June 2, 2006 ..... one hundred years ago .... the flower of life could have blossomed from every side…. in Venice it blossomed ... Venice full of lights and shadows, a fantastic book of memories, oscillating, with its sweet sleep it opens up to a child abandoned to the figures and colors of the games. Venice gives herself to that child in a complete love song, like a great mother, she communicates affections, emotions, sounds, silences full of voices from the past to Carlo, helping him to grow to the life of the imagination .... Venice, eloquent theater , look and be looked at, mobility reflected in the waters, a place of real knowledge of life, of rituals, of senses, of meanings, port of departure and arrival, never quiet. Venice, Vicenza, Rio Marin, Asolo, Europe, America, Japan, the School, the drawing, Murano, the glass masters, the Architecture, the Biennale, its relationship with art, respect for art and poetry of others. Design of image fields: restitution of authentic values ??of past life through a lyrical language, full of sudden glimpses, transparent, luminous diaphragms, an intimate conversation between Carlo and the work on display: a living together. Carlo visited and revisited history in dazzling spatial sequences, he saw the figures of the past as in a carousel reflected from a dream; are its itineraries of life, its places, its landscape: air, water, earth, materials, wood, stones, stucco, manual skills ..... a tree, a tree ancient, its own tree, a chair to stop one day, any day to read, to read and maybe not .....loquacity, Carlo meticulously sought a state of mind of availability, almost a solemn state.
There are moments of strong marginalization, of clashes, of intellectual isolation, of traumatic processes, all that remains is to give up ....... a tree, a chair, a tree .... His presence in the workshop of the Murano glassmakers ( Cappellin * Venini), where it is still possible to combine refined dexterity and fervent formality, exert an indescribable charm in Carlo by spending hours and hours in research, trying and re-trying innovative technical solutions such as to bring out more the noble material. He collaborates assiduously with Venini, designing and forging glass of unusual beauty. In those glasses, in those murrine, in those blown glass pastes joined, welded, sealed, filigree juxtaposed and intertwined, a succession of colors and emotions: the forever fixed enchantment of the dreams and illusions of a great poet. We cannot speak of Carlo as a designer in the true sense of the term, his products so rich in poetics, particular nuances, high quality that they make the same pieces unique, go beyond the typical costs of industrial culture. An anomalous designer, but equally suggestive and significant. Tireless designer, obsessive in detail, we find him present in the cutlery for Reed & Barton and later in those for Cleto Munari, where light and light shadows slide languidly along the shape. The bookcase module designed for Berini in Carate Brianza will be called
In the top: "red drawings" napkin, written in reverse by Scarpa