Andrés David Carrara

Carrera moved then from an objective vision to a fatalistic one, to the attention to failures, to the defeated, to those who remained excluded from the game, in a tragic vision of fate.

Carrara’s attention now also focuses on everyday household objects: utensils, dishes, vases and teapots. The light sources, coming from the outside, do not define the figures in detail. Often the perspective is so close that distorts its size. The objects become imposing, fragments of a composition that can no longer be deciphered because it is transfigured.

Instead in his paintings that reveal the exterior the details are rendered with meticulous attention. The buildings, depicted in their smallest details, appear like unreal visions. Thus Venice – the city of dreams, of suspended time, of myth, of the absolute – becomes the most suitable location, with its details that slowly dissolve.

Born in La Plata, Carrera moved to Italy with his family during the years of the military dictatorship. After graduating from the State Artistic High School of Padua, he made a journey into the romantic tradition of the Nordic countries where he came into contact with Emil Nolde and Rembradt. Later he attended courses in scenography, in Venice, where he also studied the traditional Venetian painting.

After obtaining his diploma in scenography, he attended a course in philosophy of language at the Ca ’Foscari University. In recent years he has been inspired by the everyday reality that he expresses in cycles. His first Still-life paintings were born and then the Objects. Then Carrara’s attention shifted to the series of Architecture and Palaces, transformed into rhythms of buildings and silences, up to the Mangiati, the fallen chess pawns, in a dramatic vision of destiny full of evocative and metaphorical power.