That's how the photography by Carotti, blow up every event, comes, consequently emblematic and statuary riepilogative shadow, the metaphoric synthesis the rush towards the future, that comes today but also yesterday.
The silence-sonorous (cosmic) and, together with, the molteplicity and variability of meanings, that each image can carry out, are the masterpieces in which his reseach takes place; then the conjections, further more hypotetic also theoretical, even all "external" to the images in the matter, that sum up, are the utmost charge of pathos which determines-defines Fabrizio's works, even thanks to the cultural humous which is lived by himself and that, in the many re-mands-riflexes, often and magically it spreds out to the "originary intentions" of the author. And it is for this reason that the symbolic bargain of the represented seems to emphasizes further more thanks to a wide range of hypothesis which we could do. In fact the completion of the “suspended” that we have with the eye, it emerges in his works and it nourishes not only by a completion, but, also, by the indefinable, as the suasive nature of a  magnetism of the landscape “medium” considered wrongly cold, as it is (usually) considered the photo-machine. In fact, in some works, we don’t find any “explication” of the happened photographed, but only the “becoming”, which the represented leaves us privated of any possible-eventual explicative comment. It reveals that the signifié, then the significant, can be also avoided because an “outer” emerges. It is in fact in this way that the descriptive apparatus contributes to the variation of logic, of the analyzable, linking up, exclusively, to the sense. In this apparent lacking of information, those who admires are called then to complete all that is narrated, with proper forms of abstraction, with more details, with his own “Io” (as in the anxiety as in the pleasure).
All the “insieme” of indications encourages, in the necessity, the participation to the creative event, like this form of coinvolgement, in a game of mirrors, evolves into interaction and emphathises the being in the pleasure of the visual, or in the horror of the non-definible.
So Carotti’s works move among an edonism (exstetically) positive and the idea of a drama, where the magnetism of the landscape  re-invents even evanishing in a vibration (also verbal); and in this way the power of “leading us somewhere) in a place where the visible links with the invisible. In fact the landscape, or better, the environment becomes the crucial space where the dialogue between the real and the possible rises up and where the expressive value re-enters, always, in a diachronic variant… so never defined, never applied, never satisfied. But all that I have descripted now it is not perhaps the first attribute of the sacred?  I think it is so… I think that Carotti must be considered in that range of artists who are “closer to my-our feeling”, mark rightly the hand on the “deiform”, on the “magic primacy”, on the “sublime”, on the “mistic” (as in the acception of “sacred” as in the “evil” one) building up stages exemplare that overcome the deep of the time because they are linked to continous variations, transformations, metamorphosis, defining the being as transcendental elevation (or falling down) towards a primigenious paganism.
In this network of elevated feelings or of dark passions, of mysterious powers or vanities, of reliques or ideals followed or broken, of realities or lies, the divine(the transcendental) takes form, as like nature as ectoplasms fascinating or grotesque.

Gian Ruggero Manzoni
www.gianruggeromanzoni.it