{"id":101151,"date":"2012-04-11T09:37:15","date_gmt":"2012-04-11T07:37:15","guid":{"rendered":"https:\/\/www.castellodirivoli.org\/mostra\/carla-accardi\/"},"modified":"2012-04-11T09:37:15","modified_gmt":"2012-04-11T07:37:15","slug":"carla-accardi","status":"publish","type":"mostra","link":"https:\/\/www.castellodirivoli.org\/en\/mostra\/carla-accardi\/","title":{"rendered":"Carla Accardi"},"content":{"rendered":"

Curated by Ida Gianelli, Giorgio Verzotti<\/p>\n

The research of Carla Accardi (Trapani, 1924) proposes an art language that rejects the objective image in favor of the free creation of the sign.<\/p>\n

Her painting is generated in unison with unconscious motions, thus becoming a sort of lyrical writing, rigorously articulated in precise rhythms.<\/p>\n

After the compositions of the \u2018Fifties, where white signs move against a black background to reveal an affirmation of identity and structural relationship, Accardi\u2019s sign becomes a vehicle for color, the chromatic value of which is accentuated until it is luminescent, producing uncommon optical provocations.<\/p>\n

Her experimentation, in addition to the use of fluorescent paints, includes a replacement of the traditional canvas support with sicofoil, a transparent plastic material that reacts to ambient light and emphasizes the nature of the painting as a luminous diaphragm. Through the use of sicofoil Accardi extends the relationship between surface and volume to sculptural form, creating works at the boundary between painting and sculpture, in the form of rolls, cones or tents, the latter of which can be entered by the viewer.<\/p>\n

More recent years have opened up a new period of research, based on the adoption of rough canvas, which is allowed to filter through between tangles of broad colored signs, and where different applications of color are juxtaposed, creating energetic fields of varied intensity.<\/p>\n

\u00a0[K.G.]<\/p>\n","protected":false},"excerpt":{"rendered":"

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