To an aesthetic of visual languages that Christian Carlini meditates before and then contemplates must be added and considered an accurate, meticulous technique that discerns materials and tools:

the supports are textures of high quality and the preparatory layers are pigments chosen because, both for the drawing up and for drying, they can welcome and make the colors effective. The chromatic pigments derive from mixtures of high quality and natural component, both the mediums and the binders contained in the chromatic pastes are chosen carefully, and each painting, each work, is affected by a harmony that is the result of a discernment philosophical-aesthetic and technical. Even the brushes, sometimes real silicone needles, make sure that the artist’s idea of hyperuranium enters the matter and becomes the brilliance of the material. Paraphrasing the Master philosopher dott. Gabriele La Porta, the beauty of the artwork is revealed in that radiance that from every element of the work pours out to involve the observer. Christian Carlini makes almost musical his work as the empty and full, the elements in the foreground as those on the scenes and in the background, they are represented and depicted with a precision that goes beyond Hyperrealism, and indeed the aesthetics of Christian Carlini’s visual language and his technical talent are not mere virtuosity, but rather the search for a deeper and, at the same time, higher vision: the vision of the angel.

Prof. Alberto D’Atanasio
Professor of art history, critic and curator "Casa Modigliani"

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