ABOUT CARLO BRENNA
Carrying out a thought practically obliging it to stop in order to hear and accept the feelings done by the contact with the human problems is for an artist enough substance .
But , when the thought takes shape and leaves the undulating and compressed masses ( or bodies ) on the bottom of a work in order to come towards , then the presence from sensitive it becomes real .
The unisonic reality of the without face , concentrate in the form and in the availability that the same form offers , in order that the colour from representative becomes opening of dialogue .
The story that is always different , that even if at a subconscious level is readable .
Brenna steals us , and gives us our secret images with his mystic and comforting choreography that lives in Greek classicism , in order to let us develop metaphysics ideas , of surrealism
Giuseppe Marotta Jr .
Each piece of his work reflects the humane persuasion of the artist , without confrontation, to those who are able to grasp the meaning .
The kindness in his presentation suggests that one can learn today , so not to loose the way tomorrow .
This artist is an imaginary .
He gives life to human representation more or less grouped, of women without face in first place with the downward , often to the back, of pale and ghostlike figure .
The good sobriety of the intensity of the body and what other else is on the paint , is the validity first of a painting because it builds on impalpable colour “ film “ to which assigns elegance and poetry .
The parametaphysic personality of Brenna in being intact it declares considerable .
CARLO BRENNA,a well-known and well-established artist in his native Italy, was born on february 11, 1935 in Milano where he attended the Accademy of Fine Arts , graduating in 1956. He also studied graphic arts at Milano’s famous Umanitaria School.
CARLO BRENNA accomplishes his paintings and wall frescos using pure pigment powder made of various substances which are then covered with virgin wax, a technique used by the masters of the 14th century. His sculptures are either in bronze or in red silver brickwork.
Some art critics see in his theories of form and figuration a continuation and further development of Feininger and Schlemmer.
CARLO BRENNA’s metaphysical use of overlapping spaces, the relationship of volume to lines, into which he introduces plastic figures, silent and ethereal with shadowy faces, anonymous and disquieting, seem to underline the enigma of the unreal.