ATHLETEIA

It is a movement-sound we can see in Carotti’s works, where the sports represented is a pre-text to define an elliptical vision and almost acrobatic of the reality.In the first work, “the great net”, the player, is represented in the limbs, like a shadow almost platonic, as myth from cavern, with ectoplasms of white dresses, on a screen of yellow sun to which it stretches out, keeling over backwords in an attitude as ancestrally as inconscionally initiated, with attitudes which go more beyond the logical functionality of the game.

The yellow colour that surrounds it does not encourage it, it is a kind of barrier  of the sound-light r circle of fire(vagantly at the use on the other hand in the turn showed in black which waits the player of the life in his eternal agonè. And if the donami opposes a stasi which is death and pralysis, then it comes to identify in the living shadow that in the breaking down of the body in the extreme challenge, sets up again a different substance, we can only perceive, after it lands in the other side and worn the game-sacrifice which breaks up the corpority. The game permits the metaphysical jump to another life that carries with itself the glance which becomes, in the same time, overcoming thought.

This is a thinking game, of high symbolic value. The agonic component pulses expecially in the first and third imagine of the tryptich, especially in the pulsing  and material coagulum on feet of the athletes, a sort of plenty of images from which it emerges li8ke a michengelestic image, much more rising up towads the out, the further limit.

It is a fact of specularity guessed and it goes back to an interrogation implicit of identity, in the doubling of the use of the portrait, which embodies the symbol for excellence of the knowledge,the reflecting in the dynamism of the action. 

An eternal research of the man, but much more valid in today’s world, ruled by an absolute iconism, where Carotti’s contemporary images, while they reveal, they offer us ossimorically they refuse the sense of completation of an action, condensed in the athletic attitude, offering us a disturbing and problematic representation of the anfibological semanticity of the sport attitude.

Gabriella Cinti

14.11.09

Fabrizio Carotti’s works live in the light and in the time of a classic past which becomes in the author an allusion tinged with the present, thanks to superimposing of floors easy to guess in the “dynamis” of the images. The bodies seem flying, a kind of psyche of the body-soul-butterfly. The ellenic mention is therefore is obligatory. Anyway it is not a simple influence “retro”, but of a real adhesion to this old dimension and in the meanwhile universal that he makes alive in his bodies and faces. The modern overcomes like a thin layer , and often it is veil of only light( I remember that the symbology of the veil arcaic and esoteric is very complicated), with the representation of modern athletes of our times but the ellenic time remains end furthermore he is magnified, because symbol(in the greek sense of what links up different dimensions) of the eternal masculine archetip.

His ellenic bodies seem call us much ore than talk to us, the communication with us by means the wire of the artist-medium; they have a non-glance turned in a such way toward the interior, veil in the veil but they are waiting for someone who may give back the ancestral word that they preserve and that we can only guess. They are images those of Carotti which combine thinking, colour and lines, almost cancelling the intent purely descriptive.

Without any doubt Carotti’s athlet  refers to the symbolic signifiè of the word is the figure of a fighter who fight with life, more than by his body, emblem of a tension towards a vital fullness, the result of a match which forms body and mind. This existential intensity is given to us by the deep light, almost material,(but also in the siler black and white, almost lunar), which glaze his bodies magnyfing and also giving them another substance. But there is also the allusion more than conscious to the marble, especially that roman, warm and chromatic, to that greek word which  does  notindicates the sparkling light that this substance spreads out, so that the substance itself is the light, the light therefore which does not leans against it but it makes it in an intrinsic way.

The sense of loneliness of the human condition that seals the condition of the athlete, only in the fight like the man against the competition of the life, it seems to me to move to a vision of this athletism as integral duty of the man, turned therefore to the tiring conquest and suffering knowledge. Even in the presence linked and multiple in the images, I notice this decisive individuality, so that the one is never the mirror of the other, even though he plays with the other the match for the life.

The dramacity of the monistic shell and the decisive and mortal game of the bodies-figures decisively reveals this impossibility to communicate that is the human destiny, that the art, much more than to break, consacres even in a prismatic vision similar to that one of a dream, to which it derives. And the ones who look, remain with the light methaphisic of another placement, or shifting of the real, or better we remain with a direction, mving like these bodies, like these legs, and therefore a way, almost a met-odos to travel through the world and the time.

Gabriella Cinti

Jesi, 13.10.09