 |
||||
 |
 |
 |
 |
 |
 |
||||
|
|
||||
|
|
|
|
|
|
|
|
||||
THE STORY
The Artistic Paths of ROBERTO DE CARO
Mostruoso Dubbio 100 x 100 cm Roberto De Caro's paintings explore the subtle limits that exist between the recognizable and the unrecognizable. The objective is to mend the fracture between a confused mass of forms and to differentiate the figure from the background.
A deep-seated tradition exists negating the existence of images that gives one a sense of recognition and at the same time, doesn't legitimize those definitions; those border line images contain all the emotional ties without allowing one to understand their meaning.
Yet just inside this tradition grows a desire to find new forms of expressions that permit contact with that shape and at the same time tolerate a distance from logic.
The current exploration of Roberto De Caro underlines the necessity to find these borderline images by challenging the human being's desire for clarity and opening one to emotion of discovery.He uses motifs to melt figure and background. Concurrently he is experimenting with various three dimensional structures and natural colors possessing continuity with form and the force of motion.
1978-1981 Cages
Structures containers of empty but in the same able time of express plasticity and movement. Endless choices of contain the nonexistent to give a sense to endless forms. The wall is the carrying structure. Real object of approach of the reality of these objects (you see Coke Cola) or easily backdrop of contrast. Then becomes nonexistent: it is the representation of a piano among plain possible infinities. Not more object also becomes it the capability of play with other empty beyond those contents.
The shade of the cages: the structures in their transparency allow a continuity of observation on all the caused shade, in a representation of comparison among physical structure and projected sketch.
1981 Graffiaria
In the GRAFFIARIA show the report among the same structures in an attempt of ascenery that beyond to realize the definitions of the points on exposed confirmation a congruity among the given forms, beyond that from the materials used, also from the plasticity of the objects in movement.1981 Glossolalia
The experience of a group of persons (Roberto De Caro, Roberto De Simone, Pietro Castellino, Fabio Dumontet, Carlo Grassi, Sergio Pone) that they unite in an attempt of insert a new complicity among sketch, three-dimensional realization and poetry proposes the realization of "LA GLOSSOLALIA DI GALLO MATIE"
1982-1983 The objects and the form
The form like not function, interest on the form of the objects in report to the latent plasticity of the function.
Form and function don't can have ever distinguished, they belong to a same area of intervention figurative and practical, but the areas fantastic inside or external could be fills from intermediary space-form that any allows an evolution.
After the earthquake blunts him on alleged they characterize a study on the tools of alarm. These has the assignment of remove the anguish and of propose a sacred memory continually and of respect.1984-1987 The bound among SUBJECTIVE and OBJECTIVE
The evolution of the preceding operas determines an interest always better toward the essential sign of the objective recognition and of the subjective recognition and therefore emotional.1986 ANTARTIDE
He in the 1985 begins collaboration with Giovanni Berisio in the sketch and production of OBJECTS BEYOND the FUNCTION (you see above). Such objects (radio and carillons) assay a dialogue with thecustomer going beyond the design like functional recognition.
1987-1991 Visual Perception
The report among objectivity and subjectivity become the point hinge of the study of the perceptive systems. Chiefly in the artistic perception the customer has involved from the emotional given representation from the expression of a content that enters tuning with the own ability to inside representation.
The PUNCTUM (Barthes: The clear room) the inchoate place of reference becomes hipnotic in the reading and recognition of the opera not only in his expressive ability but also in the play bull of recognition with the formality of representation of the own inside perceptions.1991-1992 The bound of the form
It exists a limit among recognition of the object and his emotional representation. The search of such bound door to him experiment the fusion of sign and colours for obtain a subconscious representation of the image.
1992 Computer, color, patterns
Diamond realized in part with the custom of new tools but also across the search of ancient color and manual. Paper designed with colors to slope comes torn, huffed and then closed from cloth and juta to realize a "subliminal" fusion among ancient and contemporary techniques.
1996 Texts and Images
Audiovisual tables with
Gabriele Frasca
Eugenio Lucrezi
2006 Jewels sculptures
- shell and stones
1994 Water sculptures
Rock and water to give light movements and sweet sounds
Roberto De Caro
[ curricula ] [ search ] [ gallery ] [ email ]
© Roberto De Caro 2000
<
