Tratto da “Fermenti” n. 2/1990
The color green of Enzo Carnebianca is very special, we rarely will find it in nature, in the painted landscapes or in the gamut of greens of leaves or in flags. It is a sideral green, bright and cold, like the green of the rainbows and of the dawns born from the arctic circle, like the green of a oxyhydrogen flame; in other words it is a methaphisic green derived from the surreal projection, a green for the chlamys of Saturno’s Vestals, that no woman would dare to ware unless sure of her beauty. Infact the woman painted by Enzo Carnebianca are naked, with agile bodies, with no gaudy colors, make-up or fancy hair-dos. They have tapering figures and express intense sexuality and a deep conception of pleasure. This pleasure is born and developes in thoughts and is clearly visible in the oblong skulls. So harmonious they don’t seem to be a disfigurament. On the contrary they remind us of the wigs that once used to lenghthen the heads of the damsels of the Enlightement Century, such as Madame de Stael, as the poetess Giulia de Laspinasse, or the paintresses Elizabeth Vigée-Lebrun and Rosalba Carrera. About these women Casanova once said: “If their breasts were as big as their happiness would be beyond men”.
Enzo Carnebianca is very gentle with his creatures, he paints them, he draws them and then transferes them into bronze to grant them eternity.
Sculptor of natural vocation, Carnebianca uses in a masterly way the graver, he is young and full of energy and of feelings, he has his own ideas; he does not borrow them from the critics that make art from their words: hermetic and clerical. His sensibility will make his work more valid. Do not ask him for a hagiografic sculpture, but if the suggestion is tempting, his work will turn out to be a materpiece. As long as it is a subject he likes. Otherwise he will just let the clay dry on the easel.