There’s something about Carl Baratta’s work that I find disturbing. The subject matter certainly isn’t the darkest we’ve seen, and his use of bright colour lays the foundation for pleasant vibes. That said, his painting titled Magic Bloodbath, which depicts a pigeon-man raining brain matter from an open wound, and Failed out of Autumn, which shows corpses sticking out of the ground, don’t wrap the audience in a nice warm hug. From greasy triangles, to weird space, and Japanese influences, his new series of paintings titled Light up and Be Wonderful, is his first solo adventure in the art world.
In a recent interview with Fecal Face, he was asked about the bizarre interplay between recurring themes, colour and spatial aspect. His response: “I think it’s important to research why certain images have one type of spatial convention and another has an entirely different one. There are several reasons I’ve found but the big one for me is a space’s social implications. As a viewer I like having the freedom to let my eye wander. Persian miniatures, as an example, let you do just that. You can see the whole story at once. The space is paper-thin; a person couldn’t possibly enter it. We’re not meant to because it’s a mythological space; it’s a place for story telling. It’s as every much as ‘real’ a way to experience story telling as, say, Albrecht Durer’s camera lucida. Standing in one specific spot to watch the world unfold is weird, over baring and too controlling for me. Weird tumbly spaces help keep everything active and like you said, bizarre. As for color, I totally steal pallets from paintings I think look awesome. To me it’s another layer of referencing. It’s another way of giving shout outs to all the great paintings and drawings I see.” Check out the full interview here.
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