Artist of controlled gambling, Andrea traces trajectories between points and lines which define spaces that are, at first glance, frosty, cold, but - if you only watch them longer - are able to take you anywhere. If He were a chess player Andrea's move would be the one of the horse, as a farmer He would plant inflexible scattered rows of sticks to support the plants, then He would connect the dots of the poles with a thread, to draw the irregular repeated profile of a leaf. He would collect lightning, He would raise weather forecasts: the Andrea's art belongs to the order and to the impetus, counts steps to reach that one which cuts diagonally by surprise. (...)

In Andrea's works you can often see networks, grids, dense and regular signs textures, geometrized surfaces with the scrupulous care of a technician, contour lines taken from maps that dissolve the solidity of the earth in repeated aquatic sinuous lines. Mathematics, in its transparent language, lacks individuality: with a few diagrams it can define and decompose infinite space, the most volatile elements: it captures, for example, the structure of matter, but also the precipitation of rain, the distribution of diseases and stars. Carini's Art, meanwhile, seems to correspond more to a sum of fantastic topology notes, and in this it tends to be also a transparent language, however personal. Of course sometimes it can happen that the original inspiration is more evident: in a fabric, in decorative traditional motifs that move between Islam and Japan (or precisely in a Voronoi diagram in the Thiessen polygons) but always means an internal rhythm, obscurely pacifying, which transcends its immediate source and opens, finally, on the extent of landscapes possible, because imagined.

Luca Arnaudo, from "Fantastic Topology. Passages for Andrea Carini", 2010