“The artistic research of Carolina Lombardi joins that genre of contemporary art among experimentation, materials’ test, trial rationality targeted to a visibly incisive result. In this course, developed and supported by remarkable cultural substratum, Lombardi, wise, uses and puts together all these elements which allow a message, an agreement with the watchers, sometime explicit, sometime full of connivance, suggestions, symbolic implication up to come close to alchemic allusion too.
Comes out the proposal of a magic territory, reserved, in which join the most sagacious experiences, which allow the painter to go too far convention limit, where all the time the art was arbitrarily limited.
Lombardi works on limit: between painting and sculpture, between abstract and figurative, in a rational and positive ambiguity so that, every time the work of art comes up again from new and unlooked-for aspects which turn out to be proper optical provocations.
The itinerary is given to an underlying idea that draws reasons from colour which is taken on and proposed in his primary quality, also then sometime it turns into the figural allusion, in the intriguing and fine faked aim.” (Luciano Marziano)
Every work of art becomes incitement for the meditation, an inducement to find in oneself the hidden order of the nature, in a fine analogue play between microcosm and macrocosm.
“The artist puts her poetic world in the works, her cognitive background with a strong existential charge”.(Luciano Marziano)
Almost as a reassessment of the tradition, she puts together fine chromatic laying of tempera with egg in gold’s luminosity, in the transparency of the guaze.
“ Also when the imagine aims to break up itself, remains clear organizing component exigency”, indications of a planning skill that puts together descriptive emphasis and analytic and strict approach.
Carolina Lombardi was born in 1965 in Rome, where she lives and works.
After classical studies, she attended Academy of Art in Rome and she took the diploma. Afterwards, she participated to a lot of collective art exhibition in Italy and abroad. In 1990 she was selected for the Central Institute of Restoration of Rome. By the study and practice of restoration, she deepen the knowledge of artistic ancient techniques from groundwork of colours for egg tempera to the fresco, to the gilding. She participated to a lot of restoration as Giotto’s fresco of “Cappella degli Scrovegni” in Padua, Masolino da Panicale in Saint Clement’s Basilica in Rome, Domenichini at Odescalchi Palace, Raffaello at Ministry of Foreign Affairs. In 1994 she took a diploma with thesis about “Preparation and use of blue and green artificial pigments from Ancient time to XVI Century”. In September 1998 her thesis was exhibited al Louvre Museum of Paris during “ International Congress about chemical in work of art and the thesis was published in 2000 in the magazine of Louvre “Art and Chimie”.