Following a path influenced by Japanese figurative aesthetic, which remains an inspiration below, the latest work of Andrea Carpita is undoubtedly even more abstract and minimalist, imbued with the poetic paradox of wanting to represent very outlining so little. The evolution can be seen not only in a nearly abandonment of the figure but also from the point of view of content, being now apparently a much simpler job as elaborated in its conception. The new survey covers more generally the concept of limits, the function to determine, define and delimit something specific, an ideal boundary within which both move with the body and with the mind.The paintings show the ability to go beyond what is granted, trying to climb over the stereotypes assimilated, dispelling preconceptions. So here a landscape that can also become a line tone on tone, almost as if it were a matter of point of view. Through the search for unusual solutions, the artist is able to explore the potential and limitations of painting itself, understood in both its physical and conceptual sense: the media becomes the field testing of unconventional materials, which at the same time found a link with deep meaning of his paintings, with their poetic counterparts. A web of links from which also the raw material has to do with the thought that generated the work: for example, the ash used to give body to the painting refers
to cremation, the rubble of cities destroyed, lost, that no longer exist but alive in monochrome of the artist. Reading is not obvious immediate, the work needs to be seen with a look different, clean, pure, washed by those preconceptions that offer unique interpretations and does not allow you to understand that a landscape can be just a line drawn. In fact, searching the landscape, such as the autobiographical, have become essential and synthetic, but behind much abstraction actually lurks a very concrete idea: fascinated from elusive, the artist tries to capture and give it the consideration on the canvas. The work, therefore, is undoubtedly minimal, but it is precisely because of this new vision that wants to go beyond the limits trying endless possibilities, that the representation is revealed in all its tangible consistency. The desire to bring everything in nothing is also manifested in the use of colors that clears more and more: the latest production includes white, rarely pale pink, but also paintings of the black color, a color that would wrap everything, which absorbs all the light, color, sound.
“Art is everything, Art is nothing.”
Photographs and text courtesy of the artist.