This introduction begins by clarifying that in the boundaries of the so-called Abstractionism, Carparelli may be classified in the Lyric segment. Driven by intimate impulses, Carparelli’s production is based on manifestations of her unconscious and intuition, undeniably anchored on organic shapes that often send us back to details of marine or lake scenes or imagery, irrespective of any narration.
Viewers are frequently surprised by catching themselves imagining elements seen at water’s edge, be it at sea or by a lake. The transparencies, the fluidity. Much like a minor depression on the surface of the soil holding water, in which one is able to find fragments of plants by remains of shells and other similar textures. Carparelli offers an expanded perspective on this microcosm, in which ever-diluted shapes leave any narrative incumbency behind.
Once this initial clarification has been provided, it is worth reporting on the first comparative efforts. As part of the so-called Informal Abstraction, one could immediately imagine some sort of point of tangency with iconic painter Jackson Pollock, of the Abstract Expressionism movement. Nonetheless, Pollock’s technique consisted in pouring and dripping paint on horizontal surfaces, in an almost performance-like, frantic movement. Pollock had to come closer to the canvas only to instantly move away from it, in the pursuit of different angles and perspectives, translating into nearly random results. Though there is fluency in the creation, Carparelli’s work lies on the other side of the spectrum, resulting from slow and peaceful movements, whose imagery is tied to the “internal need” for peace, to the appeasing effect of once again finding all things natural. Certainly an expression of Informal Abstraction, albeit not vibrant and which soothes the viewer’s gaze.
At this point of the introduction, readers are aware that they will come across lyrical, informal abstraction, though not expressionist; an appeasing perspective that sends one back into marine imageries, with details and angles of river-like fluidity, whether of margins or minor depressions at water’s edge.
Let us now move on to the chromatic harmonies of Carparelli’s palette. Perhaps here lies the most exotic aspect of her work, for a European viewer, who is more familiar with the light and nuances of the old continent’s temperate nature. Carparelli dwells in the most tropical of worlds, on Brazilian soil, surrounded not only by nature, but subject to the typical insolation of this part of the globe. Her palette oftentimes arises from the sunrays on forests, plants and flowers, on the surface of the soil or even of the waters, entirely free from clouds or fog, without the tone darkening of European filters. One can feel the intense heat, sun exposure and high temperatures on certain works, especially on small canvases. Carparelli could flirt with Fauvism, considering she uses pure colors, which are not mixed or blended. Carparelli, in her small formats, uses intense colors that remind one of the specificities of tropical plants, printing her very state of mind and innermost impulses in hew works. Such feelings are accurately transmitted to the viewers, in a spontaneous fashion, free from any disturbing or depressing vibes. It is worth mentioning there is little gradation between shades, but great impulsiveness and experimentation, without any prior studies or tests. Carparelli’s palette accepts comparisons to André Derain’s first watercolors; to Jean Puy’s shades of greenish blue; to some of Vlamnick’s works. Comparative efforts made solely with respect to the color palette, and not to the subjects or motifs thereof.
Once the remarks on the conceptual classification has been made, as well as the comparative assessment and reflections on the palette and chromatic harmonies, it is time to move onto additional digressions on the shapes the artist explores. It is arguable that Carparelli offers an almost synthetic view of nature. The complete absence of tri-dimensionality is noteworthy. Carparelli’s visual, impulsive sensations free her from any obligation to narrate reality and naturalism per se. A feeling triggered by what is natural, which nonetheless breaks with tri-dimensionality. The artist attempts to compensate such bias in her production of glass objects, a counterpoint to her painting. Even though the other shapes developed also reminds one of marine or lake-like sense, using organic formats, of mollusks and such, interplaying with the transparency of the water in the glass used. One finds typical harmonies of marine life (of mussel shells on copper), contrasting with shades of green and blue – a chance to travel through the Adriatic Sea, from Marmara to the Aegean Sea. Fluidity in sky blue, turquoise or even cobalt surfaces; identical realms, opposite techniques. Bi-dimensional organic canvases in opposition to the equally organic objects, made from glass and metals, which immediately transports one from the Arctic Ocean to Greece.
It is likewise worth mentioning the artist’s freedom when it comes to filling the surface of the chosen medium. Especially when it comes to her bigger canvases, Carparelli leaves empty spaces, similar to Wolfgan Paalen’s first watercolors. On the one hand, the Austrian painter made reference to the vegetation and out-of-focus, far-away landscapes, as if a viewer, standing on a mountaintop, were spreading out surrounding leaves and plants to take a better look at a lower valley, farther away. There are merely indications, rather than any explicit narrative. Both scenes seem to come from nature. However, one is caught thereby in a mysterious way, more so than would be the case if one were to experience reality in a natural environment. More mystery lies in the painting than in the real world itself. It is arguable that, with respect to composition, Carparelli is connected to Kandinsky’s abstractionism, with his pure colors and quick strokes, hinting at something that is part of the real world, without nevertheless allowing for the direct connection with anything specific.
In view of the foregoing, it is possible to conclude that Carparelli’s works are not focused on rationalization, and are completely independent from intellectual assessment, in order to be fully enjoyed. Her works also do not resort to lines or traces, and completely disregard traditional perspective. There are no major tensions or violent brush strokes, but rather a single and fluid texture. And everything prioritizes intuition, without using any prior studies. Creative freedom based on feelings and emotions, somewhat indebted to the therapeutic effect of nature’s chromatic harmonies, especially with the marine palette and sceneries. As has been previously mentioned, the works find tri-dimensionality only in the glass and metal objects, nevertheless maintaining the fluidity, chromatic scale and associations to the elements of nature.
Finally, it is worth mentioning that Carparelli’s works clearly reflect the quietness of her personality. Even when she resorts to typically tropical colors, low vibration, causing the sensation of having seen a minor trace of heavenly flora – as if one’s hands were holding a shrub straight out of the Garden of Eden. Carparelli’s work focuses less on volume, but is fluid in its planes, and clearly aspires to serenity, leaving viewers with a subtle taste of eternity.
Chairman of the Brazilian Institute of Museus (IBRAM)