Carla Tolomeo
Pig / cm 61x30x15 / Anno 2016 / Resina velluti
Pig / cm 20x42 / Anno 2015 / Resina velluti
DIVANETTO CIRCOLARE STRUTTURA DESIGN TOLOMEO / PASSAMANERIE cm 128X80 SEDUTA cm 60X48 RETRO / Anno 2009 / VELLUTI IN SETA PONTOGLIO
POLTRONA IN STILE DAMASCO MYRROR / PASSAMANERIE cm 200X110 SEDUTA cm 43X53X60 / Anno 2019 /
Santo Domingo / cm 120x123 cm 42x40x9 / Anno 2019 / Passamanerie in oro e seta, perle in cristallo
Rose pour touyours / passamanerie cm 122x90x60 cm 38x60x60 / Anno 2021 / Velluti in cotone Pontoglio, Velluti in seta su disegno dell'autore
Rhino Arlecchino / velluti cm 73x34x25.jpg / Anno 2019 / Scultura in resina
“Perché sedie, sempre sedie, solo sedie? Forse - ammette Carla Tolomeo - perché nascondono un peccato; e magari lo evocano. La sedia – ella aggiunge – per me è un ritratto, e può diventare persino un autoritratto.” Carla Tolomeo, artista nativa di Pinerolo, dal 1997 accantona il suo amore per la pittura per dedicarsi alla sua nuova forma d’arte: la sedia. Ora ella non rappresenta ma presenta. È uscita dalla superficie illusoria per costruire sedie che sono reali e nel contempo irreali. In un certo senso è diventata, manualmente, un’artigiana: lavora con passamanerie e velluti, con gommapiuma e tessuti raffinati. Ma la materia dell’arte, si sa, oggi può essere anche quella. Importante, essenziale, è il risultato.
Why chairs, always chairs, only chairs? Perhaps, admits Carla Tolomeo, because they conceal a sin, and indeed possibly they conjure it up. I view a chair, she adds, as a portrait, and it can even become a self-portrait. Carla Tolomeo, artist native of Pinerolo, since 1997 she sets aside her love for painting to devote herself to her new art form: the chair. She no longer represents, but presents. She has emerged from the surface of illusion to create chairs which are real, and yet at the same time unreal. In a certain, manual sense she has become a craftswoman: she works with trimmings and velvets, with foam rubber and elegant fabrics. But the substance of art can undoubtedly be that too. What matters, what is essential, is the final result.
Why chairs, always chairs, only chairs? Perhaps, admits Carla Tolomeo, because they conceal a sin, and indeed possibly they conjure it up. I view a chair, she adds, as a portrait, and it can even become a self-portrait. Carla Tolomeo, artist native of Pinerolo, since 1997 she sets aside her love for painting to devote herself to her new art form: the chair. She no longer represents, but presents. She has emerged from the surface of illusion to create chairs which are real, and yet at the same time unreal. In a certain, manual sense she has become a craftswoman: she works with trimmings and velvets, with foam rubber and elegant fabrics. But the substance of art can undoubtedly be that too. What matters, what is essential, is the final result.