Caixa Laietana Exhibit Hall
Plaza Santa Ana, 1-4 1rst
floor, Mataró, Barcelona
From September 13th to November 4th, 2007.
Lazaro Ferré is a painter that possesses a classic style and comes from a tradition fascinated with the great genres of all times such as still life, portrait, landscape and mythology. Faithful to his beginnings and Mediterranean, or rather Hispanic roots, Lazaro Ferré has been able to, despite this fact, create diverse expressions. This can only be a result of his radical independence, his continued reflection, a solid discipline and his proven capacity to assimilate diverse artistic traditions.
The exhibit that he now presents at Caixa Laietana in Mataró is a clear example of this accomplishment. Visitors will be able to enjoy an extensive part of this artist’s most recent work. Backed by a solid and fruitful professional trajectory, he has chosen for this occasion a collection of twenty pieces that reflect who he’s been from the beginning of his career. His constant exploration of shape and color has geared his research toward the diverse pictoric languages available today.
In Ferré’s work things are identifiable, reality is represented in a spontaneous and easy way, without sophisticated or theatrical resources. Drama is absorbed by time, and by an exhibiting immediateness that brings the spectator to the narrative fact. He reinterprets the great themes of classical tradition, which will always be of cultural interest to us. Thus, his is a work inhabited by fauns, gods, myths and legends that celebrate the barbaric beauty. Beautiful ugly forms, ugly yet fascinating at the same time like the owl heads that are both messengers of death and symbols of science and medicine.
Also, geometric shapes of a confident stroke with control over angels and straight lines, shapes that neatly cut and superpose each other constructing an atmosphere of unity; the result obtained is fruit of the author’s analytic and speculative capacity. Color is another cohesive element of this search, its use is determinative and its application, although sometimes violent, is always carefully worked. On occasion, the author allows himself to be carried away by an explosive outburst in the shape of an intense blot of color, be it red, ochre or black. This is used as a disjoining or delusory element of the unity obtained between color and shape. It becomes evident then, that the emotional outburst is one of the most relevant aspects in the work of Lazaro Ferré.
We are, without a doubt, before a demanding proposal in which we can track the diverse influences. Most importantly, we can identify the resounding and powerful volumes that define a style based on the creation of a universe of shapes and tonalities that is closed upon itself. Foreign to outside elements, this work stands out for its strength and balance without having to renounce to a realist treatment of figuration. Among other catalyzers of modernity, stand out the discovery of arts and cultures that did not hold the concept of fine arts as an autonomous dominium. The incorporation of African ritual masks and fetish figures where part of modern legend for an extended period of time and Lazaro Ferré has drastically recuperated the mark they left behind with his return to the caves, to the mask. In this manner, the painter has been able to find an attractive personal style that stems from a great technical rigor and from a profound knowledge of tradition.
Associate Art History Professor at
Elisava Escola Superior de Disseny,
Attached to Pompeu Fabra University