Tratto dal Catalogo “I sentieri dell’Arte: Lazio” 1991-92
It has been confirmed from the artistic culture of our times, after the anticipation expressed by the artists of the romanticism period, that art is magic, it makes visible what is invisible. Infact through the practical, that discovered the underground and the irrational of man, the artist dominates natures events, and returns the unit of the inside-out-side to the lacerated statements, of the two different realitys, at once far away from eachother. On the otherhand, in a dynamic process there is always a meeting or a clash between the negative and the positive forces. The fenomenum may be compared to the concept that Breton, father of surrealism, made: “two waves that overlap and blend into each other, although they represent to poles”. This is what we can find in Enzo Carnebianca’s sculptures. Although he is conformed to the positive of tradition, in the same time he accepts the trasagression, finding in the negative of the expression the other possibility to take away from art, the sense of codified usual.
It’s construction is tense to give a sense, through the traditional plastic, to the two realities, not only to discover, as De Chirico wanted, the demon in everything, but to recuperate from magic the texts of the past, beyond the finenessa and the pureness of the linear sensation of De Chirico, and in the ambit of the “carrariani” volumes. Infact it’s constructive ability does not go far from the rigorousness of the plastic rules of our tradition.
The referment of the author, as Vico says, of the “Scienza nuova”, will not concern the “abstract metaphsychic” of the indoctrinate one, but more like the “felt and the immaginated” of the first men.
It happened that in his sculptures “the barbarian times” returned, do not reflect the forms of the first barbarian times, but the original magic of the marvelous, to which certain categories of culture, disuse today’s men, reproducted and devoted to the reproposed coming bake rule. Therefore the woman is not crouched in a “fetal position”, even because it’s missing the “martiniana unconstraine substance”, offering to the amniotic liquid the “unfathomble architectual” of her arms and legs, together lengthened and tightened in the deepest sleep. It’s the reason that makes these monsters active, the reason is not the victim. However the skelectrical figures, lengthened in the skull and members, have lost their skin to show the “nerve system”, the invisible movement of the man. His identity is fastened to his jacket, which contains the emptiness, secured by an open zipper; in this jacket Carnebianca encloses (or liberates?) his dreams. So the valance revealer of the dream is in definitive tied to recuperate a form of a certain reality, while the traditional form peels like a skin. There is a strange “unit” that brings of the sense of weirdness and horrifying of life, like a humor, impulsive and liberatory. Carnebianca represents in his paintings a indefinite figure; he paints a woman-man figure, a feline woman that identifies itself in the man, only through eros, because the unity is identified in desire and passion.
Dott. Luigi Tallarico
Critico d’Arte – Perito d’Arte del Tribunale di Roma