GALERIE BERNARD BOUCHE

CARLO GUAITA

Born in Palermo in 1954, Carlo Guaita subtly takes us on a journey through sculpture, (cement, stone or cardboard), painting and books, using a lexical grammar that concerns the titles of series on which he has been working for some years now, such as Dagherrotipi, Orizzonte, I Colassati, Instead of poetry, I Vuoti, Enciclopedia Incerta, Fantasmi, Pozzi, Immersi ... These are sometimes also the titles of small booklets that the artist publishes almost every year. In 2013 Carlo Guaita published Universo appeso with a text by Denis Viva, entitled "Carottages". In the Dagherrotipi or Pozzi series, for example, these are small monochrome paintings, made as always by Guaita on the simplest possible material, by passing and ironing over the support an infinite amount of colour diluted in the final transparent varnish. The colour is not spread but left to settle horizontally. Observed from afar, Dagherrotipi appear flat and reflective, whereas, seen from close up, they reveal themselves to be absorbent, saturated and deep. As Denis Viva says in his text: "Often, but not always, black appears. Its intensity is such that it lets us perceive a presence more than an absence.... It should be a total absence of light but, paradoxically, it has its own emanating force. Sometimes it is because of saturation, a layer, pressure, tearing. In all cases, it is an absence obtained by stratification... Under the layer of black, like a kind of overwriting, there are sometimes illustrations. Guaita never chooses them at random, although they are part of a very vast repertoire from which they have emerged with a fair dose of indifference. Not because they are equivalent, but because they are part of the same project. These are the tables of Enlightenment iconography whose roots can be found in the books and illustrations of the Encyclopaedia, from the 18th century to the present day. Each of them is part of a Weltanschauung without having a "particular" meaning. Elements of a table, data, sentences on which the pigment is superimposed by repeating the same mechanism of depth/opacity. They are distinct and united at the same time. One perceives their stratification, but the ink links them ideally and technically, as the components of a single, paradoxical project".

Guaita's research confronts monochrome painting and landscape, the latter being understood as an antagonism but also as a generating substratum. In these various aspects, the artist achieves a continuous stratification, almost an archiving. In short, he seeks to bring painting to its definitive fulfilment. Finally, as Denis Viva points out in his text on a piece entitled Instead of poetry: "In the verticality of the wall, we pass to the horizontality of the sculpture. This is the last sediment. An inalienable and irreducible rock placed between the pages. The white page, the support that opens, where a trace is left on it, in the dilated times of nature... It is a poetic before being a poem. It is poetics before poetry if it is perceived as abandonment, a twitch, a sentimentality that would justify the bad conscience with which we inhabit modernity. This is not the logic of literature but that of geology. And it forces us to stop. »

Carlo Guaita Paesaggio mentre si svolge - Inchiostri 2016. Ink, cement, 2 parts, 19 x 29 cm.
Carlo Guaita Paesaggio mentre si svolge 2017. Ink on cement. 12,5 x 8,5 x 10,5 cm
 
Carlo Guaita Paesaggio mentre si svolge - Inchiostri 2016. Encre, ciment, 2 parties, 19 x 29 cm.
Carlo Guaita Paesaggio mentre si svolge 2017. Encre sur ciment. 12,5 x 8,5 x 10,5 cm
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