Roberto Ferri, Prison Tears. (Analysis).

Roberto Ferri, Prison Tears.

Even the mystery of being, even what is more obscure in the depths of man, in his ancestral fears, in his agonies, in his greed; Even the erotic scream that is born from the darkness of the blood; Even panic dislocation that knows no limits.

Yes, this is what Roberto Ferri expresses with his “Prison Tears”, the most unbridled eroticism, the obscurity of an act that has not yet been accomplished and which, immortalized in the canvas, will never be done. Every human instinct is reproduced by breaking the barriers of hyperrealism to lead to a more sublime rendition of reality.
His hands on flesh, the flesh that enrages every living thing, the flesh that makes the soul slave, the flesh that governs human action as a goddess. The artist obscures the faces of lovers universalizing composition: every man, every woman, every lover can become the protagonist of the painting and replace the two protagonists.

The female figure appears to be unconscious, we know from her right arm dropped to the ground and from the head back to back; Is also in precarious balance and seems to be sustained only by the strong arms of the lover. One can therefore assume that the protagonist is lifeless (skin pallor strengthens this thesis) and that the lover is weeping her disappearance. The title “Prison Tears” makes sense because pain relegates man to a dungeon of despair from which there seems to be no escape.

Samuele Iacopini (Breathing Art).

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