Enzo DE MARTINO
Gioxe DE MICHELI
Maria Clara BOSELLO
Mario DE MICHELI
Pier Luigi VERRUA
Dino VILLANIBackground and training
Artist’s work almost always show something about their background and training.
Even when masters don’t want to effect and they let completely apprentices to express freely themselves in accordance with their instinctive quality and disposition, they often end up by conditioning somehow the pupil, who may be independent and practically rebellious, but while learning the job he looks around trying to find a way, which is often shown by the master’s approach.
Having studied at Brera University in Milan and in Venice, Carola Mazot was really Zanetti-Zilla grandfather’s apprentice, a man who was a very talented venetian painter. She was also Donato Frisia’s apprentice in Milan and sculptor Pepe’s pupil, always in Milan. Pepe directed her toward that synthesis which has always been the most important foundation of her painting.
A personal and deep consciousness has always been prevalent, and this consciousness hinged on a drawing and spontaneous basis, that can be thought as ruling framework of her painting. Constantly the quick and almost violent marks stand out in Carola Mazot’s painting, so skilled to grasp the facial expressions, caught in a happy moment, and it brings out a sweet and enchanted sensibility.
Secondary elements are expressed in a semi-abstract game, in which few notes of color brighten up the totality, which reveals a certain existential suffering, maybe autobiographical. It’s a manly painting, softened by the sensibility; it’s a painting about expressive essence, but it also leaves room for poetic surges, which are typical of a sensitive and tender soul.
Carola is an original personality, full of notes far from the norm which label the artist among all who open up just to the deep needs of their own soul without looking around, continuing with confidence on their own way which have become straight.