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An Interview with the Erotic Painter Carbò“
A lifelong artist, Carbò is always looking for new opportunities to translate his daily experiences into art. Born in Italy, he has lived in Milan and Rome where he led the art scene and gained more and more acclaim internationally. He has also lived in Spain where he worked with many artists in Malaga and Barcelona. Not long ago, he exhibited his works in Brazil (Rio and Sao Paulo), Argentina, China, and Thailand. Recently, Carbò moved to Dubai where he has opened an atelier. He is much appreciated and he often travels between Dubai and Vienna.
Here is what he felt he needed to share with our readers:
Q: Еrotic painting has been around for a while. What makes yours different?
A: Carbó Art Studio creates conceptual paintings and that is why in my artwork meaning is more important than esthetic and form. Among my services I provide sex paintings: I make an on-site painting at swinger and sex parties using bodies, colors, canvas, and loads of passion.
Q: Where do you see is your target group, if you have one?
A: Painting is universal, not targeted at any group, race, sexual inclination. Sex painting is more universal than traditional painting because it blends all kinds of love, has no taboos, and offers a “pansexual” attitude.
Q: What inspires your work? Is it only an expression of your emotions?
A: My inspiration doesn’t come from my emotions, it comes from people around me interacting with each other and with me. I derive my passion, tension, and love emotions from people around me.
Q: What are the most common taboos in sex art and how do you deal with censorship, if you encounter any?
A: Taboos and censorship in the art are basically the same as those you can find in our society. They are mostly related to some religious conceptions. Religion, censorship, mass control are words that seem antiquated to modern observers but still rather well-felt as presence in some societies and states around the world. In respect to this question, you can have a look at my painting “Jesus Walking on Sea, Seen From Underwater” and the related review by an Art Critic:
“Carbò painting is immediately summarized in a pair of feet walking above the water. The “above”, however, must not be misleading because the Christ of the pictorial tradition, here – in this operation – has been literally abandoned and the originality of the brush, then, becomes precisely this forgetfulness, this not wanting to take for example the perspectives imposed by the doctrine.
We are faced with an underwater vision of Jesus: from below, from the bottom of the sea, the painter points straight to the soles of the feet, the bases of the great Christian miracle, to demonstrate to man that that miracle is not only an impossible walk on an immense bluish liquid but is nature itself, a creation to which man, even the most atheist, accesses as a category of the existing. The God who entered history, wearing the clothes of man, has courage that others do not have, because, in addition to his miracles, he brings children closer, he wants them close to himself, considering them the primitive company of his earthly journey.
And this childhood consecrated by Jesus is evident in the playful, playful, innocent world of colors and the few objects that surround Christ. Because there is Christ in the picture – be careful – not just a couple of feet walking over the water. Carbò’s operation is not cutting: he does not borrow the character acclaimed by the Catholic tradition to forget his body, leaving only a couple of footprints on the canvas. Christ is present in the whole character of him.
And not only does he save himself from a macabre beheading on the contrary – which sees the feet replace the head in front of the guillotine of art – but he continues his journey in the water moved by colorful dreamlike shapes. He water that stains white as a sign of innocence, of historical and Christian tradition on the one hand and a-historical tradition and nature on the other (to be clear, the one that pervades being regardless of its religious sense). The painting, in fact, is accessible to everyone: anyone can enter it, even without faith, without theological knowledge, without claims of Revelation.
And the greatness of the operation lies right here: in escaping any bigotry from a well-thinking provincial, looking at the Christ SuperStar with the eyes of the man who remembers his childhood and uncontaminated memories of him. The underwater background becomes a bedroom, in which the painter invites the Christ of the New Testament face to face, the simple, humble one, who is not yet wearing the heavy dress of the Church.
It is a bedroom with a floor and a back wall, which generates, in its construction, a displacement of the geometric planes: the feet are set in the center, transforming the large yellowish polka dot into an imaginary vanishing point, what we need to dream – but this only happens within us and the canvas, then, truly becomes a bridge to the fantastic. “
Q: Sex parties are a lifestyle for like-minded people. Would you try through your art to change a person’s conservative views? Is it possible at all?
A: This is not only possible, it is necessary. The main reason for art to exist is to change society through changing people‘s perceptions, as some Buddhist philosophers said once.
Q: You are coming to the big event on September 25th. What are your expectations?
A: Fun, Art, and emotions. Maybe we can make a painting together.
Q: Why do you think swingers are usually accepted with some doubt by the general public?
A: Unfortunately, people are not familiar with the swingers’ values, they don’t even imagine how much love you can find with a swinging couple compared to a conservative one! On that, I suggest you see my painting “Porno quando mi sei intorno”.
Q: You gave an interview on your paintings on anal sex. Tell us about your fascination with the topic.
A: On this topic, I want to share with you the painting “Paura vista da Dentro”. No words are needed.
Q: How do sex and trust and emotions entwine in a relationship? How important is sex for a relationship different from a one-night stand?
A: To answer this question, I will borrow words a critic wrote on my painting “Fiori di m’arangio” – “The Bride’s Dress”: “The arrival of a bride in the church is always a welcoming event – especially if this bride is not expected by anyone but my herself – that joyfully remembers only sex and no love … long, pleasant moments in a relationship that have her brought in search of a body that she believed she had lost after years of unbearable chastity and false prudery as a well-thinking provincial person.
The Carbò Bride is the great manifesto of love that is disposable, capable only of procuring immense pleasures. Then better the loneliness and selfish love for oneself rather than the sadness of a love that in reality is not such. This canvas with strongly erotic, almost pornographic features, evokes the orgasm not of the first night – the night in which the bride loses her virginity – but the night of any day, after the disco, almost useless to remember, in which to live the moment, there, immediately, now, to then resume another path, always made of flowers, colorful, diabolical, small evident signs of quick happiness but capable of affecting memory.
And the veil, very long, like an endless spray that with elegant perversion invades the other half of the canvas is the male who goes away, who does not marry you because you are one of the many who don’t care, who lives on the streets of New York that has no time for anyone except for the solitude in which it systematically drops its characters. Thus the soul of Carbò’s never married bride, fucked and forgotten, possessed and left in the dream of eternal love, retraces the streets of these great metropolises, made of DIY sex, of indefatigable CHATtaroli in search of adventures. an end even before starting, all in the name of libertinage that is back in fashion to weave the skeletons of urban instincts.
Q: Do you think the roles of men and women have interchanged in the 21st century? Are men becoming more feminine and women – more powerful and more controlling?
A: This process is relatively new, only 50 years in the last 2.500 years! Still, a lot to do…
Q: What qualities are needed to be an established erotic painter?
A: Artistic and erotic tension. To sum it up – horny talent!
Q: What is it you want to achieve, but you haven’t yet?
A: Contribute to human progress.
We are grateful to the artist for sharing some of his insights and for being able to share them with you.
For more on Carbò, do check out his website: https://carbo.onuniverse.com
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