Education:she attended the Accademia di belle Arti of Foggia graduating with flying colours in sculpture. Subsequently, following her artistic inclinations, her instincts and her aspirations she took to painting.Periods and subjects: hers is a particular" landscape painting" consisting in a Post-Impressionist interpretation of urban visions, glimpses of Metropolitan life, roads, railways, buildings, billboards, signs, suburbs, symbols of progress and "places" of revival in every town. On these backgrounds moving figures stand out, lovers walking embraced ,cyclists, rickshaws, trains, cars, airplanes, solitary pedestrians, motorcycles, bicycles ... and wind ,whirls,, rustle. Motion, energy, strong dynamic charge, lights and external shadows turn into music on other canvases, as a so to speak” pause" from the rigmarole of the road: Ethereal scenes of musicians that delight for their elegance and magic with which they enchant the observer to a point that they can almost hear their notes.The symbolic function of colour: "a meeting- a clashing" of black and white, declined in all possible shades and "interrupted" here and there by small interferences : splashes of yellow, blue, red peep through the two coloured network as a resolution, compromise between the many antithesis of life. A production ,that of Carla Insalata, imbued with a romantic poetic in its simplicity, sensual and feminine in its essentiality achieved through soft, sinuous and at the same time determined traits.
acrylic enamels and tempera on canvas.
"A DIALOGUE WITH THE WORLD AROUND" by Paolo Levi
Carla Insalata is a brilliant post Impressionist painter . Up until now, an exact definition for the work of this painter was missing, an artist of inviting visions of everyday life . I will try to give one myself, studying deeply the analysis of her figural research: in comparison to the strong narrative evidence of painters of the reality who worked in the second half of the twentieth century – for example Renato Guttuso or of the pitiless representation by images of certain “current” painters, the procedure chosen by Carla Insalata resolves in the softening of the tough appearance of urban and rural world. In fact, this kind of Impressionism – our artist knows how to enhance the image, pointing out with a strong pictorial sign the contrasts - looks like the visual praising of a poetic formulation. I am sure that the merits of her painting resides not only in the sincerity of expressive choices, which are dedicated to the man in her life, and to the landscape in its emblematic silence, but also in the determined effort to absorb and reflect the transitional nature of events addressed in every single work. Carla Insalata transmits to the observer the objective effectiveness of a contemporary iconography, but also and above all a lasting and complex combination of rhythmic and dynamic moments. Taking her subjects directly from reality and transforming the image into an intimate lyricism, the artist expresses her refusal to deal with the ' right ' and the ' real ' as cold representatives of objectivity. But also: her investigations of the outward appearance of life, lead her, sometimes, to insist on the mysterious ambiguity surrounding man. This element of disenchantment gives unknown echoes to her expressive language. And if I spoke of lyricism, I must also speak of the critical intent with which the painter revisits everyday life and leaves room for the interpretative uncertainty of the world that surrounds and involves her. She is careful to offer suggestive messages, and to redefine the subtle connections that bind humanity to the town and rural habitat, resolving possible dichotomies between the one and the other through a highly eventful representation; which might also suggest the deceptiveness of relations between space and time. Carla Insalata has in her painting the feared sweetness and the kindness of real poets who narrate by images the essential, implying the superfluous. In this way of chanting a world however accepted and loved, the shapes tend sometimes to dissolve in a pure vibration, without colour and without descriptive pleasure. For this reason the narrative complexes end in the evidence of an unusual pathos; the colour is bright and pure; the representation is clearly deduced from an emotional suggestion; the overall vision comes from a shot instinctively grasped and plastically – not surprisingly it was sculpture that marked her debut -before being reworked on the canvas; you notice the preference for cuts almost expressionistic, which refer to a direct appropriation of the chosen subject; all this, finally, gives the narration a unique effectiveness. What is striking in these works – where idyllic relationships do not exist between human presence and the environment – is, on one hand, the ideal tension that in her appears strong and mature and, on the other hand, a collection of tenderness and concern, namely the language of emotion and poetic reason.