Review 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).