Scientific discoveries often put us in contact with the mysteries that define our religious and trascendental existence. Mauro De Carli dives deep into sacred codes and into the essence of the undefinable “black holes”, aiming to resurface with a better knowledge both of his personal and the collective subconscious.
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Born in Sesto San Giovanni, in 1980, Mauro De Carli (discover more about his works on Kooness.com) studied at Brera Fine Arts Academy in Milan, focusing his studies on the interesting world of contemporary Sacred Art. Following the path of symbolism and holy composition, De Carli was able to absorb a variety of different codes and expressive solutions, all of which allowed the artist to reach a more personal and synthetic visual language. Placing himself in what appears to be a meeting point between a painterly and graphic approach, Mauro De Carli works towards the hybridization of diverging techniques, combining nuanced color coats with aggressive and gestural traces, both working on the mindfulness that can be suggested by the exspressiveness of chroma, as can be learned through the study of ancient Byzantine codes, while aswell giving importance to the more contemporary elements of “gesture” and “trace”. The final image, creates for the viewer an ambiguous setting; an unseizable and elusive spatiality in which dialogues are enhanced through the element of the line, which suggests pathways towards a variety of differtent interpretations.
An interesting turning-point in De Carli’s research, was opened up by an important scientific discovery occured in 2019; the first photographic proof of the existence of black holes. If we look at it from a conceptual point of view, a black hole can resemble, in all of its vagueness and mysteriousness, what can be seen as the closest rationally conceiveable form of godly presence. The impossibility to glance at the true essence of these mysterious phoenomena, creates an interesting parallel with the atypical, unseen and unspoken that is often embodied by religious appearances. Mauro De Carli dives deep into the thin-line that separates scientific theories and mysticism, creating “Orizzonte Degli Eventi”; an exhibition, hosted by Gilda Contemporary Gallery, in which this specific phenomenon is researched in depth aiming to unveil what is hidden within the artist’s and the viewer’s subconscious, as well as what can be found in a collective appliance of the aforementioned codes. Within this latest body of work, religious appearances of angelic figures, find themselves in an ambiguous and seemingly eternal spatiality, in which the element of contemplation is enhanced by the immateriality which these abstractive personas draw attention to. Expressive chromatic juxtapositions and cleverly combined compositions leave the stage open for the intervention of sharp and aggressive gestures, which hint towards the artist interpretation while leaving a vacuum for the observer to fill with his own exprerience. The visitor engages into the suspensive setting that is put before him, letting go to the mysteries that can be unfoled by the vagueness and opennes of the backgrounds, allowing himself to reach a higher state of consciouness regarding the abstractness of symbolism and sacred compositions.
When thinking about form, shape and composition, we may forget about their close derivation from the airness of symbolism and mysticism. Mauro De Carli, using cleverly arranged settings and a mature technical approach, reminds us viewers and art lovers, about the relations and connections between the two atypically close worlds of theoretical science and trascendental religious truths.
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