Creations on reality
Beyond the vision, in the poetry of colour

The term composition in Carlo Ferrari’s painting assumes a radical and essential meaning, as in a true musical score where the linguistic elements, colour, sign, material, strictly obey to the laws of an expressive, dominant and authoritative harmony, on the informal creation of memory places. The artist captures the landscape, instinctively, a timbre, tonal and spatial balance, and he takes it away from the original and visual logic, in order to reform it, through emotional and memorial changes, however, strongly anchored to the traditional way of “making art”: the search for a Burri conducting balance like a great artist in his painting composition, the colour fantasy, the freshness, the inner filter towards the De Stael representation, the lyrical sense of nature and colour along with the gestures and movements of Afro. If some paintings are made in apnoea, quickly and intensively, others are of deeply reasoned material, at times violated and reassembled on the trail of a remote semi-visible design that now provides a new bond with the nearest painting surface, rendering an haptic vision of the colour shape, as if Ferrari prostates obsessively to the idea of perfect balance, spurred by the need for a formal and indispensable synthesis, he recomposes the texture of a new world, in a persuasive and unstructured tale of reality, or rather of his own existence. And in fact it is true that every real moment has already been consumed just at the moment of its narrative. The uncharacteristic details are lost, and what remains is essentially a considerable substance where culture and personal history converge to determine the forms and conditions of a current renaissance. And where history and culture are more intense and significantly complex, the compositive issues that the artist imposes on himself becomes more difficult, always suffering from the eternal, bitter conflict, between freedom and perfection, anarchy and rule, madness and civilization. Ferrari’s extreme love for the “land”, makes him deduce into an essence through timbre and tonal colour ropes, where he articulates the visual spaces with a wide painted background, rigorously scratched or touched by a breathable colour. And it constraints the artist himself into a border beyond which he cannot and does not want to push forward, beyond measure, his informal design where every solution, in the most radical and arbitrary abstraction, becomes plausible but instead he wants that the life’s tale always belongs to it and the invention of the mind does not push the man over the limit represented by its invisible, unfathomable memory destined to vanish in the passage of time. Therefore his painting converges landscape perspectives born somewhere else but grown in the mind, with extended coloured spaces and magnetic colour touches fixing barycentric points or attracted around viewing areas at times projective, other times perspective as crushed on one plan where only the height and extension of the sound colour return depth and word, the narration where the word evaporates giving back the essence of the soul.

G. Bovecchi

Translated by Melania Spampinato