|Carlo Tosin’s poetic Origin
- by Eraldo Di Vita
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
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
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
Why have you chosen painting and
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
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!
Interview to Carlo Tosin by
Christiane Apprieux from “Transfinito”
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
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.
Veneto as impossible place of the origin’s myth offer opportunities to
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,
it let us recognize and love a place and becomes a vehicle of values
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
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.