In the last 20 years painting has, through the various currents, looked for an identity out of any traditional reference in the most reckless experimentalism. It made Mondrian's followers come up again with surfaces of dull and pure background colours; or fixing the weaving of interior visions of the free interaction of colour and signs (as in Kandinskij and Paul Klee); or again as in "New Savage". With this term we identify a group of artists that worked in Germany towards the end of the 1970s and that gave a lively impulse to the development of German painting, in terms of absolute freedom of expression, new hypothesis of linguistic aggregation. Carlos Cairo was born in Cologne but works in Rome since 1980. With his art he looks for a more direct and instinctive relationship with the elements of painting, colour and materials, which goes beyond "the abstract American expressionism and the French tachism" pushing informaility towards form that awakens, through memory, remembrance that were hidden or intentionally forgotten by the superior ego. So, as I was saying, while new form of painting were being experimented, such as "gestural" painting, Carlos Cairo seems to bring painting back to its essence and to its own internal logic. The line of development seems to be coherent in the gradual refusal of any element extraneous to a strictly artistic dimension and in the parallel identification, towards all conditioning, of a "pictorial specific" made of colours and signs, the field of a new and unlimited freedom of expression. In this way landscape painting in the informality of its geometric composition gains, in the space, the negation of bidimensionality, the mimetic contact with reality, and also the transcription of the unconscious and the imagery, until it puts forward a hypothesis of interference between past and present, between spaces and facts. The parallel lines that meet "always" to infinity and that create, with various points, other lines that in their turn create more lines so that any form that is created amongst them seems to be casual (white and black or blue and white squares that generate forms of men, objects and wild beasts). The quality of his painting (and the quality of Carlos Cairo's "very strict" technical research) is the light. It is the base, it unites and ideally links realities which are apparently divergent. It also includes Carlos Cairo's experiences, putting forward the great symbolic charge of objective figuration (the red shoe on the summit touched by the bright light of the sun, the black dove in the brightness of the night, the red telephone that unites the banks of the two emispheres etc, etc...). These are objects that, through very personal proceedings tend to build new relationships between man, its environment and its philosophy; new dimensions in which the viewer becomes an actor for the event and introspectionally examines his life.