carlo franza

Carlo Franza

Among the international level most remarkable artists the young painter Andrea Carreño has a well-defined place, considering the whole early painting of hers. I want to underline the internationality since the painter, even if living in Italy and exactly in Milan, comes from Chile, from the capital Santiago, where she was born in 1969.
Empty houses, or better, houses painted without human figures, ancient houses and vintage palaces, worked vaults, red houses, green halls and an interior scene-painting looking mid a metaphysical aspect and an expressionist “manner”.
Andrea Carreño knows very well how the international art moves, and she knows as well some names of importance in the field of painting as Halthus, Hockney, Hopper.
Of them she catches the wonder, the waiting, the absence, the mystery, but also the light, the sun lighting up everything and shining upon by beams everything.
It enchants, the painting of Carreño, since it has a legibility, Latin at all, enclosing on a side to the whole Italian realist art and on the other side the entire neo-figuration trans-avangardist framework.
The early oil paintings of various measurements argue with places of memory, places of friends, private houses, and museums as that of Rivoli and the Turin one or the Sforzesco Castle of Milan.
Andrea Carreño paints in infinitive ways all the rooms of a house, from kitchens to living rooms, and the interior museum turns itself into the mirror of what lives around it.
Of the public museums she catches the great openings, the halls, the most interesting for the architectonic lines, the frescos, the basso-rilievo, and the great decorations.
This painter has all the makings of painting so to grow more next years. Significant paintings of hers have been introduced in public and private museums.
Since our review has over time pointed out indications of research for what happens in the contemporaneous art, I would not like to miss out this pictorial description of that sort of “little old world “ you read in the paintings of the Chilean painter, not traditionalist at all and related to the contemporaneity of the moment. They remind me the writings of Fogazzaro and those of our Guido Gozzano who in his verses notes those things in bad taste founded in his grandmother's house, up to the stuffed parrot.
It's a way to describe in poetry and in painting the world close to us, and further its a way to outline the nowadays life often bringing all of us far from reflections.
The painting of Andrea Carreño lives of all these coincidences and impacts, the heart of every place lives, the hart of the forms inhabiting these places.