Carlo Sirolla was born in 1948, lives and works in Verona: designer, painter, sculptor, international artist with a very shy character, preferring to avoid the public in person, instead letting his works located in national and foreign cities speak, one of his sculptures inaugurated at the Italian embassy in Lusaka in Zambia, works exhibited at the Wolsberg Castle (Austria), DarmSalam monument in Tanzania and many in the city of Verona: the Tamer at the entrance of the Teodorico gate of the fair now located at the CENTER HORSE in Sommacampagna, Berto Barbarani in piazzale Pozza in San Zeno, the Boy with the Flute in Lugagnano di Sona; the statue of Pope Wojtyla in Rome through Biondan foundries. Donna Renza Villafranca also 4 statues at the castle Villa Nogarola in Castel d’Azzano under the three arches of the central facade.
The FLIGHT OF ICARA Settimo di pescantina vr and others in various national and foreign locations Maestro Sirolla is an artist who has made training, perseverance and tenacity a true belief, starting at a very young age by shaping and painting all kinds of objects and could only attend art school later, then successfully undertaking advertising work, giving his contribution to the pop art movement in Italy. Happy and fast hand, where happiness is the artist’s state of mind and speed is the modus operandi.
«Art is in my blood, it’s in my DNA», he explains. From his father, a fresco painter, he learned the first lessons of pictorial art and from his mother, an opera singer as his muse, they raised him with a strong sense of aesthetics and attention to detail and beauty.
Carrying this immense legacy in his heart, the Master is driven every day by an inner strength that motivates him to always experiment, drawing inspiration from the classical world to the contemporary avant-garde, winking from expressionism to surrealism, inventing new forms of communication through this passion. “A fiery demon at peace”, he defines himself while working in his laboratory, feeling alone in that place in “paradise” and fulfilled while waiting for the next creative moment. One day, almost as a sign of destiny, a piece of Swiss pine wood fell into his hands and he made a sketch, thus discovering the pleasure of sculpture that brings him to those of Domegliara to learn to split marble, introducing himself to the “stonemason”, as Stefano Pachera called himself, a true artist who takes a liking to him after seeing his face caricatured by Sirolla’s own hands in a few seconds, while he works, later becoming his teacher and patron. He wastes no time and does not let that immense opportunity for learning slip by and buys his first chisels to sculpt his first two works: “Procreation and Nature”.
Working with marble, however, does not stop him in his continuous search for experimentation, turning also to malleable clay, creating sketches, and then inventing mobile plaster. Pouring liquid plaster into a mold, he shapes it, giving shape and life to bas-reliefs that he then decorates. However, speed and technical ability are needed to quickly bring out the image before the material hardens. His experimental “hunger” leads him to meet the sculptor Gino Bogoni; months watching, asking, learning, discovering new expressive techniques. The vast repertoire of his works starting from pen portraits, to continue with bronzes, bronzes, bas-reliefs, marbles, monumental and murals. The marble “Procreation” finds an unexpected peculiarity because in front of the face of God the creator, behind the figure of the woman bearer of life.
Also hosted with his son in Lusaka, for three months he designed a statue, sponsored by the local bank, which expresses the collaboration between Italy and the African world. Thus he created a monument, a large flame that included, on one side two bas-reliefs representing Pope Francis and the president of Zambia, on the other two others with Saint Catherine of Siena, protector of Italy and the African saint Giuseppina Bakita made in five days with cement and color.
An illustrious character is also applauded by critics, especially by Sgarbi. Sirolla’s artistic life is well known and has been personally followed for years by the curator and art historian Monica Saracino, now a literature teacher, who has created an important catalogue of each individual work, positioning the Maestro and his works among the international artists of value.
La vita artisitica di Sirolla è ben nota e seguita da anni personalmente dalla curatrice e storica dell’arte Monica Saracino, oggi docente di lettere, che ha creato un catalogo importante di ogni singola opera posizionando il Maestro e le sue opere tra gli artisti internazionali di valore.
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