Carolina Biological Laboratory 4

Antoniazza Arte - Numero IV

I dream of fossil Valentina Carini
At the first Italian solo exhibition - curated by art critic Andrea Antoniazzi

difficult to find a young painter in his biography and read so much wealth, diversity. In the case of Valentina Carini, in fact, it's hard not to depart from his life, from his experience, one that is not only a passion for painting, but almost Calvinist dedication to work, the construction of a jurisdiction, in addition to the pure and simple growing interest. It reads, in fact, the Carini:

"after graduating from DAMS in Bologna address show starts working for television working as a director for Tele Montecarlo 2 to Florence and then to London for MTV. After a stay in New York as an assistant artist David Baskin, assistant Louise Burgeois for over a decade, began to study painting at the Central Saint Martins College of Art & Design in 2004 and obtained a BA Hons in Fine Art
Winner Kate Burton Award for painting at the University of The Arts in London, he returned to Italy where he continued to paint and participated in several exhibitions at the Gallery and Palazzo Ronchini Spring in Terni in 2005 is also present with some of his works to Arte Fiera in Bologna. "

critics, I invite the young artists also often write in to take a leaf from her, I mean from Carini, as a biographical approach. The painter can not just sit at home waiting for the arrival of a thrill to be transferred onto the canvas. The painter must study and to study much. Should study more the economist and lawyer, more than anyone else, perhaps even of the poets. Because the painting is an artistic act sexually, even when introduced religious subjects, is a sensual domination of the canvas, a moment of ecstasy that, in the production of the painter's mind must govern absolutely, at least away from his unconscious. Monitoring and ensuring the Carini certainly not lacking, indeed.

His canvases seem to propose a topical primordial landscape, where to look disorganized geometry shapes. It is a game of childhood memory, relived in his heart and re-presented in adulthood. The fossil Carini painted dream, broken memories, almost invisible. Paintings are very difficult to photograph. It is as if the artist uses a thin plaster to sculpt the painting, no mess, no smudges, but reporting on it just a feeling of foreboding, of something that is going to happen. In many of these paintings is a sense revived totally organic, almost physical-chemical in the world. In his paintings - easy appreciation even by a more oriented science and art - you can see everything from an explosion at a small molecular carefully arranged rock garden.

Fossils Carini's dream - so I like to call its atomic scale - are very strict on the canvas like a topographical arrangement. These paintings are small city of dreams, dream big, blooming absolutely enchanted by a mysterious, primitive, unfathomable. To paint, is very fragile soul and feel and see. But such is its weakness, as is his preparation, his dedication to academic. It is a daily commitment to creating genius the humility of the study, and the ongoing implementation of this before anything else, the Carini is an example, a reference model.

Even in his most colorful, its fossils - fossils dream - still live scattered along surfaces interrupted but never embedded, into each other. As the beautiful ball above recast, bore her to a forest of geometrized forms, a full moon split in two halves, almost a hemisphere Earth slowly rotating around its axis spreading around himself a gloomy darkness. In this sphere nestled among the branches, there is a sign of hope, a disappointment that long in coming: the world of Carini, in these veins continuously married his big hand, end up being the testimony of an artist who already has been a little architects of the Mystery.