Ferró, is a Spanish self-taught visual artist.
He works with different media, such as painture, sculpture and performance.
His abstract art, usually expressed through the use of three dimensional ready-made supports, like Vespa motorcycles, connects with his childhood and his rejection of adulthood.
This childlike world is reminiscent of abstract surrealist painters such as Miró and pop artists like Keith Haring or Mr. Doodle, in a continuos exploration of his own expansive universe.
He has exhibited extensively through Spain and Europe.
Past exhibitions include:
Art Box Gallery, Zurich, Expo Subway, London and Paris
BREAKOUT” M.A.D.S. Gallery, Milan, Boomer Gallery, Great Britain
“Semiotics & Beyond” The Holy Art Gallery, London, Siilk Gallery, Athens, OCCO Art Gallery Madrid
Estampa. Art Fair Madrid, Spain or the Piaggio Museum in Italy
VICTORIA 13, MAS & RICO
THIS WORK IS COMPOSED OF THREE PIECES
“VICTORIA 13” WORK MADE ON A VESPA
“MÁS” WORK MADE ON SHIRO HELMET
“RICO” WORK MADE ON ROUND CANVAS
2021
QUERENCIA
ACRYLIC ON FIGUERAS PAPER ON FOAM BOARD FRAMED WITH A 2 CM NATURAL WOOD STRIP
103 CM WIDH X 73 CM
2020
PICASSO
SCULPTURE PAINTED WITH ACRYLIC ON SHEET METAL OF A CAR VARNISHED WITH GLOSS
48 CM LONG X 68 CM HIGH X 22CM WIDE
2022
CURATORIAL TEXT
By Eva Mendoza Chandas.
Art is the highest form of hope, said Gerhard Richter. There are artists who still want to help restore hope. The coloured pills that Ferró transmits through his work could well be pills for happiness. The acrylics or Posca markers he works with, create a sort of Matrix universe that gives us the chance to choose between the red or the blue pill, an opportunity to discover a potentially disturbing truth or to remain on the sidelines of a satisfied ignorance instead.
Windmills Bite is a kind of coloured abstraction that seems to be devoured by a larger black backdrop, all outlined with white lines. Although it recalls children’s drawings, it is a clean abstraction that also transports us to the kind of scientific world that can be observed through a microscope: cells, viruses, protozoa…
The painting Genesis seems to transport us to a moment of human preconsciousness, he paints it consciously, as if he were observing it and copying it from reality, bringing us to a moment when we should have been happy.
In Sinergia, the abstract shapes are equalized, they seem to be at the same visual level throughout the whole surface of the canvas, in such a way that it is difficult to focus on a single spot.
The geometry that floats in the wide spaces also reminds us of certain compositions by Kandinsky, who alluded to a spiritual and mystical vision of art. A vision that unified mind and soul, not letting us forget about the close relationship between both parts.
Perhaps this vision of art as a way to embody a therapeutic healing process for the human being comes to Ferró from his experience as a physiotherapist.
This search for the spiritual in Ferró contrasts with this pop-like appearance, in which the artist paints on motorcycle helmets and Vespas, on walls, on mannequins and even on himself.
The expansion of his work to everyday objects emphasizes this 21st century-pop world, full of speed, data fluctuation everywhere, images, graffiti, selfies, social media, lack of attention and overdosed consumerism, forcing us to stop scrolling due to exhaustion, unconsciously selecting just a small fragment of the work, to land our sight on it, to finally take a breath and connect with the detail, and from this pause, reconnect with our intimate inner self.
Other artists have lead the path to this abstract form of expansion of painting beyond the canvas; American artist and activist Keith Haring, the British illustrator Mr. Doodle, Jackson Pollock or Takashi Murakami are some well known examples.
Ferró represents this duality, between abstraction and figuration, reality and virtuality, overabundance and scarcity, happiness and disturbance, looking for this balance where we can always find a counterpoint, through this journey beyond the limits of the surface.