“During the to visit at Carlo Pazienza’s art-exhibition, I was hit by the quality of the works and the artist’s talent. My first feeling is to be in front of works made by an artist confirmed from a long experience. That’s why I feel surprised by discovering a very young talent and that confirms the French saying “la valeur n’attende pas du nombre des années”. Going over and observing with more attention every detail, I discovered not only an artist with a skilled technique, but also somebody with a large intellectual spirit with subjects that inspire philosophical reflections, leaving personal space to personal interpretation at every attentive visitor.”

Enrico Palmieri
President of frank Italian cultural association “Le Rondini Pugliesi”

“Carlo Pazienza’s sculptures are very expressive. Handsome portraits, generally every creation raise themselves to the sphere of the authentic art.”

Giuseppe Gioioso
Painter

“If when we was children we found hard to model the wax, and now we envy every shape of hand-made art, let’s try to think of the sculptures, clay’s sculptures. Certainly we can’t talk about these difficulties with Carlo Pazienza, a young artist who uses its clay as his works’ subject, exhibited at the Modern Art Gallery “L. Schingo”. Sculpture, made with love, moves deeply, but when it’s made also with skill and with a pinch of religiousness, it enchants. From surrealism to mythology, clay modelle with hands or with sticks of wood, generates actual unique and plastic compositions and it’s the artist’s task to give relief to the clearer and smoother or glazed and crude parts of the material. Carlo Pazienza represents mythological subjects, like the myth of Dafne and Prometeo, sacred and Franciscan themes, like Padre Pio, the Nativity, dead Christ; the composed figures are carefully workde in a detailed way on every individual particular to represent images of classic and modern periods as for example the surrealist conception of the thought imprisoned in the mind and incapable of to go out and to be shown. A large talent therefore in the artist Pazienza, that at the inauguration of its show collected a deserved success in Foggia’s district.”

Article published on the weekly “Viveur” n.44

“... young architect (he is only 28 years old) Carlo Pazienza from San Severo isn’t a novice in artistic experiences. The sculpture is his passion, so that he began in the world of the art by participating at a joint exhibition at the age of just 15 years old...”

Article published on the weekly “Viveur” n.43

“... the sculptures in terracotta modelled to “tondo” still show the marks of his hands. The sculptures showed (Padre Pio, Prisons, Nativity, Life, dead Christ, Passion, etc.) provided with vibrating plastic force, are natural transpositions offered by the expressive unconscious of the artist Pazienza that moulds with perspective volume the actual hidden feelings, through a decomposition of fullness and of voids, so that the resultants become a perfect expression of a reality that should has understood like an artistic analysis of the shapes, that give breath to another mysterious dimension of knowable. A sculpture’s review you have not to miss, that offers the best of the soul and of the brilliant character of our Artist...”

Article published on the periodical of information
“La Gazzetta di San Severo” n.22

“Carlo Pazienza, young architect, but artist with a luggage of experiences not ordinary for his age, prepared his sculpture’s exhibition in the “L. Schingo” gallery. The works exhibited are all terracotta, of small and middle dimensions. That means, obviously, a great technical ability, almost like by a goldsmith, to well represent in limited spaces subjects also complexes, thinking at the psychological sides to read over a face apparently only careful of aesthetic result. Works precious like jewels, therefore, that would make interesting and prestigious any glass show-case of an high-level house and – why not? – of a museum of modern art. Works that are the result of a formative route that began at the first years of life of our artist, who already at the age of 10 attends the workshop of the sculptor Matteo Germano and under its leading participates, at the age of 15, to his first joint exhibition. The formative course of an artist, just like that of any professional and also of any common artisan, it’s known, never ends, and not even a whole life it’s enough to rightly say that you don’t need anymore to learn anything to improve further your activity; notwithstanding this, the results that across the exhibition we saw, remove in Pazienza the image of the “enfant prodige” and let us see him as a mature artist, an artist that also can brag itself of having resisted the fashions; an artist who never followed the so-called large teachers who give anxiety to television charlatans or auctioneers, who strive hard painfully, who dwell with empty talk trying to give a meaning to works that haven’t a meaning; never servilely linked to copied styles that are the delight of boor art’s merchants. After having assimilated the lesson of the actual masters of the sculpture and of the painting of the last century (obvious and positive in its works is the influence of painters like, for example, De Chirico or Dalì or Sassu, or of sculptors like Messina or Marini or Manzù), but with an eye at works realized in more ancient ages, like those that generated the demiurges of so-called Classic Art, that is the Greek one, excited and emulated by the Romans and later taken again by the cultured men of the Renaissance, Pazienza did his choice and defined his style. A style, this is my conviction, that it is reconciled perfectly with its artistic sensibility, stretched out to make visible and enjoyable the beauty of the human body, the sensuality like force promoter of life and that, at the same time, it well adapts itself to express themes that transcend the matter and the ephemeral that represents for its intrinsic essence, and that show, instead, very high spirituality spurs: let’s see, for example, how much pathos is contained in his Christus Patiens, in Jesus crucified, the Man-God folded and hung up to a wood because he taught us to love each other, or in the face of ineffable sweetness of Saint Pio from Pietralcina who, to live under Christ, everybody loved and for everybody offered himself in holocaust. Of large glamour, for its classic perfection, it’s the 3-D depiction of a 'Venus at the mirror': a young feminine body, attractive and smoothed to the manner of the ceramists, rendered alive and vibrating with elegant movements, soft and sensual, who look at herself once again in the mirror to rediscover her beauty. 'The two lovers' is too a work that attracted a lot the visitors, because of the splendid naked bodies of two protagonists, because of the rather mysterious presence of a lion’s statue dominating from a pedestal. The sense of this sculpture, its message (mysterious at first sight, if researched hurriedly) could summarize in a refined representation of an idyll that it is consumed in an atmosphere of Arcadian taste. At a more attentive analysis, instead, the work remembers that is something pagan, having as officiating the same lovers and celebrated to exalt the fertile and unavoidable power of Nature, symbolically represented by the strong lion. Breathless is 'Prometeo', the mythical titan, Giapeto and Climene’s son, here reproduced as from its canonical iconography, that wants him bound to a rock and with an eagle that gnaws his liver continuously. The giant, punished to have favoured the men, is frozen in the action to stretch out spasmodically all his muscles to soothe the pain caused by the greedy eagle, while from its mouth, wide open almost to dislocate itself, it seems to born a bestial roar. Dense of meaning is the sculpture representing a child that removes an attractive mask from a man’s face, discovering in that manner an amorphous face, with just rough-shaped outlines, that becomes an emblem of the spread desire to appear as one is not, to hide an empty culture, of humanity and much other. An empty covered by mystifications and placed upwards, but sustained only by a smoke column. What to say then about many other exhibited works? There it would be still a lot for those who didn’t see it, for those who missed the two horses beating with blows of bite, other horses, so many and on another composition, picked in furious race (Sassu docet). And I stop it here, after dwelling on the description more than when I had the grateful task to present and to declare open the exhibition. In that occasion, in fact, to the presence of the works of Our author, many words, over than bothering, would have resulted superfluous, untimely, and nothing would have removed to the comprehension my eventual silence, since the art, the true one, supported by a good school, artistic technic and innate artistic predisposition, doesn’t need words, but only attention, to get messages, of easy or complex access, but always and however fruit of authentic inspiration, that the Author wants to spread through his works.”

Roberto Pasquandrea
Honorary Surveyor of the Supervision to the Attractive Limbs for Puglia
Article published on the periodical of information
“Corriere di San Severo” n.801