Critical note

Carlo Tosin
Critical note

Carlo Tosin’s  poetic Origin - by Eraldo Di Vita

Carlo Tosin’s " Poetic Abstractionism" is visible to the naked eye in his works and is detected in the folds of  tears, surfacings, compressions, tensions, curved lines: the complexity of tragedies contained inside our life’s adversities which is transferred on the canvas.
"The poetic Origin" perceptibles in Tosin’s works is the barycentre of his abstract Art and becomes the main reference term of his artistic dialectics.
This “searcher” try costantly first to determine and then to represent, with his works, life’s poetry (in good and evil) that is to say the event contained in the poetic Origin and which is turned  by him towards two directions: the one of “primitivitè” (poor art) and the one of the graphic expression in which he is undoubtedly a master, through the analysis of sign expedients, of sens they give to space and of the way to mesure and to fill it , of the way to conceive the empty and the full, of the way of plumbing inwardness, the aware use of the gestural speech, of the concept for which the artistic world constitutes and represents a pure and poetic place.
Searching for the poetic origin, which would have to constitute the work of art contents, Carlo Tosin goes through various experiences to arrive till the reach of the " whole gesture", a musical gesture, even if painting can not be changed into sound and vice versa, and the painter uses colour to give voice to it
So Tosin yearns for the return to essentiality, to primitivité, to the archetype and to the origin as  ideal dimensions to live and therefore to propose them as models of life to have the possibility to recover them before man, in his way towards the achievement of an hypothetical aim, will loose the primigenial sens of his "man’s essence". This sens searched also by Kandinskij (when he said that an artist using "abstract" does not mean necessary an “abstract” artist) is also suitable for Carlo Tosin who, as a painter, is more tangible of any other figurative artist.
In his work we can perceive the incitement and the tension of creativity, in the effort to make sensations (and excitements experienced by the artist in creating) visible.
In Carlo Tosin’s work the space becomes a "functional system" structured in volumes, surfaces, distances and aesthetic segments.
After all this artist’s work looks like the telling of a fable which is as ancient as the world, and which main characters, matter and antimatter, or rather good and evil, fight incessantly each other , but the artist’s consistency faces up to them with no troubles.
Between 1986 and 2004 Tosin studied, through his painting, the "spatial densities" and the "Totem", up to the "Contaminations" in 2005.
The twelve works we are presenting in this one-man show are the summary of most of his artistic course.
Eraldo Di Vita

Critical introduction and interview by Francesca Giubilei and Laura Finotto

Carlo Tosin defines himself an eclectic researcher in the field of the  creativeness and the demonstration of this it is in his artistic experience: he begins his pictorial research in 1984, inspired by the movements of the sixties ("spazialismo", minimal art and poor art). Today he goes towards the world of abstraction, with some works of constructivism and of strong chromatic impact; in his works he always looks for new combinations of material and color, suiting forms and volumes for the context in which he works. His way of conceiving artistic production entails a real physical work, a manual labour, a routine to investigate the variety of possibilities offered by the material.
It is the achievement of this awareness, of this necessity which, at a certain point, forces the passage from the bidimensionality of the canvas to the spatial image, to the sculptural image.and here it is: the research on the Totems! As the artist says, the Totems want to be "a timeless image, in which the cultural roots are released from any stylistic affiliation".
From these works a pictorial research shines which becomes more and more architectural, a multidimensionality and a semantic plurality, which give great dynamism, expressiveness and spirituality to the Totems. Though he clearly distinguishes art from design, we can suppose, that his career as interior and industrial designer has partly influenced his way of doing art, above all observing the last works (Totem), in which the architectural construction of the volumes mixes together with their explicit symbolic value.

What drives you to create works of art? What would you like to communicate and to transmit with your work?

It is almost impossible to give a precise answer to this question because the reason which drives a person to be an artist is a mysterious reason, because art is a feeling, an attitude to the image. There is no rational explanation, and so it's no possible to decide to become an artist. Being an artist is a way of being, it belongs to the destiny of a man. I discovered to be an artist during my childhood when I realized that I had a strong ability on drawing , besides I passed my childhood in silence and in contact with nature and I would say that the first years of life were fundamental to form a certain sensibility.

Why have you chosen painting and sculpture?

I try to put together two worlds; sculpture in plastic sense and light and color which belong to the world of painting; I try to approach them, to put them together so that a place, a space, an idea of the things will born. I think I realize "objects of art"; therefore I understood painting and sculpture like instruments to use to affirm an expressive freedom. My work is an object which offers itself to the polysemy of different meanings, already in its construction.

What is the relationship between your search and this expository experience?

The body, the human figure appears in symbolic form in my works. The Totems were born from a formal invention, from my personal symbology in which inspiration is also the human figure, and from other sources lived inside a language in which I think to be extremely recognizable. The problem of art is the language, because art is a philological course based on the language itself. It is an evolutionary trip which proceeds in stages, which artists resolve little by little considering their own historical reality compared to their own sensibility.

What is, according to you, the role, the meaning of the body in the actual society and in contemporary art?

The presence of the body is important in a work of art as maintenance of an identity of tone colour and sign of recognizability, through which the observer penetrates in the hieroglyph of the meanings of the artistic work; the evocative presence of a symbol inherent to the body or to a figure define and recognize a timeless and suspended dimension of an artistic research, which is the only acceptable in my case. This is my point of view because I believe in art but I don't rely on society!

The nature of Painting
Interview to Carlo Tosin by Christiane Apprieux from “Transfinito” review

How does Veneto interfere in his artistic itinerary ?

"Veneto, stated the author Goffredo Parise, is strong, barbarian, and therefore productive and therefore industrial. Its art, if it started from culture, it also sinks into the ground, into its roots, into its minerals, into its “bottom of fire". I think in this sentence there are presuppositions to speak about my search and its belonging to this land which takes me to the recovery of an integrity of values inside the work, contrary to a great deal of current art which turns provocation and spectacularity into its best weapon

Then, painting is a way to write the authentic experience ?

I think painting is the most traditional mean but also the most difficult one to have the possibility to express something really innovative. Starting from this consideration begins the start-point of this personal search which turns planning skill into the founding element to create non-conventional methods inside the work, communicating with various materials in tridimensional and multisensorial works.

What about Veneto as impossible place of the origin’s myth offer opportunities to belonging ?

My work becomes the work of meditation concerning the whole history of art, concerning what is already made, in a search constantly aimed to experience the perceptive and interpretative phenomenons of the search in a new style, and in the preservation of "timeless" values disconnected from any belonging to a movement which  characterize my itinerary.

Which way is painting showing to you nowadays?

After the fall of the big ideologies, painting can claim its own identity due to its specific differences in experimenting and inquiring into the matter itself of painting, locating a space which becomes architecture in tridimensionality and looking for what seems to lack or it has lost itself  into the cultural experience of the moment , avoiding reality shows, shreds of life in live and the chronicle of evidence.

Why Identity ?

The identity matter is one of the big subjects society and art will have to deal with in the next future, because they couldn’t stand reality but  they will have to open it like a knowledge introspective act, trying to protect a position to show a way of being…

Particularly nowadays, what the object exhales is very important, because
it let us recognize and love a place and becomes a vehicle of values expressed
by the designer such as art witnesses, in the full sense of the word. Its aim is not only an economic target for the firm, but also the extension of the cultural field. Our era has engaged to extend this cultural field with the new awareness of photography, fashion, graphics,architecture.....and design. Art is being enriched by another field considered undeserving till nowadays due to well-known prejudices. Who makes 'design'at present has to cultivate himself in poetry, music and art, because especially in these fields there are incitement and sensibility for a possible verification.

My first artistic study goes back to 1984,but I had already drawn since I was a child, whit a range of drawings on paper investigating abstract themes with constructive patterns of a strong chromatic impact using primary colours inside geometric schemes whith a rationalistic definition. The following development led to a succession of works based on sign interactions given by geometric signs and shapes with a variable density over different points of view which drive me towards more expressive researches. (1984-1985-1986). After some years (1988-1989-1990)supports went from paper to wood with a series of works in which the gestural and informal matrix added to the previous researches with the contaminations of
different materials: cardboard, sheets, fibreglasses, sands mantaining a project structure inside the work which can be actually detected in the late works (2003-2004). In these works there is a more and more architectonic research of the painting which combines different materials on staggered bodie and planes with an almost sculpturesque sensation, on the whole. The work arises from a well-definite project, in which the formal creation defines what I call 'TOTEM' with a strong symbolic value, emphasizing intersecting and superimposing, shapes and materials
creating a strong-tone and strong-identity connotation.

My last works are based on energy, violence and dynamism of the sign which
becomes, in a provocative way, an immediate display of my own and of an aggressive and pragmatic attitude towards reality, which is a logical consequence of a life spent every day without deceptions. My painting has no uncertain terms: the work becomes pure energy of life to be caught in the sign purposes of the space, a daring provocation which exalt action but not contemplation on of the reality which manifests itself in the sign-gesture taking on the fourth-dimension values. I carry out a direct system in painting using very clean colours and counting on a psychic automatism which,in my opinion, is an italian concept which goes back to Boccioni (personal opinion). I try to avoid every preciosity in the art looking for an aggressive structure which gives tone originality in its expressive and provocative force.