“There is not a more secure way to escape from the world as with art, but also there is no such stronger union” (Wolfgang Goethe)
“There is a register of silence, such as of the stone, of wood, of metals noble or plebeian, of glass, that lays or is erect, sculptured or architectured, that seems to say with the thickness and the density of the material that the body, the body of art cannot avoid death but can challenge it.
It’s from this assumption that Enzo Carnebianca begins his work, he enters the world af art, like a vanishing quest, who leaves deep and upsetting signs. His sculptures hit directly to the heart, with the expressive force, that bring back to the past: evoked, immaginated, dreamed. This work gives density to thoughts and makers the psyche material. Sculpturing, of all arts, is probably the closest to reality in the rappresentation of the world, given by Carnebianca, perfectly in line, it is able to materialize: objects, people, situations, as if they were something physiological, and gives forms to his and our spirits. Enzo Carnebianca is an authentic lover of the material, he works on subtraction. He doesn?t create volumes or forms, but strips the forms and dissects the volumes.
Here he is in front of absolute volumes looking for: the genesis, the soul, it makers me think of “the Mute” the “Whirlwind” the “Chair zith snake”… Authentic modern artist, Carnebianca in the confused millenium, follows the origin of the masterpiece, and it is probably for this that everyone of his sculptures, give me deep shivers. His measures of space is always exact and perfect, as if his hands were an extension of his brain and heart, finally conjuncted. Enzo Carnebianca’s sculptures are never enormous, always tiny, as to confuse the art object with the real object, the eternal with the daily. And this being on the edge of a rasor, makes his sculptures an intelligent way, for himself, as for his audience, to deviate the aguish of life and to lighten the terror of death. His figures are fragile and delicate, at the same time strong and impressive. They are soul containers, open cages to liberate. Spangled with tiny ritual signals. I think of clocks, that seem to emerge from a far past, or prelude to a future very remote. The sculptures in gold are concentrated in a reflex that awakens the unconscious. I would like to talk about the ways, the implications, of the occult possibilities, that the sculptor follows inside the category of the fantastic. Following models such as, Salvador Dalí, Max Ernst, Alberto Giacometti in a not too secret ways, instead in a subterranean way, to Medardo Rosso and Auguste Rodin.
Carnebianca puts together form and contents in a personal way, creating something different. Once again the duality takes form. Instead, if we talk about methaphysic? Enzo Carnebianca’s work is moulded, scratched, stripped from the everyday life. He tries to invent his audience on the road of interiority, throwing the bait, and suddenly pulling it back. The author wants to liberate himself from the anguish; as Herman Broch says, “What leads beyond psychology is an anguish phenomenum”. In a matter of fact, everything that happens in this world, needs to fight over the anguish, the only methaphysic, undomed and irreducible anguish of life that takes over the man, when he is in front of death. It may be quieten only when he beings to intuite the connession between the mortal and the infinity of the cosmo. The work of Enzo Carnebianca is domed by the right and the wrong, between the being and the becoming, between dreams and reality, and from this fight art is born. The body, the objects, the masks are tou ched, explored, sectioned by the sculptor. Carnebianca leaves on the worlds patch path, small stones with his signature, in a generous public diary. Real artists are always generous. So the design of a butterflies wing or the fashion of the spell, and the sinousity of “The Kiss”, or the arcane of “The Mask” with the simplicity, with the lyric heroical, have the same matrix, and come from the same identical need to overcome the reality, to win death.