The Pittosculptures of Carla Pitarelli seen through the thought of the art critic Giorgio Palumbi

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Carla Pitarelli and Giorgio Palumbi

London – Carla Pitarelli, formerly a talented illustrator of cinematographic and theatrical posters, is an artist who has fully embraced the philosophical-aesthetic, creative and artistic aspects of the “Third Millennium”, sharing its aims, constructive expressions, endless suggestions and the feelings lived and breathed out by her innovative and rebellious soul.

An expert in photography, in brush and airbrush, now famous she intends to penetrate the world of change with all of herself through a personal reflection that has changed the past aesthetic and technical choices predicting a future reading and analysis through the changes of social realities and penetrating the composite complexity of the art of the future. All of this by using the transparencies of solid carbonates to encapsulate the immense heritage of art and beauty and the extraordinary images illuminated by LED lights which create spectacular scenarios, rich in aesthetic appeal in such large dimensions that they literally come to life as the lights turn on. They offer amazing three-dimensional effects, putting the astonished pupils of the public in the magnificent atmospheres of the scenes that are skilfully imagined and performed by her excellent talent and creativity.

She is undoubtedly one of the greatest Italian artists of the contemporary era also for the intellectual fervor with which she was able to accept the aesthetic stimuli of an art at times not easy to understand and often hindered, if not sheltered by conventional criticism, as it happened to many other gifted and talented artists of the past centuries who did not fear but courageously faced homophobic adversities, paying their will to transform the art of their times, placing it at the service of new and cultural equality between men and women such as Artemisia Gentileschi for painting and Annie Leibovitz for photography.

Personally I would like to entrust myself to the category of those who pay close attention to the evolution of Art, both because I believe that the changes can be equally well interpreted and with equal artistic sensitivity between women and men. In fact, an artistic piece of work can be considered as such and can be judged more valuable or less if it has been generated without distinction, from the hand and mind of the feminine or masculine the same.

Certainly the path to break down gender stereotypes is not short or easy, but thanks to artists such as Carla Pitarelli the process has been activated so that the “Culture”, through artistic changes, finds the due triumph as stressed by the thought of the television host “dell ‘Arte del Domani” recently broadcast by TG5 Arte.

Returning to her, I can say that she represents the “corner stone” and the “safe step” of an endless itinerary and, therefore, the necessity of the Contemporary Society for the insights of the works carried out through that way to achieve the works of art and the innovative techniques used.

The most representative work due to its considerable size, although all of her works have been carried out to considerable size, is titled “Cucù” and was exhibited for a long time at the “Venanzo Crocetti” Museum in Rome.

The same work, which received the praise of a large audience, has emerged as a fantastic contemporary reinterpretation of the nineteenth-century “Roma Sparita” by Franz Roesler, which the author has revived through a spectacular scenery interpreted by the alleys of ancient Trastevere , shared in the street spaces by modern cars and by the invasion of exotic green parrots from the neighboring gianicolenzi green areas, whose verzi “Cu-cù” appear to resonate between the trees and from the top of the buildings as if wanting to participate with their own vocal musicality to the movida of the places.

At the moment, some of her bewitching materic scenographic works, that I would dare to define pittosculptures and that have already found due complacency as well as honed acknowledgments at exhibitions in London and Milan, live in the rooms of the Roman Castles Museum Pole in Velletri, where they give luster to the conferences on the Art of the Third Millennium, awaiting other exhibitions and events so as to make the author better known than she already is and for the great attention of the collectors of central Italy.