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ART CRITIQUE & ESSAYS

Essay by Alejandro Boim

In Karina Carrescia's paintings time elapses differently. 

There the infinite technologies and whims of this hurried world are reduced to nothing. With impeccable craftsmanship, carved over years, Karina creates a meticulous, absolutely personal and subtle universe that does not dazzle, but rather hypnotizes the viewer. An immensurable universe, without limits, for those who are willing to let themselves float. 

 

In her canvases and drawings, everything is possible, everything can be accommodated with incredible ease, from buildings and cloths to characters and objects; that, those of us who struggle with painting every day know, is one of the merits of his work.

Very few artists have achieved it.

Alejandro Boim

Fine Arts Professor

National School of Fine Arts. Argentina

ESSAY by Paolo Sacchini

`Hard to believe Buenos Aires had any beginning. I feel it to be as eternal as air and water.´ Jorge Luis Borges

 

This significant phrase by Borges is reflected in every piece of Carrescia's works. `Arias del Río de la Plata´ is a symbolic title that represents the character of the city of Buenos Aires. The words paragon the meaning of `good airs´, whereas the paintings glorify water and the river, represented by delicate colors and poetry.

 

While the waters of the Río de la Plata reflect sensibly the landscape of the city, the artist is inspired by the air – Aria – as in a movement of a beautiful musical composition. And it is manifested through these landscape scenes, where nature merges strongly with architecture.

In paintings such as “Woman's Bridge” - a modern structure with extraordinary plastic power disappears in the waters of the river and in the color of the sky - the landscape is transformed into a wide view achieved with vivid brush strokes and exquisite chromatic variations.

 

Many influences contribute to determining Carrescia's brushstrokes. Her most beloved painters are those of the great era of the 17th century, such as Rembrandt, Vermeer and Caravaggio. But the most obvious derivation is perhaps that of the late-impressionist matrix. The artist mentions her fascination with Turner, Whistler and Monet and this is reflected in works such as Caprice in Gold and Rose, Variations in Cerulean and Aria in Blue.  

Arias, variations, whims and adages, adapt beautifully in harmony between landscape and color. Contrasts of light, blurs and glazes, reflections and mists, are achieved between pure colors that transport us for an instant to the arias of the Río de la Plata.

 

“It is necessary to work the shadows in order to create light, since there is no light without shadow” says the artist.

While for us, it is so interesting to stop and observe an artist who pursues with passion and consistency the path of the purest drawing and concrete work in the workshop, without abandoning herself to words and without so much dogmatism of disordered innovations.

Paolo Sacchini

PhD in History of Art and Entertainment at the University of Parma. Italy

Vice Director at Accademia SantaGiulia di Brescia. Italy

Former Director at Collezione Paolo VI. Brescia. Italy

ESSAY by Eugenio De Caro

Karina Carrescia projects this show as a very significant essay.

In her paintings, art captures both the reality and the essence of the landscape with the most sensitive approach.

Her exceptional technique stands out along with her particular use of color palettes, whether bright or pale, but always evoking a profound impression on the viewer.

 

Inspired by the city of Buenos Aires, the artist leads the spectator through skies and buildings while breathing life into them with the most exquisite colors and a sense of music. Karina shares with us her private vision of beauty and the magnificence of the natural world and light.

 

In her paintings, musicality is always present through the use of her own language, color. It is such an honor for Accademia Santa Giulia to present such a beautiful show to our community.

Dott. Eugenio De Caro

Philosophy and Phd in Risearch in Philosophical anthropology

Director in Alta Scuola di Progettazione Europea. Italy

Former Vice Director at Accademia di Belle Arti SantaGiulia di Brescia, Italy

ESSAY by Dolores González Pondal

The exhibition ´Mary in the Americas´ that visual artist Karina Carrescia presents to us, is a series of paintings of different advocations of the Virgin Mary in the Latin American, Caribbean and North American territories.

The artist made a thorough research of the character and local aesthetics, exploring the roots of viceregal America as a starting point, but the great achievement and striking beauty of the different works lies in her interpretation of them from a contemporary point of view. In this manner, she delights the viewer with the iconographic characteristics of each portrayal of the Virgin.

 

Her passion for purity of colors is reflected in the colorful capes full of flowers and ornaments along with native symbols, plants, flowers, and birds, set within a radiant landscape frame design. With an almost miniaturist technique, which incorporates tempera, watercolor, ink and gold leaf, she emulates the technique used by viceregal artists.

Through masterful brushstrokes, she gives her paintings a fresh appearance and a velvety texture achieved with subtle glazes and brushstrokes. The use of gold on the leaves results in giving it the imprint of an American colonial painting.

​Along the path of faith through beauty, the artist offers us a journey of contemplation of the Blessed Virgin Mary.

An exhibition of beauty, symbols and colors of our land.

Dolores González Pondal

Art Conservator and Restorer

Professor at Tarea/ Conservation Program at UNSAM - University of San Martin. Argentina

International team member of ´Conserving canvas´ supported by Getty Conservation Institute at Museo America, Spain

ESSAY by Luisella Magnani

`Y la música de su respiración se difundió como la luz´. P.B. Shelley Colores que huelen a luz para llenar las geometrías de los espacios, donde espectador sensible habita, contenido dentro de las paredes del lienzo. Los colores crean luz, una luz por Excelencia… donde las formas y los matices son el aliento de su significado. Los espacios exteriores esculpidos dulcemente, son sólo un espacio interior, de un interior musical. Todas las pinturas quedan contenidas en él. El paisaje – paisajístico, está pintado a través de la música silenciosa que se convierte en geometría de luz, sabor a luz, perfume de luz y toques de luz en todas las pinturas. Los colores cantan. Canta la música del `estar´ en el espacio de Buenos Aires, revelando esos Buenos Aires cuya voz es ideal, real y moral, una dimensión ideal – real – moral, que es el espacio en todas estas pinturas. Cada lienzo pareciera contener la voluntad sensible del observador, que invita a todo hombre al arte mismo de escuchar. El espectador sensible no mira sus pinturas, sino que, como decía Merleau Ponty, sus ojos vagan tanto dentro del cuadro como dentro de las habitaciones del mundo. En vez de mirar el cuadro, él mira según el cuadro mismo y con el cuadro mismo. El Río se convierte en Cielo, así como el Cielo se convierte en Río. El Río cruza el Cielo, el Cielo cruza el Río. La luz dentro de la acción perteneciente al color, crea una imagen en movimiento – luz. Cada cuadro invita al Observador Sensible a entrar en el lienzo para tocar el perfume de un Paisaje que se ajardina en sí mismo, gracias al resplandor de esa luz, la Luz Divina que emana de cada lienzo. Cada lienzo es una habitación del Espacio de Creación de Dios. La luz azul sabe el azul – Luz que huele la luz del sol, y escucha los ritmos y rimas del color blanco. Es tocar el piano donde el paisaje musical deleita y trasluce el rostro sonriente perteneciente a Buenos Aires, El - Más Allá - de las pinturas revela una nueva manera de vivir la pintura misma. Dulces trozos de Buenos Aires – los espacios se han convertido en coloridos tiempos de días y noches vividos por la artista Karina Carrescia y su Espectador Sensible, que saborea, siente, huele, toca, escucha –y – observa también, eso `nunca antes pintado´, que, aun no siendo pintado, pertenece, no sólo al espacio y tiempo interior de la artista, sino también al del Espectador Sensible. Es la dimensión de saborear – oler – tocar – escuchar, que colorea el espacio del lienzo que conduce al Espectador Sensible más allá de los ritmos y rimas de las líneas poéticas escritas dentro de las paredes del lienzo universal… Las salas del corazón de la artista.

Dott. Luisella Magnani

Phd in Modern Foreign Languages ​​and Literature  

Università Cattolica del Sacro Cuore di Milano

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