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Zavaleta Lab Arte Contemporáneo
Mariano Ferrante - Abril / Mayo / Junio 2015


Any place in the world can turn into a magical circle... Roberto Juarroz

Mariano Ferrante is a contemporary artist committed to painting and drawing. A dedicated and obsessive researcher, a scientist, looking into and constantly re-elaborating the act of painting, questioning even his own ideas until arriving always to new results. A circle and the repetition of this same element over and over again leads to the creation of a universe of its own, based on its own laws, both physical and spiritual. Using drawing as a language and the pencil as an instrument chosen for its strength, simplicity and sensitivity, the artist presents this mathematical composition of which we start being part immediately as we enter the room. The following step leads us to the paintings in the following room, which make us come closer. A balance between technique and concept captures us and invites us to go deeper into the works, beyond the surface, as if we were going through windows where painting develops even above the creating hand of the artist. Ferrante exhibits painting as another possible space, in which he reflects upon the geometrical mathematical poses, movement, space and the concept of time in contemporary painting. “Los Atados” (The bundles) are a composition in themselves, another way to present painting, generating also other analytical possibilities. Confidence in concept and form, great sensitivity and more than precise technique are some the features that distinguish and solidify the persistent work of this artist.

Santiago Bengolea Director espacio contemporáneo, Fundacion Proa.

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BOSI Contemporary NewYork
Mariano Ferrante: “Dynamic Constructions” - February 2012/March 2013


Mariano Ferrante brings us some of his most representative works from the past Five years of his production. Mariano Ferrante experiments permanently in a quest for the concretion of his work. The use of the different materials (oil, pencil, acrylic, varnish, chalk pastels, vinyl,) is not random, they appear on the canvas, paper or wall for a reason, after a long process. In that way He interrogates art history and his own art to generate something new. Ferrante works intertwining freely emotion and reason. Each work is a space of exploration, research and discussion. “I start off from an idea and making it real becomes a seemingly performatic action, since I try to find in the experience the action and the meaning of my work.” He sets up his works beginning with distinct geometric shapes such as the square and the circle that he uses to demarcate complex wefts where movement thrives. This sought contrast between clearcut shapes and vibrant backgrounds with a vast chromatic display can be appreciated in his work envisaged as large collages. This vast areas of quiescence and movement that are repeated, deliberately create diverse rhythms. Time and space are protagonists in Giovanni’s El instante.The simple rotation of the composition allows complete visualization. In this opportunity, Ferrante uses vinyl, since he needs to create areas free from any trace of subjectivity. In contrast with the need for a traceless surface, in his dynamic constructions, Ferrante uses a different material, oil chalk, with the intention of leaving marks. He says, Oil chalk and pencil leave behind traces that generate a wet, textured skin that absorbs light. Light resistant and a pasty materiality that hints other pursuits. The stroke of the line will be traced over and over until it reaches its definition. These are works created from the dynamics of action. Going through Ferrante’s current production is an important invitation to re-draw some the paths created in his quest for color, movement, rhythm and space.

Cecilia Rabossi Historiadora de arte y Curadora

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Mariano Ferrante – 2012

 

“Dynamic Constructions”

Mariano Ferrante experiments permanently in the quest for the concretion of his work. The use of the different materials (oil, acrylic, enamel or vinyl) is not random, they appear on the canvas, the paper or a wall, for a carefully thought of reason and after a long process. That is why Ferrante´s work questions art history as well as his own work to obtain a new approach. Ferrante works freely, intertwining reason and emotion. Each piece is an area open to exploration, investigation, discussion and development.  ‘ I start out with an idea, and the act of making it happen becomes a performatic act because  I attempt to find in this experience, the action and the meaning of my work’ says Ferrante. The paintings are directly connected to the space they inhabit. Ferrante does not use drawing as a symbolic system. He rather gets there as a result of an action, which allows him to develop this solid construction system conceptually and formally. A single element, such as a line, is orbited once and again, in a sustained rhythm, and if the scale allowed it, we would see a circle.
The use of oil pastels is connected to the physical and spiritual features of this material, which leaves behind traces of itself, generating a textured skin, humid and sticky that absorbs light and changes continually in a perpetual transformation of color and its rhythms.
If the color palette is reduced to seven colors, as suggested by Soto for instance, and drawing a parallelism with musical notes, each color corresponds to a note. Thus, colors articulate creating a reading rhythm, and if these colors change constantly due to the variation of the light, causing a constant modification of this rhythm, as a sort of ‘visual music’.
Lines articulate through color, pressure, speed, repetition, tiredness and love, embedded in the purity and precision of form.

Simplicity of shape does not necessarily equate with simplicity of experience. (Robert Morris)

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RAM presents a set of interventions in different areas of Fundacion Proa made by artists Veronica Ditoro Marcelina Dipietro, Lucio Dorr and Mariano Ferrante.
Mariano Ferrante

His work occupies the central wall of the museum's cafe and as well as the individual table clothes.
Movement is a highlight of his work. Ferrante work was made by himself by applying acrylic and crayon on the wall-

In Ferrante's own words:
The title of this piece is Dynamic Construction Number 4 and it belongs to the set of dynamic constructions that I have been developing and researching for a while now. This concept relates to the dialogue between the rational and the gestural aspects of art. I start off with and idea and the actual making of the piece becomes a performing act, I search for the action and the meaning of my work in this experience- Light plays a role in this work. I have chosen a wall on which light reflects differently depending on the time of the day. Light comes into the work producing a dynamic transformation. The materials used in this work leave traces and create a textured and humid surface which takes in light. These changes, the constant movement is also represented by the for colored ovals, are vital for what I want to say is that painting becomes independent when it has in its essence a constant flow which transforms the context and is transformed by it. It is not an optical illusion; it is not appealing to the complicity of the viewer. The intention is creating a direct connection between the space, the painting and the viewer.

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Creating rules to then break them is a usual operation for an artist. Producing constant attacks to the creations of those who came before us is usual as well. However, doing without this baggage altogether, even if we admire and know our recent past, turns into a singular and bold enterprise.

Mariano rebels against his own ways while he digs into the history of art with the fresh irreverence of those who aspire to new utopia. If an individual in history has landed in a particular spot, why not take this as a starting point and not assume continuity in the form of a legacy? The beauty that comes from the dialogue with the past is undeniable, but the epic attitude of turning our back to it is also beautiful, creating exclusively from the present.

In Mariano’s work, in spite of himself, there is a lot of this. There’s an air of vanguard as a starting point to develop new and original transformations.

Surprisingly he treats his paintings in the same way he treats history. Each painting unfolds a series of shapes, forms, colors and materials which constitute a visual grammar which is unique for each painting. Each of his works displays different resources, concepts and ideas which might deny, contradict or at least discuss his previous work.

Mariano seems to have an impenetrable mind while he transmits pure bodily emotion. In an apparent logic of repetition, nothing is repeated. In the evidence of an error, suddenly, chance is annulled. However, it is not pure reason which commands his works, but the deeply rooted conviction and constant need to believe that something unreachable dictates him these beautiful works of art.

Buenos Aires, October, 2009
Fabián Burgos


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[Mariano Ferrante - Visual artist// Buenos Aires, Argentina]