Mostra antologica Enzo Carnebianca National Museum of Archeology

Enzo Carnebianca’s surrealism is rather curious, so mixed with his visceral and resentful moods that he allows this to drag him into real a “kitch” ostentation, a much wanted screeching of colors, with the programmed monotony of the opposition of the reds and greens, that just accentuate the atrocious sense of decay, the agony and lengthening of the figures and arts. Something that could bring to mind Belimer, but without his morbid sensuality, or maybe one of the divulging reasons of surrealism, like Labiss and the likes of him. All this with an accurate way of painting but with something slippery, slightly macabre that could be displeasing at first sight. Things change completely when we go from Carnebianca’s painting to his sculpting. It is my opinion that Carnebianca is a painter by will but a born sculptor, endowed with a very subtle plastics but at the same time rather vigorous. In 1984 Vito Riviello already had this intuition and wrote ?the proof of his artistic lucidity is in his work as a sculptor, in which the genetic line of his research emerges”. It is in this sculpting, with much sensitivity and a lively plastic sense, that those motives and themes that appeared to be shown-off and maybe forced, take on the full artistic form. No more macabre and clashing colors, but an exact measure of time, a pungent and linear ductility in the modelling, an elegance of styling that remind us of the liberty examples of Wildt, surrealistic symbolism that is resolved in a very original way, with cadences and aerial dancing rhythms, without his drama being in any way excessive. Surely the sculptor’s themes are on more tender and sweet than those of the painter; the fact is that the anguished metaphor of the alienation and “emptying” of man, finds a perfect sublimation in sculpture, a sure plastic form. The snake-man, a man reduced to an unfastened or oversized reefer, the figure on nothing in a foetal position abandoned like in death, the serpentine heads that gush from a cracked egg, all become reasons for a discourse to be conducted without leaks and dribbles on three-dimensional images. Horror is automatic, but the perfect form exorcises it, giving a fitting description without sentimentalism. In a purified way all is transformed, quoting Shakespeare, ?in something rich and strange?, perfect definition of the ?object-sculpture?. Thus the snake-man, without giving up his identity, becomes a very elegant doodle in space, (space defined above all with great technical ability), making the man or woman-reefer a grand spatial idea, involving the space in the work and the space outside of it; signifying a knowing way of drawing from one of the essential conquests of modern sculpture. In Carnebianca’s sculpture the subject matters, but it is entirely subordinate to the form that controls and dominates it. This means that the sculptor, still young and therefore has all of his career in front of him, has by now reached a very effective and perfectly mature style of his own. One would think that in a near future he shall be able to give us even greater trials.

Cesare Vivaldi