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FerjoFerjo - Surrealist Interior - Signed Oil on Canvas
About the Item
FERJO
Intérieur surréaliste
Signed Oil on Canvas
51 x 61 cm
Ferjo, Brazilian (1946 - )
Ferjo
Technical achievements in art not only in painting, but also in sculpture, music, theater, dance, film and architecture-are given considerable respect by the general public. Viewers, who may not hold an art history degree or who possess little knowledge about art, appreciate those works, which show evidence of an artist’s technical ability. Whether it is color, form, shape, line, composition or content, most viewers admire works or art primarily from a technical point of view.
Born in Bahia, Brazil in 1946, Fernando de Jesus Oliveira (a.k.a. Ferjo) has become one of most versatile and commercially successful artists of recent years. From 1974-79, Ferjo trained at the Pennsylvania Academy of Fine Arts-an institution long-recognized for it’s tradition in realist painting and sculpture. During this five-year period, he began painting cubist-style landscapes in the tradition of the early George Bruck eventually moving to realist portraiture. This is perhaps best exemplified in a mock group portrait 1978 -1979 of the faculty of the Pennsylvania Academy in which the artist posed the subjects in sitting positions resembling those of Leonardo da Vinci’s lust supper.
Having received special honors on two occasions from the Pennsylvania Academy in 1978 and again in 1979 Ferjo’s mastery of the media and subject matter in realist painting became widely recognized in galleries that emphasized this kind of work. Since leaving the academy the artist’s technical virtuosity let him to explore various themes and styles ranging from realism to surrealism. His widely lyrical interpretation famous artistic motives such the works by Leonardo da Vinci or his homage series to important historical figures such a Picasso, Van Gogh and Chagall have made Ferjo an artist of merit.
Those with background in the arts will recognize in Ferjo an artist who can draw, render and paint with an extraordinary life-likeness, His ability to paint realistically and then to extend realism into a hallucinogenic surrealist vision, filled with symbolic connotations taken from the world of dreams and phantasmagoria, is one of the more startling attributes to be found in the recent paintings. Whether Ferjo is representing automobiles or portraits still life arrangements or sports events imaginary or life like portraits there is convincing evidence of his talent as a technical of painting. There is also evidence of the artist’s versatile and shifting imagination as he moves with considerable agility from one motive to another often-shifting styles in the process.
Ferjo creates a kind of magic in his paintings in some ways this magic is over determined, calculated, fraught with unchecked desire. Yet through these magical compositions one may get the sense of another world determined by the artists magic, a world of irrational occurrences where objects float above the floor, where walls disappear, where translucent bubbles are suspended in space, where the laws of prospective and scale are utterly defined. Ferjo has the painterly and graphic precision to make these acts of irrationality appear strangely out of sync. Yet the lack of synchronicity is part of artist’s manipulation. Just as Don Juan manipulates the desires of others through the projection of his own desire, so Ferjo manipulates non-functional space and lost avenues of time, often making sentimental and illogical formulations. Desire and hallucination collide to a weird cornucopia of images.
- Creator:Ferjo (1946, Brazilian)
- Dimensions:Height: 20.08 in (51 cm)Width: 24.02 in (61 cm)Depth: 0.4 in (1 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Collonge Bellerive, Geneve, CH
- Reference Number:1stDibs: LU16122587563
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Located in Collonge Bellerive, Geneve, CH
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Avec certificat
Discreet and unobtrusive, Monsieur Chat or M. Chat has been working on the streets since he was 15. His anonymity was broken in 2007 when he was caught painting his famous symbol – the cat. The man behind the mask was revealed to be Thoma Vuille, but he didn’t allow himself to be disturbed by this. Instead, he continued to exacerbate the already crystallized curiosity around the urban graphics of his increasingly present symbol. The shadow of his anonymous existence dispersed upon being shined on, but in the end, he realized that he and his alter ego are one and the same person, so he learned to drop the mask and raise his name alongside the signature of his alter ego. Believing in the idea and repeating it continuously over time, the artist got to the point where he was able to shape those around him in a way that, ultimately, the image he projects outwards is reflected back at him at times when he starts to entertain his own doubts about it.
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Born in Boudry, in the canton of Neuchâtel, Switzerland, Chat began roaming the streets around 1987. He studied at the Institute of visual Arts of Orléans, graduating in 2001. In 1997, during one of the workshops, the grinning cat was born. In his, now omnipresent symbol, the culture of the neighborhood meets the never-ending optimism of the artist, making a combination that is easily recognizable and widely famous. His dream of uniting human beings, different as they might be, is now possible. That single unifying subject has been found, and he’s ever since on a mission of spreading that subject throughout the world. It was this kind of contagious optimism that nudged the film-maker Chris Marker into approaching the artist, and eventually making a documentary about him in 2004. Reflecting on France’s state after the 9/11, Marker used the phenomenon of the Chat’s cat to explore the sad feelings of the people, but to share some optimism as well. The attention was not focused on the artist, for once, as we do not need to know his personal history to be able to feel something upon seeing his work. In fact, the state of mind, or an attitude, or a philosophical aspiration, is represented through an image. Behind that image lies all the simplicity of a smile painted on a wall, and all the power that comes with it. Vuille keeps the drawing simple and the line clear. On the first sight, the cat looks like a logo. However, it can’t be reduced to a logo, as it’s so much more than that. Belonging to street art, it’s a character with a strong identity and many variations. A character that achieves a symbolic dimension through its simplicity.
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Street art is highly unpredictable – where one sees inspirational pieces, others see the destruction of property. The artist had been previously arrested on brush in hand by the Police Municipal of Orléans in 2007. The Régie autonome des transports Parisian demanded 1,800 euros in damages, stating that Vuille had, without prior authorization, drawn inscriptions, signs or drawings, in the case of Cat Heads on the walls of the Châtelet-Les Halles station during its renovation in May 2014. Due to some contradictories, Vuille’s lawyer raised the invalidity of the notice of the artist, stating that he and his client were not completely sure what they were accused of. The court found the nullity of the summons, and the RATP finally asked one euro in damages, an amount incomparable to their previous requests. The whole thing turned out to be nothing more than a bad memory for Monsieur Chat, stating that he was not a criminal, but an artist. He also explained that his intention was to humanize a transit corridor, which was gray. All he did was putting some color on it, sharing happy feelings with all who passed nearby.
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city english cookies video
Monsieur Chat – Siesta à Paris, 2016 (Left) / Sky With Dufy, 2016 (Right), image courtesy of Galerie Brugier-Rigail
Throughout the World
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The simplicity of the smile painted on a wall represents the state of mind
page france french
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