Carnovsky [1]
Carnovsky are a Milan-based art/design duo comprising Silvia Quintanilla and Francesco Rugi. They were on the threshold between art and design, mixing different worlds, disciplines and techniques, such as wallpaper to create frescos that continuously mutate via interaction with colored lights ("RGB'), or creating architectures through pulses ('Artificalia'). Color is a key issue in their work, so they are always experimenting with different processes and techniques to arrive at the right colors when printing on various materials, whether it is to create wallpaper, limited-edition prints, garments, accessories or furniture, or utlilsing hand-dyed fabrics for carpets and tapestry.
Animalia No. 2 Black, digital (2012).
Animalia No. 2 Black, digital (2012).
Animalia No. 2 Black, digital (2012).
Animalia No. 2 Black, digital (2012).
The use of wallpaper as a sort of contemporary fresco in combination with RGB (red-green-blue) color-changing lights allows Carnovsky to create completely immersive environments in which the viewer acts like an explorer in an ever-changing world.
Bestiario, digital (2012).
Landscape No. 1, digital (2013).
Their limited editions, ranging from prints to large screens and tapestry, enable them to work on the richness of the materials and to use traditional techniques in creating a unique piece. The general theme of their work is metamorphosis, narrating a story of the elements pictured through ideas of their unceasing mutation and transformation. Carnovsky's visual universe, inspired by their fascination of the antique natural-history books and reproduction techniques, such as engraving, with its richness of stroke, is populated by real and imaginary creatures, plants, anatomical studies, landscapes, gods, atmospheric phenomena and so on.
Jungla No. 1 Black, digital (2011).
Versalio Screen, UV ink, digital (2012).
Vesalio Carpet. Hand-knotted rug. 196 knots per inch (2011).
Carnovsky use reproductions of the original engravings, mostly from the eighteenth and nineteenth centuries. They prefer this period because they like to think of each animal, plant or object as a sort of character in an immense narrative, and these original images, with their subtle balance between the realistic and the fantastical, have a certain look or mood as if they are trying to say something, which is important in the conception of their work. In fact, there is a mix of old and new in Carnovsky's work, so that it is hard to position it in history. On the one hand, their imaginative stimulus comes from ancient sources, though the output is quite contemporary; on the other hand, they are always experimenting with new technologies in printing, production and lighting. In the end, their work deals with the history, memories, the recreational and even childish part in everyone, creating an emotional tie that is what remains in people's memory.
Jungle No. 1. Digital (2011).
Reference:
[1] People of Print, Thames & Hudson.
Carnovsky are a Milan-based art/design duo comprising Silvia Quintanilla and Francesco Rugi. They were on the threshold between art and design, mixing different worlds, disciplines and techniques, such as wallpaper to create frescos that continuously mutate via interaction with colored lights ("RGB'), or creating architectures through pulses ('Artificalia'). Color is a key issue in their work, so they are always experimenting with different processes and techniques to arrive at the right colors when printing on various materials, whether it is to create wallpaper, limited-edition prints, garments, accessories or furniture, or utlilsing hand-dyed fabrics for carpets and tapestry.
Animalia No. 2 Black, digital (2012).
The use of wallpaper as a sort of contemporary fresco in combination with RGB (red-green-blue) color-changing lights allows Carnovsky to create completely immersive environments in which the viewer acts like an explorer in an ever-changing world.
Their limited editions, ranging from prints to large screens and tapestry, enable them to work on the richness of the materials and to use traditional techniques in creating a unique piece. The general theme of their work is metamorphosis, narrating a story of the elements pictured through ideas of their unceasing mutation and transformation. Carnovsky's visual universe, inspired by their fascination of the antique natural-history books and reproduction techniques, such as engraving, with its richness of stroke, is populated by real and imaginary creatures, plants, anatomical studies, landscapes, gods, atmospheric phenomena and so on.
Carnovsky use reproductions of the original engravings, mostly from the eighteenth and nineteenth centuries. They prefer this period because they like to think of each animal, plant or object as a sort of character in an immense narrative, and these original images, with their subtle balance between the realistic and the fantastical, have a certain look or mood as if they are trying to say something, which is important in the conception of their work. In fact, there is a mix of old and new in Carnovsky's work, so that it is hard to position it in history. On the one hand, their imaginative stimulus comes from ancient sources, though the output is quite contemporary; on the other hand, they are always experimenting with new technologies in printing, production and lighting. In the end, their work deals with the history, memories, the recreational and even childish part in everyone, creating an emotional tie that is what remains in people's memory.
Reference:
[1] People of Print, Thames & Hudson.
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