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Carmine Sabbatella Agoincisione

babilonia

AGOINCISIONE

Di Carmine Sabbatella

“alchimista dell’arte”

Critical text by Jacqueline Ceresoli

11 - 28 January 2012

Carmine Sabbatella is the first artist to present a solo in the new year, a young sculptor committed in the Art Public, awarded in 2011 with the 1st prize in the national contest "Y PUB ART– Thirsty for creativity”, promoted by the municipality of Vimodrone and sponsored by the province of Milan, for the work "Exhibit for a flower contemporary" installed at the entrance of the city.

What is the relationship between a metal plate, similar to a "page" of iron engraved with signs and teeming Carmine Sabbatella ?

The answer is simple, there is its history transcribed with stylized signs, germinanti form, and evolutionary dynamics that trace his identity. His being raised on bread and iron in the "workshop" of the father, blacksmith and craftsman from whom he inherited the value of the article and learned the secret of making: a practice that over time has become an unmistakable language. The sculptor, Salerno of origin and adopted Milan is called "alchemist art", proficient in rework mythology, history, restando in bilico tra magico e primario. A Milano ha frequentato l’Accademia di Brera e ha sperimentato diversi linguaggi e materiali, such as iron, metal plates, the stone, marble: all materials of the Earth.

He works for himself in a frenetic and convulsive and commissioned; is among the few followers of sacred, paradoxically impractical in the XXI century, when humanity has lost the value of a spiritual quest, tension to the absolute; theme that nourished the art from the Middle Ages up to the age of Enlightenment, when the reason the place of God.

The sculptor is distinguished by the virile strength of his hands, that have touched, bent, engraved and scratched around, for his powerful body and especially for a self-referential code engraved on metal plates and other surfaces. Sabbatella has created windows for churches, urban sculptures, frescoes public and private, and ekes out a living doing various commissions and doing graphic digital. It 'a Renaissance artist, son of a humanist culture, who lived in a land-based Earth, che trasuda di segni arcaici e testimonianze di civiltà preistoriche. Non c’è materiale che lo inibisca o che possa limitare il suo desiderio di lasciare un segno ovunque: the imprint of his right thumb and a tangle stylized fingers of his hand. These signs are swarming the unmistakable figure of its archaic language, post-rupestre, figuration in which intertwines with the abstraction, il mito con la storia e l’iconografia sacra con la realtà. Sabbatella nello spazio di City Art a Milano presenta 11 engravings on metal plates. He could tell his eclectic polymorphism, showing a wide repertoire of works in over ten years of work, instead chose the essential, went by subtraction, has simplified, showing his DNA formal: engraving on metal plates and in this form of art is unrivaled. Di Sabbatella, without exaggeration, we could say that an almost erotic relationship with iron, he likes to bend it to his liking, tame it and map it with signs affecting decisive gestures. Iron is a living material, is hot or cold depending on the environmental conditions in which is located, is ductile and alchemy is associated with Mars. For Sabbatella iron is body-material, skin, parchment, strain landmark, sheet never written a diary on which to engrave codes-icons of an indecipherable alphabet, mysterious anthropomorphic forms emerged from stratification and cultural influences and immersed in a fluid magma. His writing signic automatically transcribes sensations, instincts, drives, emotions: life. Material, gesture, sign, are carriers of its code anthropomorphic, the theme is a prerequisite poetic; the important thing is to leave a trace of a symbolic writing, as evidence of existence; an imprint of his life instinct. If scratches, affect, manipulates a material, Sabbatella lives. out gesture, from doing things that do not exist in nature, artista if the nega. La sua originalissima comunicazione non verbale, but figurative symbolic, iconify appearance gestural and transcribes hieroglyphics of a search of the invisible sense of things. The sculptor enrolled in matter, as a memory of his experience, the moment when the gesture to affect the iron self-referential nods. The gesture is a universal communication that he enrolled in the oral tradition primitive, capable of overcoming language and cultural barriers. His imprint contains the potential primitive expression, that matter, becomes act Graph, language from the aesthetic and emotional, fusing decoration and symbolism. Osserviamo queste incisioni dalla forza arcaica e insieme visualizzeremo una scrittura dinamica, unconscious, investigating cognitive processes in the absence of any control, censura esercitati dalla ragione o dalla morale, just as when two bodies are in love, all’apice del piacere l’io si perde nell’altro, with the power to exorcise death instinct of life. And if it is for the artist, l’augurio per noi è che batta il ferro finché è caldo!

 

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