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Laura Caramelli

Painting and sculpture in Florence

Caramelli & Caramelli


Laura Caramelli


Laura Caramelli was born in Montelupo Fiorentino, a town on the outskirts of Florence famous for its production of artistic ceramics; this gave her the opportunity to visit pottery workshops and kilns from an early age. It was at the beginning of the Eighties that she began to tackle drawing from real life at the studio of Patrick Hamilton, concentrating on nudes especially, both with a classic approach and as an exploration of movement.

Later on, she furthered her analysis of light en plein air, and subsequently attended the atelier of Marco Lisa where she was intrigued by the use of metal putties and resumed modelling terracotta. It was at this time that she attended the school of ceramics in Montelupo Fiorentino, with a special focus on the use of the potter's wheel.

A short time later she met Roger Partridge who introduced her to sculpting in stone and marble both in atelier and at the quarries of Pietrasanta.

For several years she worked with Frances Raynolds, the artist to whom she attributes her approach to minimalism and working with wood as a primitive material.

In 1994 she held a one-man sculpture exhibition at the Ceramics Museum of Montelupo Fiorentino (FI) after which she joined the IBERNA group with whom she took part in the international art competition "Projet Uni Dufour". The work was exhibited at the Musée d'Art e d'Histoire in Geneva.

After the IBERNA group broke up she continued to participate in one-man and collective shows in Italy and Europe.

She also collaborates with Pietro Antonio Bernabei, the forerunner of European Bioart, with joint works and shows and subsequently with Primo Biagioni, a versatile sculptor in terms of expression and technique.

In 2008, for the Olympic Games she was selected, along with 17 other Italian artists, to exhibit in the Forbidden City, at the " Salon des Artistes Européens de Beijing ".

Recently she joined the"Antica Compagnia del Paiolo" in Florence and has collaborated in the illustrations of Maria Rita Montagnani's book: "Il grande ascoltatore".

Currently she divides her time between painting and sculpture; her works revealing a new stylistic dimension in which, while not abandoning her taste for substance, she has evolved towards a formal minimalism centred around the profound symbolism of man.






Over the last few years this artist has been trying to communicate with an increasingly more minimalist style the profound loneliness she feels as she explores the world around her.

A head, a hand, a foot - these are symbols that transcend from a type of humanity that neither communicates nor feels, and against which she rebels. She struggles to express her "inner self", divided between abandonment in an oppressive world and capture the emerging energy that shatters the ostracism towards a lost being who would like to be heard in the inconsistent abyss in which humanity has been buried.

The recurrent schematic face that rises from the surface of the painting exalts this inner desire. The intense ultramarine blue, the purity of the carmine red, the contraposition between black and white, all give life to the contrast between the soul and an empty humanity. (January 2010)



Laura Caramelli's works are engaging, dense with pathos and poignant alchemy … Clearly her mastery of matter assists the artist in the elaboration of works in mixed technique in which alchemical and psychological exploration proceed abreast. The sensations generated are in fact morphed mental states and techniques. Starting from the more classic techniques of oil and acrylic, the deft hands of the artist-alchemist mould these through integration of the most diverse materials - sand, gauze, meshes and whatever - that transform the matter of the painting and evolve into works of striking visual-tactile impact. Her creations stimulate the observer to an awareness that does not stop at the mere vision but arrives at a direct contact with the work: we are attracted to the point of touching it, urged to experience a symbiosis with the work. "Vita alchemica" (Alchemical Life), "Riflessi lunari" (Lunar Reflexes) are intriguing works in constant metamorphosis, culling something different from each new contact, implementing a species of continual elaboration and enrichment both in the observer and within the work itself. The true magic that art alone succeeds in working when it arises from the creativity of eclectic and sensitive artists such as Laura Caramelli … (February 2008)

Sculpture, the strength and fragility of our EGO

Wood, cement, stone, plastic, iron: different materials that Laura Caramelli uses and moulds to her own sparkling and profound vitality of intent. The constant frenetic quest for the deepest and most concealed SELF and EGO emerges in the sculpture, as in the painting, partly through the use of particular woods and specific juxtapositions of matter and colour which, harking back to the material painting, continue with consistent determination to unfurl their magnificent results. Thus in "Antonio1" we can grasp the contrast between the passionate red of the wood and the dark countenance that weighs on the heart, bringing out the contrast between what is more superficially engaging and the depth of the thought and the feeling. Similarly in "Pendolo" (Pendulum) the robust strength of the structure is in contrast with the delicate suspension of the little sphere hanging above. In all her works we find this dichotomy between materials and symbols, an awkward coexistence that perfectly reflects the reality in which our conscious and unconscious frequently coexist, Figures and symbols, stylised and used between lines and cuts that are geometrically perfect and symmetrical, whet our wonder and stimulate our curiosity. How can we fail to be captivated by the simple yet complex representation innate in "Antonio 2"? Laura's artistic evolution is eminently consistent, as she tirelessly continues to stimulate our imagination and our most profound emotions. (October 2008)



Laura stigmatises her "hermetic" vision of the world in the expressive cipher, the compositional module of the ONE, anonymous and serial icon recounting an existence by now stereotyped and alienating. This ONE is in fact no longer a carrier of humanity, and thus finds itself shifted from the individual to individuality, that supreme value that each of us ought to seek and achieve in order to cease being ONE and become man. No longer an individual in the multitude but rather an individual that comprises it.... Laura embodies this crucial passage. (October 2009)



The key to Laura Caramelli's artistic language is to be found principally in colour and in the elaboration of matter. The style of both her paintings and her sculpture ranges from the schematised figurative to the abstract and is characterized by personal formulas that combine tradition with contemporariness.

In the landscapes represented in her triptychs the essential features develop through intensely chromatic geometric figures; rhythmic repetition dominates as do contrasts that evoke the classic tradition while, at the same time, attaining expressiveness through the contrasted play of roughness and smoothness of pictorial surfaces.

In other works, a primitivist and expressionist influence emerges in both theme and style. In these works the artist uses a great variety of structures and reliefs. This exploration of matter induces her to use various compositions both in the support materials (canvas, board, paper, the assemblage of various canvasses), and in the pictorial technique (oil, acrylics, minerals, sand, glass, rope, metallic net…).

The importance of matter is particularly visible on the screens with a dance theme. It is on these screens, stripped of the superfluous and where structure is emphasized, that colour and the transparency of the surface dominate.
In some of her works, the artist goes from the research of colour to the purity of whites; in others the contrast produced by red stains against a black background and vice-versa results in a powerful expressiveness. Particularly interesting are the chromatic effects obtained from the passage from cold to warm shades of colour.

The last series of monochromes introduces us to the contemplation of spaces where emptiness emerges and the purity, essentiality and elegance of the artist's language dominate. Colour creates the painting and its character materializes through thickness, opaqueness and luminosity. Opalescent shades vibrate on a gold, silver or copper lamina or on a uniform green, red, blue or yellow background. In this phase, characterized by a reduction of the chromatic range, the theme of dance reappears. On various panels with backgrounds of a single colour the elusive figure of the moving dancer is immobilized forever.

The creative and investigative character of the artist emerges also in her sculpture. Her solid background in the ceramic factories of Montelupo, in the marble quarries of Pietrasanta and her experience in the workshops of various artisans, lead her to explore the expressive potential of matter, be it ceramic, wood, stone, cement, iron or synthetic materials. The formal simplification, the primitivism and purity of materials are the core of her style which, from its beginning with terracotta, ranges from the figurative to the abstraction of her latest work.



A surrendering to the flowing inscrutability of the unconscious. Her work continues in the search for atavistic and mysterious alchemies in which the challenge is renewed in the knowledge of repeating predestined pathways.
The journey that artist Laura Caramelli has "always" embarked on, both in painting and sculpture, can be glimpsed in the conflicts involving her own EGO, expressed with feverish, carnal and cerebral impulses that move and propagate on waves involving the artist herself.
As a result, it is as though Caramelli were materialising her own inner work through the figures and symbols that make up her own special language. (September 2005)



Her plastic and pictorial works attain a schematism, a simplification that underline her tabula rasa approach, her desire to start from the origins of art and of the history of humanity through ancestral forms that are part of our inner world.
Laura Caramelli often resorts to symbolic shapes… that strike our imagination letting us into the primordial mysteries that concern also modern man.
She explores the arcane aspects of art in order to find a balance between the I and the Self, between the individual soul and the universal soul.



"Laura's strong point is the insatiability of her research. Sculpture, painting, or rather "writing", emerge with great clarity.
In her sculptures and her canvases the idea, the thought behind the lines and colours are there, complete. It is up to us to read them and to discover their dramatic content."





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