I am interested in highlighting more than Carnebianca’s volcanic workmanship, riddled by urgencies in many ways esoteric and with hedonistic and sensual delays, the objective quality of his work. The formal solutions, in fact, may appear, at first sight dictated by a constant desire for novelty, for the gusto of morphological anomaly and by the fear of any worn standard, they declare themselves as art results worthy of respect; and they make this strong and fresh creator a live and significant presence, in Italian sculpture, who has taken his distance with equal measure from the naturalistic mimesis and arbitrary gratuity. The risk that Carnebianca is running is that of “intellectuality?: wanting to overload with ?intentions” his approach to volume. It is the vocation, dramatically associative, that harmed, as we know, the ?pontisti” of Dresden. There is in the roman sculptor a clear and shiny elation that impedes the basic idea, or if one likes, the acritic pulsation, a passive sublimation of pathetic and speculative excesses. Even when the title of a bronze suggests an allegorical anguish (like Il Tempo, Veggenza, Distacco dalla materia) it is the intelligence specifically sculptural that has the best over, always, on the hypothesis of the ?message”. Such is the innate sensitivity, the filter of gusto and of sculpture, the need of balance disavows finally the mental equations; suggesting the autonomous richness of the art product. One cannot remain indifferent, without a doubt, to the aura of ambiguity that is going round, promoting disarray and restlessness, in Carnebianca’s sculpture; and also, I would like to say, in certain jewels – pendants, rings et – like Vortice, Il Faraone, Libertà, co-ordinated at the exhibition. All but aseptic are the mixed techniques used on mounted tracing paper; the hallucinating fixity of Condizionamento, the intense Autoritratto, the brave Gemelli, in green, red and sulfur ochre certainly reflect, between invention, reason and above all “patèia”, the complexity of the inner world.
One must convince oneself that Enzo Carnebianca is, primarily, a sculptor. One of those without schemes, capable of creating a language of sure depth; furthermore valid because of linked to the “linguistic” possession. Only in this perspective is it possible to assign a befitting role to this excellent artist. To understand with how much new energy and expressiveness he has managed to mediate, upon the meter of his own invisible personality, between some important and opposite projections of modern esthetics; between the concept of Moore’s massive, for example, and Giacometti’s filamentarism. Without neglecting, then, some other suggestion from the likes of Arturo Martini (dynamism that made many contemporary sculptors land, lacking awareness and temperament, on an eclectic twinkling). I would then say that in Enzo Carnebianca’s method and in his attainment, everything is in order. The process of achievement is always born from within; but it is subsidized, at it’s peak, either by the unique model Cleopatra or Enigma, by the level of the trade.