpretations, I would say emotional because of the pure perceptive enough to achieve naturalistic color and formal at all and always different.
Flying is the case of Venice, where the apparent perspective construction is immediately contradicted by a choice essentially monochromatic tones of blue and blue, lit here and there from “almanac” of warm color, which solve the composition of the two-dimensional plane of the canvas, with results not far from Paul Klee.
Or in Rialto (which is part of the same series), where the juxtaposition of warm and cool tones, data through rapid brushstrokes and thick, to vibrate and shake the surface shapes as if they were hit by a powerful force.
Finally in the second half of San Marco or the Health, where night-light flashes of color forms, evoked by brush filaments of silver light and almost metaphysical.
The reflection in the mirror because of the emotional reality, is the reason that dominates the series of sensations of water, where the energy flies free like the wind that moves the sails, and vibration of the surface water of a thousand colors, as Wandering into the sea, where the whirling evolutions of racing sails, we are returned in a swirl of yellow lights and watery tone, or reflexes (justly rewarded work), where the dynamism is likely to erode the forms, touching outcomes pure color abstraction.
The following series: Between light and reality, or parallel paths, marked a more mature phase and introspective artist. Here Carla did the pictorial language of the fast and thick brushstrokes and bold combinations of tones, but somehow still bound to an external naturalism, is now called to follow tortuous paths within, where the shape becomes an increasingly important role.
The figure, as always in the artist generated by the fund, is now isolated. In some cases emerges slowly, retaining the translucent texture of a profound and poignant memories, like a mother figure, others must be observed as a disruptive force: In daddy’s arm, or the yield, where strokes of dark color charge of the dramatic tension ‘image of the man dropped to his knees.
There is undoubtedly in painting Carla Erizzo something deeply sacred in the sense of a great respect for the human figure, seen in its universal essence, where the boundary between one and many of form and abstraction, is too thin to touch each and remained in a sophisticated balancing act as the Guardian Angels, perhaps the most visionary work, which echoes trace Correggio and even baroque, however, interpreted with contemporary taste and sensitivity.
Carlo Piga (art expert).
Nov
16
2006Flashes of light, color expansion, soft transparencies, and finally, magical reflections. The sensitivity of pictorial Carla Erizzo proceeds with delicacy of touch fluid brushstrokes, the incisive summary of spaces, in the delicate forms of transfiguration. The exhilarating experience of painting is in Carla Erizzo genuine inspiration.
Dec
03
2004Tra luce e realtà – the painting of Carla Erizzo
Why do you paint? Painting is always a cognitive act, a way of exploring reality, which can not be exhausted, or that does not mean that you should run out, in view of the outer surface of things. And then Carla Erizzo decided not to go beyond the framework, not behind it, as it did for most of the twentieth century, but this side of, in that light that makes things possible, visible, and it is an exploration that calls the viewer to work the vision to participate in the framework of the bill with an essential, clear vision and the stimulus to mental associations.
Carla Erizzo is the daughter of art. I do not know if that means anything. I do not think much to the chromosomes and DNA, I think most of the environment, education, family, individual talent. However his father was a painter. It was an expressionistic flavor of things. Expressionism is always a good starting point. There is respect for reality, and there is the decisive intervention of the subject, tell the artist, which overlaps with that reality, distorts, manipulates, inert matter as long as it is aware of the existence of ‘ artist, recognizing its presence. Yes: it is the matter of man to notice. And not vice versa. And Carla Erizzo (a great degree in Economics and Commerce) to the death of his father decides to continue the work, the stock market refuses to deal with more, if anything, the listing of its cadres. It builds on the experience of his father. At oscillates between impressionism and expressionism, which are not always so divergent as they would like the words. He remains fascinated by Rothko. And a little ‘time to realize that things are not without light. What is the light that brings into being, and his paintings began to writhe on the dialectic between color and light that inspired so many painters of the twentieth century, for example Guidi. The result of the receipt Carla Erizzo also seems a play on words, but there it is: the result of the dialectic between light and color is the brightness. His paintings have failed to represent something, trees and hills homes, deception usual, said Montale, to represent themselves as glow, something very similar to the almanac of Montale, notes, or fosfemi Zanzotto, but seen and decided one wants to represent them graphically.
But his paintings have a name. Octavio Paz once wrote (speaking of Duchamp), which are becoming increasingly important in modern titles of the paintings. I think the title is the other half of the picture, the hidden meaning, hidden and revealed at the same time the representation: reflections, The crack, racing at sunset, red sails, I can continue: are the titles of Carla Erizzo. But search this meaning hidden and revealed, is that first of all, you can see from their titles, to Carla Erizzo things exist, are therefore not a deception, even if they are not represented there. So Carla Erizzo goes beyond the twentieth century that had denied their existence. But it is not, and do not represent them is a clear choice, a way of working, which leads to further knowledge in an ongoing research effort. Then there is the clear consciousness that the relationship with things is guaranteed by the light, and that color is a mere tool of realization of things.
At this point would be enough to eliminate things. So no need to make a painting. But you can. Just do not represent them.
Bruno Rosada
Nov
16
2001Sensazioni d’acqua
The Venetian painter Carla Erizzo, daughter of art, while being an artist of many talents, however, proves to have been able to achieve a personal style and well-defined connotation, especially in the ascendancy of abstract works.
The path of Erizzo has been inspired by a clear depiction of typical Venetian school. The painter has in fact reproduced the works of the masters painters while introducing subjective elements and not present in the original paintings.
He learned the technique of color and composition at the studio of his father, the famous Venetian master, soon showed a remarkable ability to sign and design and a great skill in the rendering of light and landscape composition as a whole.
Here is reproduced and proposed the famous views of the Grand Canal and Venetian canals, full of boats, historic, and people intent on fishing to hunting in the lagoon. Here are the buildings overlooking the Channel, patiently painted to the finest details, here is the double-and triple lancet windows of the churches and all the airiness and lightness of Venetian Gothic.
But it is in abstract paintings, as I said before, that the Erizzo expresses herself through.
The dominant theme is that of water, something to which the artist is very close, being born and having lived in Venice, a city of water.
The ancient craft here become the great sails blowing in the wind, in a geometric decomposition of the image that could remind the Cubist lesson.
The large colored occupied zone and put together, create bold massing and pronounced penumbra effects.
The tones used are rather bright, as if to emphasize the movement that characterizes the subjects of these paintings.
The wind, water, everything explodes in their vivid palette of colors, expressing joy and merriment, fantasy and stylistic research.
Carla Erizzo is a young artist, but already well established in the local cultural landscape and in the overseas market.
It’s a new Venetian promise.
Piera Piazza – November 2001