In One Ride Only Caroline explores the influence of the carousel on our childhood in a unique way. The artistic essence of this collection follows on from her previous exhibition ‘Glimpse of Sicily’. There, she makes apparent her desire to depict abandoned ancient buildings in ruins, where on every stone is etched a trace of a History in decline.
"I am immersed in history, I was born in it, I cannot let history go by unnoticed," she says. Caroline demonstrates a past that has nurtured us and which we are allowing to fade away. She rejects this and warns us against it. This is not meant to be a rejection of the future, for which she is eager, but rather an urging to preserve the foundations which made us who we are. Can a house stand without its foundations?
In One Ride Only, using an even more precise technique with no enhancement, Caroline broadens the scope of her reasoning. The photographs are taken from a front-view angle with frequent close-ups, from which burst a disruptive sensation causing an unexpected and unsettling emotion in the observer. The very strong colours create an almost resounding atmosphere, from which emanates a cry reverberating from picture to picture.
The subject matter of the exhibition is not coincidental: the carousel on its last lap is immersed in a strong symbolism, on which sculpted wooden animals spin in an endless circle as if on Noah's Ark. This sets forth a synopsis of our ancient Western Civilisation.
With “Apache”, which is embarking on a wild course, the artist displays to the viewer two layers moving inversely to each other which create a grinding tension and remind us of the frenetic course of the world which engulfs everything in its path.
The wooden animals sway in resignation as in “Romance”, or buck in a last desperate rally as is evident in “The Warrior”, in which we perceive the simultaneous courage and terror of these horses which protect us from an impending danger.