Large scale canvases drowned in colour and a series of previously unseen glass, wood and resin sculptures outline a show dominated by ambiguity and based on the relationship between chance and works of art: an implicit metaphor for the contiguity between viewer, clairvoyant, and visionary.
An intricate interweaving of marks and decorations thickens over the surface of the paintings; the works accept and recount a portion of the world through an unstable and indelible handwriting which constructs a complex texture of images. In them figurative recognition is lost in the indefiniteness of the perspective planes and the total absence of traditional spatiality. The artists interest is in questioning the boundaries between lyrical abstraction and everyday figuration, between a decorative style and an intimist result, by leading the painting back to its deepest essence: everything is there under our eyes, perfectly laid out on that image-saturated, almost impenetrably-marked, surface. In the sculptures our attention is attracted by the opposition between the chosen object and its transformation, between sculptural formalism and the aesthetics of design: the result of the artist’s references to the logics of difference and his request to pay attention to his language researches.
“Classicism and experimentation are the paradox of a reciprocal and simultaneous dialectic; contemporary beauty is perceived and conceived of as the composition of conflicting parts where visual pleasure can be transformed in any moment into an abuse, and where the most silent object can become disturbing without us realizing why”, Carboni has explained.
The fragmentary and unitary nature of this work is a perfect portrait of our age; the union of opposites which, in their diversity, live together with all possible uncertainties and contradictions.