...when the doubts carry to some certaines, never viceversa...

When the doubts lead to the certainities, the  awareness is hidden in a photo (Man Ray said that). So the photographer, who holds the third eye, tells us in which way the man always  sinks in his history, or in the myth.
Roland Barthes defined the “punctum” (the”fire”, the “focal point”) like an arrow which starts from the photo and goes to strike (to attract)  the attention and the memory of the observer. In this case everything happens in the simplicity of  a glance, in those “portraits” that the artist has immortalized, giving the image alive, so never aimed to itself, but always transforming it into a perennial continuity of visions. Carotti’s “punctum”, in fact, gives evidence, emotionally, and it develops into the negative of a photo: perhaps that one which it does not show us, because included in the whole story of his work: a sequence of images, that not only you observe, but you listen to; so that his work put you in strict contact with the feeling, which wraps you up, which surrounds you like a whirl. I would say like a torment delicate, slowly developed on the film, then in that snapshot which is lighted only in a future time. Furthermore…in this book it doesn’t exist only the click of the person who sees, who observes, but also the awareness of being alive, because Fabrizio awakens  many sentencesancient feelings even though  mysterious, often neglected. In fact he is an artist who remember us not to forget, in that time when the man, constantly, doesn’t remember his past. Carotti’s works are, consequently, a kind of story soaked with beings who spread up in the narration flood, not casually are “sentences” he makes, in our silent agreement.
The sensation is that one of entering into a kind of “land of toys” which hides something that is not visible to the naked eye. Visionary works, therefore,infinite, flying.
Anyway, the “truth” ruling the image, is strong even if mysterious, and it ties you, so that you look like a person who is observed, peered, inquired, put into discussion, so that the artist through out his photography, obliges you to strip of every possession, and the cat all that is material or mental is not important, the fact is that we remain stripped and reflected.
His fantastic world, even so realistic as stimulus, lives in an idyll of delicate colours in contrast with other colours which are stronger and hot-tempered, I would say glances which narrate a world alive and not only this one, perspectives of an every day life hidden which preserves its natural way in a nostalgia of shadows, secretely showed in a something like trip; that trip which doesn’t give us peace in a final approach, but, nevertheless, which lives continuously in the overcoming of thousand dangers, obstacles, proofs, and in the control of thousand experiences; so that it becomes a proof of knowledge, in the widest meaning of the word, and so it appears on the written paper. So we are in front of the introspective, symbolic, sensorial or evocative of the image, but almost in its anatomy formed by the fragments extrapolated from the flesh alive or eradicated from the cerebral cortex. In this way, often “violent”,Carotti becomes the natural stimulus which leads you to the finding out of the new, to the instinctive attraction to the unknown. In fact h e holds the thecnological tool and the elaboration through the same one, but it is of his own a notion aesthetical-narrative which doesn’t give stops. In this way Fabrizio traces in a small place an environment or a situation, where he moves characters, sometimes only one, sometimes noone,leaving the possibility to build up, to form, throught out the looking at.
And so the photographer realizes, in a split second, the symbolic importance of a moment of life(or of death) which is absolutely irrepetible like portion of the real thing, never recognizible and traceable, bcause it is vanished or eternal. And it is, at the end, the metaphora of the trip that each of us makes in his life; like the everlasting recurring of trips, without a point of arrival prefixed, even if in the consciousness of the becoming. Not for a while the corporal phisicity, in these images,is pushed to the extreme of the being, till to be crazy of an eye which overcomes to another one(widening) in (the atomization) the margin of error(fisiological for natural imperfection) up to the visionary, becoming poetical writing, flowing of the river, whirl of air. And in this way the most peculiar aspect, (in the sense, in the first place, of the “visible”, that is of “treaceble”) which mostly strikes us for the technological quality carried and reinforced by some formal aspects marked by the posture of the protagonists and by the painted portraits. And it is in those “marks”, in their capacity of giving us back enlarged all the tragic dimension or happy of the existence, that the spectator, gradually raising the level of empathy (…horror, terror,indignation,discoraugement, pleasure, smile, life, death…naturally the whole shared with the artist), understands the thickness and the weight of these souvenir of emotions, that make him the protagonist, and not only anonymous passer by or simple user.

Paola Castagna