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LeoNilde Carabba

Canto per Esther

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LeoNilde Carabba

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Canto per Esther by LeoNilde Carabba
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Canto per Esther

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LeoNilde Carabba

US$ 7,500

Overview

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2017

Fluorescent, phosphorescent colors, holographic glitter, glass microspheres on canvas

Unique Work

Dimensions: 100cm (H) x 100cm (W) x 3cm (D) / 39.4" (H) x 39.4" (W) x 1.2" (D)

Diameter: 100cm / 39.4"

Note: Actual colours may vary due to photography & computer settings.

Artist Statement

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The macro-spheres of LeoNilde Carabba can be considered "systems of life", in which dynamics of passage from micro to macro spheres are continuously developed, with concentric circles that define other realities to which the same individuals can also belong, in reciprocal competition or alternation, both from the singular and plural point of view, such as, for example, the openings to otherness, or social collectors, held together by symbolic bonds or flows of creative ecstasy. It was recently exhibited at the Palmieri Foundation in Lecce, together with other artists such as Louise Bourgeois in the collective exhibition "Geographies: Identity rituals and fragile ecosystems" in May 2020.
This work is visible in daylight, night and with wood lights (the second and third images).
Mixed media on canvas: fluorescent, phosphorescent colors, holographic glitter, glass microspheres

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Artist Profile

Born: 1938

Hometown: Monza

Based in: Milan

LeoNilde Carabba, born in Monza in 1938, presently lives in Milan. LeoNilde’s first works are refined rhythmical compositions on a geometrical texture. In the Seventies LeoNilde was strongly involved in the Women’s Movement and her work became free from geometrical motifs and more fluent – with motifs of seas, skies, trees, geological descriptions of the earth’s crust on increasingly large canvases. In 1982 she began to paint on wooden boards and moved to Bolinas, California, where she has remained for five years. Pierre Restany said of her work: “You just need to pay some attention to the lyrical morphology of LeoNilde Carabba’s language to understand the obvious fact that her painting is made with skin, blood and heart. By adopting this kind of language she demonstrates her complete unselfishness in meeting her fate”. In 1988 she was back again in Milan. In the last decade her work has become more refined and hinged on depth symbols, about which Riccardo Barletta wrote: “Symbols of no time and no place, as they can be found in any age or culture. The Sacred Mountain, the Maze, the Sun, the Zigurath, the Pyramid, the Mandala. It is a sort of dictionary where any word becomes the Word”.
Selected public collections: Pinacoteca di Termoli; Museo d’arte di Corciano; Museo Sperimentale di Verucchio; Pinacoteca d’Arte di Soncino; Pinacoteca di Bossico, Bergamo; Pinacoteca di Civitanova Marche; Pinacoteca di Bari; Italian-American Museum, San Francisco, USA; The Rosicrucian Egyptian Museum, San Jose, USA, Museo di Città Bolivar, Venezuela; Maison de la Culture, Namur, Belgio; Oud Hospital Muzeum, Aalst, Belgio; Museo d’Arte di Montecatini; Primo Museo d’Arte Moderna, Asyla, Marocco; Museo de Arte Contemporaneo, Ibiza, Spagna; Museo Civico di Taverna; Pinacoteca di Pejo; Fondazione D’Ars Oscar Signorini Onlus; MUSPAC – Museo d’Arte sperimentale dell’Aquila;Koblenz Museum Germany. Her last shosw is in the Biennal of the Light in Casa Del Mantegna in Mantova, Italy.

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