Sergio Ferro

In the 1960s, Sérgio Ferro took part in the Arquitetura Nova group with Flávio Império and Rodrigo Lefèvre, with the aim of understanding the exercise of the architectural profession simultaneously as a cultural, political and productive action. The group makes proposals for urban public policies, linked to projects for low-income housing. Sérgio Ferro's housing projects from this period are in dialogue with the work of Vilanova Artigas (1915-1985). Due to the military dictatorship in Brazil, the artist was forced to move to France in 1972. He devoted himself to painting and teaching, teaching at the School of Fine Arts and the École Nationale Supérieure d'Architecture de Grenoble (National Higher School of Architecture in Grenoble), Switzerland. In painting, he creates works of a figurative nature, in which he takes as a reference the great painters of the history of art, reworking mainly figures present in drawings and paintings by Michelangelo Buonarroti. For the artist, at the same time that the figures refer to Michelangelo, they are inserted in another reality, because the light is cinematographic and the musculature, not very faithful to anatomy and the Renaissance tradition. As the critic Wilson Coutinho (1947-2003) points out, Ferro appropriates Michelangelo to endow him with a contemporary apprehension. Thus, he fragments the master's work, leaving absences, placing on the canvas a set of modern procedures to bring it as a memory of a dispersed image. In Sérgio Ferro's paintings, space is constructed from graphic elements and their relations on the canvas. As noted by the critic Fábio Magalhães, in many works, however, colour and collage intervene in a definitive manner, imposing a new spatial organization, superimposing themselves on the density of graphism. source: enciclopedia Itau Cultural

Por: Galeria Gravura Brasileira