Andrea De Carvalho

A rug is first and foremost an object. It is used as a floor or wall covering; it is used to pray, to eat, or for many other purposes. But at the end of the day these uses are anecdotal and change in both time and space. Andrea de Carvalho's rugs are loaded with object awareness. Her objects / rugs are all the more so that they eliminate nearly all the anecdotal functions listed above. For example it would be difficult to use one of her rugs to pray without cutting one's leg or breaking the rug. By replacing the warp with a series of cellular elements in ceramic, they become objects composed of other objects. Every element has approximately the same dimension and thus serves as a cellular motif which organises the image in the same way as knots in traditional rugs. But some of them are all the more objects resolved in themselves as they are different from others in black and white. While the later are organised to form an image, the others already have an identity which is extremely characterised, containing an image. In the actual body of the rug there are thus different levels of image formation and the final result, the overall impact of the rug, disintegrates into the numerous elements that form it, in a constant play of aggregation - disintegration.

It is on this perfectly mastered offset of perceptual planes that Andrea de Carvalho builds her Vanitases. Their title is very evocative but also laden with different meanings: Vanitas is the relationship between the beauty of the young girls depicted in various seductive poses and other elements which form a skull. But Vanitas is also the fate of the most beautiful and precious rug destined to gather the dust of history precisely because of its value and flexibility. Perhaps it is because of this that Carvalho's rugs, aware of their fate as Vanitases, boast the resistance of ceramic, the material which best withstands the ravages of time. But it is a material which also has another function. Every self-respecting rug is a live creation which constantly changes with light and with every look hungry for surprises. Glazed ceramic used as weft makes that light brighter still and surprises as one does not expect to find it where it is.

Enrico Mascelloni


2017 "MIA PHOTO FAIR" Galleria Paola Colombari Milan, Italy
2016 "Imago Mundi" Luciano Benetton curator of the catalogue Ecuador
2016 "Imago Mundi" Luciano Benetton curator of the catalogue Venezuela
2016 "MIA PHOTO FAIR" Galleria Paola Colombari Milan Italy
2015 "Confini e Conflitti" Palazzo Alberti Poja Rovereto Italy
2015 "The Others" Galleria Paola Colombari Turin Italy
2015 "Imago Mundi" Luciano Benetton curator of the catalogue Brazil
2015 "Baryons" WWartgallery Sorrento Italy
2013 "Coraçao Explosivo" Galleria Paola Colombari Milan Italy
2013 "Tappeti Estremi" Fondazioni 107 Turin Italy
2013 "Un Barrocco Madornal" Fondazione Berardelli Brescia Italy
2013 "MiArt Fair" Galleria Paola Colombari Milan,Italy
2012 "Martial arts: combative works" Biennale Malindi Kenya
2010 "Safari" III Malindi Biennale Arti Marziali: opere di combattimento Malindi Kenya
2007 "Genetics and Art" Pinacoteca do Estado de São Paulo Brasil