by Martina Corgnati
In a group of several paintings of his, collectively called Oltre la soglia (Beyond the Threshold) and started after 2002, Agostino Ferrari decided to deceptively break through the canvas’ surface, disclosing “another”, further, dimension, the almost tangible presence of a physical space – heralded by the three-dimensional and almost complacent curls of a painted surface folding and crumpling on itself – and, at the same time, the utter absence of space, the stillness of a space sucked into the dull and impassable blackness of this totally other dimension.
by Ugo Volli
For more than four decades, Agostino Ferrari has been working on the thin but decisive border parting signal from sign. As his work is within the boundary of the visual and basically (with the remarkable exception of his intriguing three-dimensional maquettes) of the XXth century expressive painting tradition, the thin border Ferrari’s art is mainly investigating lies in between plastic matrix and writing.
by Luciano Caramel
“In developing my research, I rather focus my attention on sign, which is life’s trail, the intermediate between my own existence and the surrounding reality.” Written by Agostino Ferrari for the Events series, this is the first remark the reader finds alongside the selection of paintings, dating from 1984 onwards, displayed in this book. An incipit consonant with the artist’s entire work of the last twenty-three years (almost a quarter of a century), which is marked by such an intrinsic coherence, in spite of the variety to be found within its operational hypothesis and their results, on a language level so intimately connected with life and both the cultural and existential context, as to be always lively and stimulating, striving for art to be not just a self-centered purpose, but an increasingly determinant discourse with the public.