Opere di Karam Cannarella - Calligrafia

CALLIGRAPHY

Karam Sebastiano Cannarella is a ‘painter-poet of sensations’ and because of this magic he transforms reality into symbols, in search of the meaning of infinity. Representing sign language, the artist proffers an ‘infinity’, restoring a rational and perceptible form that allows us to grasp the optics of whatever exists beyond reality.

In his ‘pictorial texts’, he uses what could be described as a personal ‘visual alphabet’, in which the protagonist is undoubtedly the sign. Inspired by the Arab-Muslim civilisation, he stages letter-signs highlighted by the arrangement of forms, intricate traces and imaginary indices while maintaining the quintessence of their dynamic composition and their undeniable intercultural dimension. The artist thus creates his own expressive language from which emerges a profound knowledge of the same, with which he demonstrates his ability to alternate and exchange the sense of the relationship between form and colour, thanks to his personal and free creativity. For the artist, the canvas becomes a space to be constructed, he selects the chromaticisms, the infinite forms transforming his research into matter, sign and memory, to be stopped, for an instant, with the pictorial gesture, to then return to vibrate in the space of the painting drawing that vortex of signs and colour that urge our gaze to enter ‘his painting’, which allows us to capture a universal message, a sequence of emotions and perceptions. Here appears in his works a sign – letter, pure energy that imprints itself and emerges on the entire pictorial surface through the skilful choice of colour, a strong evoker that creates different spatial planes in infinite and mutable variants, until it completely invades space and overcomes its two-dimensionality.

Opere di Karam Cannarella - Calligrafia

Untitled
Acrylic on canvas
150×150 cm. 2005

A sign that constantly seeks a dialogue, the common thread of his poetics: thus the sign is at times freer, less controlled, at others it is more drawn, more clearly delineated in its form and in the conscious action of communicating in the ambiguous, visual, and undefined play of art. The artist composes his sign language, fluid and enveloping and sharply defined with a controlled and harmonious gestural expressiveness that shuns all expressive violence, structuring his own way of communicating of great pictorial value in which he recognises the pleasure of painting. A multitude of opposing but inseparable signs and letters dominate his works, thus giving rise to that original lyrical writing rigorously articulated in rhythm, colour and light. Equally fundamental is the colour that expands, energetically runs across the pictorial surface to reveal what constitutes painting, beyond its possible function. Colour together with the sign component are the essential points of his art, the expression of a critical approach and his spirit always ready to research, to discover new frontiers of doing. His sign opens up to the vitality and liveliness of dense, vital colour urged towards its shaping in search of a play of contrasts that enhance the relationship between handwriting and chromaticism animated by a strange, hypnotic energy. The image always appears to be in a state of becoming, a free composition of form and colour, elements emphasised by a refined play of volumetric and spatial conception dictated by a spiritual, profound, intimately instinctive tension, releasing an emotional tremor from which no gaze can be immune.