After “Milky Way” Vincent Ferranè keeps to focus to the feminine’s mystery, and he portrays 17 young women artists while are working in their studios in Paris.
As also the series’ title suggests us, the author is a “visitor”, a careful and innocent observer: he contemplates artwork under construction and its builder at the same time, indiscriminately studying their shapes.
This seemingly easy operation, doesn’t just steal the artist some of his presumed “domain” on the object/artwork, but it also highlights the often performative feature of the creative process in all its possible shapes.
It is an essential moment. An instant when artwork and artist seem to dissolve all the borders, even physical borders, and they are both intents on a private dance, an exchange between two living substances, the most intimate and precious moment they may ever have among them.
We can surely find some common points between “Visitor” and Ferranè’s precedent work. In a way, we have again this strong relationship between “Two”: there is this delicate female presence, intent on having a kind of conversation, on taking care and relating to one of her “creatures”, and on the other side we have the creature, that is still incomplete and dependent. However, observing this kind of common point, we can find at the same time, the basic differences among these two relationships analyzed in Ferranè’s works (mother-son, artist-artwork).
Maybe in “Visitor”, we feel more “emotional detachment”, probably because the plurality of the chosen subjects or because the different connection that the author holds with them (the woman portrayed in Milky Way is just one and she is Ferranè’s wife), but there is also something new: what predominates is the attention about the shapes and the line that connects the image of the human subject to that of her work “in progress”.
Through a sort of abstraction process, Ferranè doesn’t renounce on evacuating that kind of extreme intimacy that we found on his pictures, but he lightly changes the focus.
The “feminine” is an expedient, a point from which resuming a speech; these places aren’t just the spaces of an exclusive “female” intimacy, but rather, they show the almost sacred exclusivity of the creative process in general.
website: Vincent Ferrané
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review by: Giada Pignotti
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