It is this wealth of impulses that inspires Jonny Carolla to represent his Palermo, a city that speaks through its streets, monuments, and its relationship with the sea, in a large cycle of works. It is an endless source of inspiration, while he walks through the alleys of the center or rides his bike, his gaze cannot detach from the elegance of the buildings he admires from below or from the views visible from the top of its roofs. His eyes are attentive to the present, but his vision is forcefully pushed to the glories of the early twentieth century, and here tree-lined avenues and carriages are opposed to the life of markets and alleys, in a modern and impetuous language that floods the viewer with light and color.

Carolla’s creative action seems to coagulate in the material to the point of giving three-dimensionality to his works and conveying the strong energy of the pictorial gesture, giving vent to what deeply inhabits him. Carolla does not draw on the canvas, it is the color arranged on the surface that guides him, bringing out the idea through the visualization of forms, in a process somewhere between maieutics and the gesturality of informal art. It is a self-taught painting, which begins with a more traditional and figurative experimentation, to become more material and expressive over the years.

It is a spontaneous art, in which sensation becomes artistic creation, through an instinctive procedure that materializes, in its purest form, a primitive concept free from any narrative substrate and ultimately coincides with the very act of its execution.