Oscura Luce (Dark Light)

Roberto Ferri at the Fondazione Stelline - 14th March - 1st April 2018

The Fondazione Stelline, Milan, in the section Stelline Spazio Aperto, welcomes an exhibition of Roberto Ferri, a young representative
of the Italian figuration. Fourteen works on display, to highlight the value of the classical painting reinvented in a contemporary tone.

Born in Taranto in 1978, Roberto Ferri is one of the leading representatives of that Italian figuration which " following in the footsteps of the great Renaissance, and later Baroque, tradition " was able to reinvent a kind of painting which is very contemporary but with a classical taste. A genre that, besides Roberto Ferri, and with different awareness and methods, includes Nicola Samorì, Agostino Arrivabene, Giovanni Gasparo among its most renowned and prominent representatives.

Ferri's way of painting is elevated by a technique which is almost virtuosity, where the traditional tools of the surrealism are inserted onto the traditional iconographic elements.
“They result”, maintains Angelo Crespi, “in works of extraordinary beauty, although undermined by a deeply rooted inquietude, of bodies that adjust to the softness of the reason, caught between sleep and wakefulness, suddenly surprised between sleep and life. Black is the boundary within which the certainties collapse, the non colour that creates light, and therefore colours, by miraculous exuberance; slight colours, weak and temporary ripples of a dark tone. The oxymoron of the “dark light” is accomplished for those who are used to the crepuscular vision at night, when one first catches the brilliance, the glimmering of things, whereas the chromaticism can only be appreciated subsequently, by taking a closer look. The limbs settle in, it looks like they are about to become another surface, in a metamorphosis which is only apparently naturalistic. On the contrary, if one looks carefully, it is a sort of mechanical hybridization, where the gears or chains refer to shadowy visions, to the myths of that romantic culture which stood out, in the name of darkness and chthonic forces, against the stolid optimism of the positivism vis-à-vis an endless progress”.

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