La ricerca artistica di Francesca Ferreri nasce a partire dalla riflessione sull'inbetweening come stato dell'essere, stato della forma e condizione della materia. Il termine, preso in prestito dall'animazione cinematografica, condensa l'idea di passaggio nel suo svolgersi al presente, conservando un richiamo al continuo accadere di un'azione, che assume in questo modo la dignità di "forma in sé".
Attraverso la ridiscussione del rapporto fra la fase e il processo, fra la parte e il tutto, fra soggetto e supporto l'artista porta avanti una ricerca che esporta il concetto di inbetweening attraverso i vari media con una costante sensibile ai modi che il linguaggio del disegno può assumere.
My
artistic research was born from a consideration on the inbetweening
as a state of being, as a state of the shape and a condition of
the subject. The term Inbetweening, borrowed from animation film, is
a phase of the making process and is needed to make possible the
optical perception of movement. In my practise, the term Inbetweening
condenses the idea of “step”, retaining a reference to the
continuous happening of an action, which assumes in this way the
dignity of a"form in itself." Through the redefinition of
the relationship between the phase and the process, the part and the
whole, the subject and the support I carry out a research which moves
through various media, sculpture, video and installation with a
constant sensitive to the ways that the language of drawing can take.
Drawing in my practice has to be considered as a '' snapshot of
becoming ', I seek not therefore a likelihood or representation but
rather an evocative potential. I consider, in my work, drawing as an
independent form, in my works most are drawings or videos built from
drawings, and in the sculptures, the procedure follows the same
dynamics and same approach but through the matter.The sculptural
process in my work takes act like a form of imaginary restauration,
where discarded objects are treated as fragments of a whole that has
to be reconstructed. The series Eterochronies
has been created by the need to "rebuild" an imaginary
object starting from existing elements. The work emerges from the
willingness to face those spaces that exist in the relationship
between multiple objects. This space, which I fill with pigmented
chalk, starting from being an element of connection becomes a
structure, revealing itself to be in the end the armor itself of the
sculpture. Each step is readable in color areas that bear witness to
the process of the previous reconstructions. I am deeply interested
in this subtle relation between philosophy and neurology, because the
study of the brain could be fundamental to know more about human
behaviour. It could lead to some important questions about spiritual
matter, and about art itself, too, according to Semir Zeki's
position. In the words of Semir Zeki, Shakespeare and Wagner are
amongst the greatest of neurologist, because they did know how to
probe the mind of man with the techniques of the language and music
and uunderstood better than most what it is that moves the mind of
man. I have always been interested in the mechanisms that regulate
the mind and influence how the individual can relate with himself and
his social environment. In the series 'Ritratto a tempo e luogo', I
try to create a portrait that interacts with the boundaries of some
architectural spaces. The shape of the portrait is in this way
distorted, the representation is no more faithful even if the
essential traits are recognizable in the edges of the canvases. In a
way that recalls the Romanic church decoration, where infinite
subjects were constructed starting from geometrical shapes, I choose
a limit, and let that it could affect my subjects, maintaining in
this way the work constantly debated between reality and abstraction,
freedom and necessity.
