9 Feb. 2001 // 3 Mar. 2001

"Drawing in the work of Carlin"


Sala de Exposições Temporárias | Temporary Exhibitions Room

The emphasis given to Drawing as a support for all creation finds full justification in the proposals that have always been presented and govern the exhibitions in the Foundation. In this case, the object in question is a painting and the drawings that preceded it. They reveal to the viewer the reflexive path of their author, from an initial moment, undoubtedly occurring in his inner being, as though he were groping his way along an imaginary space, using drawing precisely to make it perceptible through his very own reality, a slow and deep research operation that makes it original evidence. Carlin, their author, reveals to us a universe in which man moves or stops in a staged space in which all narration unfolds in a dreamlike and metaphorical world. The expressive density of a figuration taken to its limits in the symbolism of opposites and exalted by the vigour of the drawing, the light and shade and the chromatic nature. The prematurely adult child, the automated human being, the fantastic insect, the television camera, time and its marks inhabiting a disturbing atmosphere. Carlin is, in his own words, a sculptor who paints and this is an admission that is accepted in the full ambivalence of this subject matter. As it happens, Carlin’s work is densely conducive to dialectics, a fundamental principle in questioning, which is its raison d’être, in existing. The participation of the audience in the Japanese theatre happens spontaneously and art in any form indeed creates a discomforting comfort, an unstable stability which should never meet our indifference. Carlin, born in Venice, does not hide his Italian nature; he has tempered sensuousness with Florentine thinking, two attitudes in the single image that he shows us today. It would be interesting to ascertain where exactly the reflections of one and the other are … A good exercise for the viewer! Precisely what Lugar do Desenho wants.

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