We begin our presentation by clarifying that, in the divide of the so-called Abstractionism, Carparelli can be framed in the Lyrical segment. Her production, driven by intimate impulses, is guided by expressions of her unconscious and intuition, with an undeniable production anchored in organic forms that refer us, in most cases, to details of scenes and marine or lake imaginary, despite any narration.
 

Spectators, more often than not, are surprised by imagining what we see at the water's edge, be it the sea or the shores of a lake. Transparencies, fluidity. Like a small depression on the surface of the soil that retains water, where we can find plant fragments next to shell debris and other similar textures. An expanded look at this microcosm, where the forms, already diluted, abandon the narrative task.

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Having done this first basic framework, we refer to the first comparative efforts. Once a member of the so-called Informal Abstractionism, many could immediately imagine some point of tangency with Jackson Pollock, iconic painter of the so-called Expressionist Abstractionism movement. Nevertheless, Pollock's technique consisted of pouring paint over horizontal surfaces, where there was a frenetic performance in an almost performative way, forcing him to approach and, in a continuous act, move away from the canvas, seeking viewing angles, with results close to random. Although there is fluency in creation, on the other side of the spectrum is the work of Carparelli, resulting from slow and peaceful movements, with imagery linked to the “inner need” for peace, the calming effect of the reunion with the natural. Informal abstractionism, yes, but not vibrant and that soothes viewer gaze. 

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At this point in the presentation, readers are already aware that they will come across lyrical abstraction, informal but not expressionist, a calming look that brings us back to the marine imagination, with details and angles of riverside fluidity, whether on the banks or small depressions by the sea.    

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Let us therefore focus on the chromatic harmonies, on the so-called Carparelli palette. This is perhaps the most exotic aspect for a European spectator, accustomed to the light and nuances of the temperate nature of the old continent. Carparelli lives in the most tropical of mutes, in Brazilian lands, surrounded not only by nature, but also subject to the typical insolation of this region of the globe. Her palette is often the result of radiation that falls on forests, plants and flowers, on the surface of the ground or even on the waters, completely free of clouds or fog, without the European filters that lower the tones. From some screens, especially small ones, one can infer intense heat and exposure to the sun and elevated temperatures. Carparelli can flirt with Fauvism, since she even uses pure colors, without mixing them, without tinting them. In her small formats, she uses intense colors, referring us to the details of tropical plants, putting her own state of mind and her inner impulses on her canvases. Such sensations are conveyed, with great competence, to the spectator, in a way totally free and devoid of disturbing or depressing vibrations. Note that there is little gradation between the hues. There is an excess of impulsiveness and experimentation, without the use of tests or previous studies. Carparelli's palette accepts comparisons with André Derain's first watercolors; of Jean Puy and his blue-green tones; of some works by Vlaminck. A comparative effort is made here, only with regard to the palette, not the themes.

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Considerations were made regarding the conceptual framework, comparative analysis, reflections on the palette and chromatic harmonies; it is now up to us to make additional digressions as to the form explored by the artist. It can be said that there is an almost synthetic view of nature. It is worth highlighting the complete absence of three-dimensionality. Carparelli's impulsive visual sensations free her from any connection with the narration of reality and naturalism itself. Sensation originating from the natural but breaking with three-dimensionality. The artist seeks to compensate for this bias in her production of glass objects. A counterpoint to painting. However, the shapes worked also refer to the marine or lake imagery, using organic shapes, of mollusks and the like, with the transparency of the waters in the glass used. There are typical harmonies of marine life here (from mussel shells on copper), in contrast to shades of green and blue – travel across the Adriatic seas; of Marmara and the Aegean. Fluid on celestial, turquoise or even cobalt surfaces. Identical imagery, opposing techniques. Two-dimensional organic canvases as opposed to objects, also organic, of glass worked with metals that instantly transport us from the Arctic to Greece.

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In this same line of ideas, it is worth highlighting the freedom of filling the surface of the support. Often, with special emphasis on her larger canvases, Carparelli leaves spaces unfilled, as in Wolfgang Paalen's early watercolors. On the one hand, the Austrian referred to vegetation and distant landscapes already blurred, almost like a spectator who, from the top of a mountain, moves away the foliage and plants around him, in order to visualize a valley, much lower and in the distance. . Just innuendo, no explicit narration. The imagination of both seems to come from nature. However, it holds us in a mysterious way more than the reality of experience in the natural. There is more mystery in the paintings than in the real world itself. We can say that, as far as composition is concerned, Carparelli is connected to Kandinsky's abstractionism, with her pure colors and quick brushstrokes, inducing something existing in the real world, without, however, allowing a direct connection with anything in a specific way.
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As with everything that has already been said here, it can be concluded that Carparelli's works do not focus on rationalization, they are completely independent of intellectual analysis so that there is fruition. Nor do they resort to lines or strokes, with total abandonment of the traditional perspective. There are no great tensions or any violent brushstrokes, with the use of a unique and fluid texture. All this with absolute prioritization of intuition, without the use of any previous studies. Creative freedom based on the sentimental-emotional aspect, in a way indebted to the therapeutic effect of the chromatic harmonies of nature, especially with the palette and imagery of seascapes. It gains three-dimensionality, as we have already said, only in her glass objects combined with metals, but maintaining fluidity, chromatic range and mere associations with elements of nature.

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Finally, we should clarify that her works reflect the stillness of her personal aspect in a clear manner. Even when using typically tropical colors, low vibration, giving us the sensation of a glimpse of detail of paradisiacal flora, like someone holding a small seedling in the garden of Eden. Less voluminous painting, fluid in the planes, with a clear aspiration for serenity, leaving us with a soft taste of eternity.