THEORETICAL DESCRIPTION OF THE OEUVRE
The work of Feromontana is characterized by a fascinating triple of division into emotion, ratio and the playful dimension of the space. Each one is accompanied by a work category, though not determined: statues, painting and relief. In their interaction, we recognize the references to the world of the future. The secret is: there are no high-tech devices of a digitalized computer landscape, but deeply profound elements of human creation and thought. This is fascinating, because Feromontana’s work seems easily accessible to the viewer. It brings out lightness and a sense of life. It is colorful and affirmative. The geometrical forms – circles and squares – represent the mathematical underlining of the work. This way, our left and right hemispheres are equally activated: what initially seems fragmentary fits seamlessly into each other.
Gardens and statues are the combination of art and nature. Feromontana’s large sculptures accompany us on the way. The colorful figures are a subtle reminiscence to the past. The inner eye can see them in the countryside the same way as on the platform of a skyscraper in a high-tech metropolis, no matter what the continent is. Ancient statues often survive showing the bare surface of the material of which they are made. For example, many people associate Greek classical art with white marble sculpture, but there is evidence that many statues were painted in bright colours. Feromontana’s figures recall this. They are occupied with colorful circles. Thus, the symbolism of the circle of culture becomes evident.
The graphic works of Feromontana, on the other hand, are determined by a clear and analytical construction. Here, the square becomes a central element and forms another principle of the design. Circle and square are mathematical elements in this context. They become part of an analytical language, which at the same time gives us a riddle: Squaring the circle for our Minds. Squaring the circle is a problem proposed by ancient geometers. It is the challenge of constructing a square with the same area as a given circle by using only a finite number of steps with compass and straightedge. This part of the work is a reference to the concrete art. In the context of a global economy, one can say that whoever has one of these works in his business rooms is inspired by this puzzle of field of colors and shapes. As we learned from digitalization, pattern recognition is the king’s discipline of the future.
The relief forms the bridge between sculpture and concrete art. In this category of work, a more fundamental aspect of human culture is involved. Feromontana uses language for irritation and association. For example, consider the lettering: I LOFE GRAVVITY together with the title of the relief “drop out”. The interchanging of only a few letters in combination with the title produces a strange irritation of the thoughts. Suddenly, completely new images emerge in our minds. Instead of the message of a street artist ‘I love Graffiti’, we see the disadvantages of fulfilling ones dreams too early as well as the breathtaking heights of a loft and hear the trembling voice of gravity. We are oscillating between heaven and earth. At this point, Feromontana not only tells us about lightness, but also about a depth that makes you think. By now, our inner images oscillate between the outside and the inside. We see that the future can also be gloomy. We take the view of the object, travel inside, reflect, think, and return to Feromontana. We go back to the gardens with the sculptures or find ourselves in business rooms where his works are part of the whole.
BIOGRAPHY AND OVERALL INTERPRETATION
Even if we want to know who the artist is, we do not know whether there is a man, a woman or a collective behind the pseudonym. Feramontana unites everything. What we understand is the message. The mixed future awaits a hyper-connected understanding of the world. Hyper-reality presents
a kaleidoscopic new vision of the future, where physical and virtual realities have merged. The lifestyle is not bound to any particular place. It is liquid and spontaneous. Regarding Feromontana’s oevre, ‘Homo Ludens: a study of the play-element of culture’ by the cultural historian, Johan Huizinga, must be mentioned. He divided human beings into Homo Sapiens, wise men (or women for that matter); Homo Faber, men who are productive and active; and Homo Ludens, men or women who play – who, as postulated by Huizinga, are the originators of creativity, art and culture. Pure reason, or no more than diligence, would be nothing without play. This truth is shown in the work and in the biographical definition of the artist Feromontana.