Bruno Rosada for “Percorsi Paralleli?” (2010)
The 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.