Carrarini, Italo (Italy)

Carrarini, Italo (Italy)

Italo wrote this email regarding his work titled Manifested Hidden Sun (by Benedetto Simonelli):

"From the 80’s onwards much of my research has been sedimentation of texts and images inside surfaces of formats equivalent to sources of origin. From this wide range of possibilities, the  TRANSCRIPTIONS, to which this job belongs. In this case two pages of the same format as the published brochure on which I fully transcribed the author's text. A space that also becomes a personal opportunity to study (hence the marginal notes) which formally define itself as accumulation, as overlap of all the words studied..."



Italo Carrarini, Manifested Hidden Sun (by Benedetto Simonelli). 2020

Acrylics and inks on canvas / cardboard

 

In instances such as this, language barriers can be very frustrating – especially as one cannot understand the nuances or word usage through google translate! But, this undoubtedly vispro image speaks to the following theoretical parameters I am attempting to formulate.                                                                              

Obvious prose (according to the definition in use for the purposes of this paper) comfortably resting in a book-like context, executed in asemic writing gives the reader the feeling that the writer invites the viewer into a complex story comprising excellent narrative. The author offers a combination of complex sentences and unusual words - perhaps the words and phrases  so multifarious that the prose demands marginalia! In 1844 Edgar Allan Poe wrote:  “I have always been solicitous of an ample margin; this is not so much through any love of the thing in itself, however agreeable, as for the facility it affords me of pencilling in suggested thoughts, agreements, and differences of opinion, or brief critical comments in general.” https://www.eapoe.org/works/misc/mar1144.htm

 

Many kinds of readers (I am one) feel that a book does not get it’s best intention unless their pencil is poised to add to, comment on, or underline their agreement (or disagreement) with the authors’ thoughts. As Italo mentions, this particular work is a transcription of Benedetto Simonelli’s  Manifested Hidden Sun. Rewritten in Italo’s palimpsest asemic style, using the same format as the original published brochure, Italo has respectfully represented in a visual way, a borrowed piece of prose. He has built on, added meaning to and commented on the original text and changed its nature from ‘just text’ to a work which focuses on the unsaid, the layering, the time and complexity which the original author could not have had space to do within a conventional format. Convergence of idea, marginalia, colour and lilting text bound within a singular vispro image allow me insight into Italo’s understanding and interpretation of a prose piece I have never seen. And I sense, the original text from which this work was transcribed was not light entertainment to be zipped through, for Italo has invited his audience to immerse themselves in a strange page, a concept belonging to a foreign place and time – one he has travelled through by accessing the prose of another. 

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