Pablo Ferretti: Shine - Janaina Torres

São Paulo Brasil

Pablo Ferretti

Shine

Between the oneiric and the real, the visible and the hidden, color is a central element in Pablo Ferretti’s painting. In his canvases, nothing is evident and everything is diffuse, sometimes something is drawn before our eyes, sometimes it fades away. The artist seems to play with the observer’s tendency to ‘read’ or decipher images, as if forms – matter – were submitted to the theme – ideal, dissolving the expectations of those who see the painting and search for some literal meaning.

JAN 28 – FEB 17 2023

VIEWS

In a subtle way, the pieces deny a landscape that exists only “by my own grace,” human. The paintings exist in themselves and are superficial in the best sense of the term, as they refuse the intellectual “depth” so dear to the West, pretext and vindication of the most diverse hierarchies. In fact, it would be impossible for paintings to exist were it not for the material character of their surface.

— Mariana Leme

WORKS

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Solver

Pablo Ferretti
Solver, 2022
Óleo sobre tela
154 x 130 cm

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Delir

Pablo Ferretti
Delir, 2022
Óleo sobre tela
160 x 138 cm

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Insolar

Pablo Ferretti
Insolar, 2022
Óleo sobre tela
130 x 100 cm

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Clareira

Pablo Ferretti
Clareira, 2022
Óleo e Cera sobre tela
100 x 120 cm

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Limiar

Pablo Ferretti
Limiar, 2022
Óleo e Cera sobre tela
100 x 120 cm

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Findão

Pablo Ferretti
Findão, 2022
Óleo e Cera sobre tela
80 x 100 cm

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Tergiverso

Pablo Ferretti
Tergiverso, 2022
Acrílica e Óleo sobre tela
38 x 46 cm

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Patoá

Pablo Ferretti
Patoá, 2022
Óleo sobre tela
55 x 46 cm

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Entrear

Pablo Ferretti
Entrear, 2022
Óleo e Cera sobre tela
18 x 14 cm

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Sobrenado

Pablo Ferretti
Sobrenado, 2022
Óleo e Cera sobre tela
55 x 70 cm

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BIO

Born in Porto Alegre (1974), Pablo Ferretti lives and works in Rio de Janeiro and studied in England, with a master’s degree from the Royal College of Art in London, where he worked at the mythical National Gallery. In his case, this is not an accidental biography. The owner of a cultured pictorial vocabulary, Ferretti displays on his canvases the sophistication acquired – and the moods, eventually – from working with Turner and other masters.

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Whether in oil on canvas, or in recent experiments with school chalk on abrasive surfaces such as sandpaper and sand fixed to the canvas, Ferretti is interested in the possibilities of pigment on the support and the resilience of the layers of color. His canvases thus display evocations and movements, figurations of the spirit that reveal “unknown, unnameable landscapes, polluted mental images, endowed with the same charge of mystery that constitutes the little-accessible world of the unconscious”, as Bernardo José de Souza defines it.

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