Essayist, Critic
Conceptual Multiplicities in the Art of Carla Sello
For some time now, the language of art has been drawing from materials often used with careless daily habit, reclaiming them in a proposition that re-elaborates their experience. Similarly, Carla Sello elevates plastic material to a level of logical elaboration, in which the invisible faculties of a shifting territoriality condense. Here, fleeting minimal meanings burst onto the scene, revealing an osmosis between physical and mythological components within a script oriented toward a religiosity that finds its expression through art.
It is within the continuity of what is a truly interactive discourse that the choreutic and scenographic spirit of Sello’s works reveal a boundless environmental conjugation. In fact, those meanings subvert stasis through the grafting of matter with a chromatic variety that—moving beyond enchantment—gathers implicit motivations into a landscape of conceptual multiplicities, recomposed with a metonymic expansive affinity.
This seems to prelude a conciliatory convergence of hidden meanings that emerge as much in visual expression as in sculptural concreteness; in choreutic performance as much as in the kinetics of forms, expanding into a meditation that is phylogenetic, anthropological, and philosophical in nature.
To the claustrophobic routine of a redundant script, Carla Sello opposes a restlessness of poetic attraction. This is a transgressive act through which chromo-plasticity becomes the testimonial architect of a research that unites—never yielding to criteria of resemblance, nor to artificial or propagandistic dissimulations—the flow through incessant planes of approach and distancing. Within an identity-defining balance of polymorphic chapters, the artist shapes the symbiotic ritual of an intangible memory, which remains resistant beyond the cares of time, in an apodictic approach.
We find ourselves, therefore, in the “beyond” of an art that brooks no replicas within the entirety of a new-generation Sturm und Drang. With a disruptive territoriality that stands distant from the peremptory sentence of insatiable obviousness, it achieves the orientation of an existential dramatization.