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TANGLES AND DREAMS
The theme concerns two sides: on the one hand the ever-faster and visibly significant environmental changes; on the other the existential tangles, in an increasingly convulsive modification. It also invests the connections between the two areas either in real terms, in conflict or in harmony, or on the meta-significant level. In fact the words can be reversed: Tangled landscapes, mutant soul; Landscapes of the mutant soul; Tangles of soul mutations; The soul tangled in mutations ... and so on. The existence of the human being and of the Earth, I believe it is under everyone's eyes, is constantly changing, ever wider: like the universe that is growing. Should we be afraid of abandoning nature (itself is abandoning us) or facing mutations with hope? Is it possible to accept an ever less natural (in the original sense) and increasingly technological human life? The works presented are realized through a path both in technical and semantic terms. On the technical side, the freedom to work left to the material used (oil, water, turpentine, tempera, ink, paint and more) is greater than in previous works. This series of works is more instinctive than usual and at the same time in relation to the freedom of the subject to work. What is realized is in the fusion of free actions, of matter and mine. More than of dependency, I believe we must speak of interdependence. Mestizaje. My gestures / signs depend on the behavior of the material on the support and vice versa. The use of a few colors, of those colors, is a precise choice. The only choice. White is obviously intended as purity. Gray as absence, also of "field". Black is darkness and weight, oil. The brown, mostly "scorched earth" (that of Siena), is the environment. Sometimes a little red. And the ocher, with the tones of the aging of linseed oil. The color and sign plots are the attempt to narrate landscapes that report only the inner feeling and seeing. The struggle, the conflict between the pure, luminous and the dirty, dark way; between the beauty of light / spirit and the heaviness of dark oil / matter. The oil and gases that are invading and destroying the world and our lives. The mutation of the world. The signifier is the form, which refers to a content. Compared to the visitor, the works are offered as a search for meaning. I would say that these works can be included in abstract surrealism.
LC_DDS
GRUBS AND MUMMIES
Between the meshes of the canvas the eye lingers on a dense layer of matter that is anything but inert. It seems that the pictorial film lives in a continuous fervor of mosses and molds, entrails and mushrooms. At a first reading the surface is complex but addictive. Escrescenze and pictorial buds appear effervescent, swarming and alive linking a natural correspondence with i subjects that represent: larvae, mummies, shells, insects. As well as its author, this painting is variable in the space of the painted and in the time of its existence, so much to avoid a stable identity for only turn out to be true and its own metamorphosis. Livio Caruso transgresses this sense of belonging to an identity because it believes in constant flow of life and impressions. His work it exists first of all for itself, like exorcism from death and as a fury therapeutic able to extract and order thoughts, fears, passions. Perhaps more than others sometimes we are faced with a painting intimate, far from being exteriorized, indeed literally visceral.
Alice Ginaldi
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