Roberto Ferrari‘s mother was a talented painter, so he has been involved in the painting world since early childhood.

The artist’s first experience as an artist was in the music world. For many years he has been playing violin, guitar and accordion. Experimenting with various styles of music from different ethnic groups, as well as theatrical companies.

He loved the sounds of violin so much, he decided to work

as a violin maker, making violins and altos, restoring them, and eventually opening a workshop on the historical center

of Turin, Italy.

Back to painting, for five years in the late 90‘s he has lived in New York City, attending Soho and Greenwich Village’s artistic world. After returning to Italy, he kept on painting and since 2010 he began participating in many national art competitions. He began his exhibition career in March 2011, with the creation of a solo exhibition at the Gallery in Turin Martorano.

His name appears in the Catalog of Modern Art , Editoriale Giorgio Mondadori.

Paolo Levi presents Roberto Ferrari

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Paolo Levi’s video translation

In this video Prof. Paolo Levi, important art critic, presents my works, defining my artistic language and my painting technique.


First part: It's clear that Roberto Ferrari's search cannot be closed and completed to a critical level, calling him a naturalist painter.His roots come from afar, from the Zen poetry, as a way of understanding shape and color in a highly poetic and chromatic score, I would say transcendental.

Second part: I would say there is no relationship between sign and color in Roberto Ferrari's painting, I would say there is no separation as well. Shapes and colors are unity, musical harmony, closer to a violin sonata than a string quartet.

Third part: What is complex, in reading Roberto Ferrari's work,

is the definition of his place in the area of research of the twentieth century. Roberto Ferrari is an artist who is son of the last century, but we are actually not interested in ratings and locations, just because he is a painter out of time and history.

Is he a figurative painter? Is he an abstract? Is he a figurative painter which tends to abstraction or is an abstract painter that can be connected to the figurative painting? We are not interested. We are interested in this painter, I would say this Master, in its roots purely spiritual. He does not know a painting begins, a flower for example, and where it will lead him. We know he is a lyrical painter, mostly informal. In his abstract research are important the Informal American Action Painting, than the Newman's abstraction, the informal poetry of substance which alludes to the visible becomes visible. But when we recognize the figurative imagine of his work, we are the recipients, in who self-awareness must decide in full freedom.

If it is figurative or an abstract one. Roberto Ferrari does not force us to choose. We are free to support our emotion, according to his critical placement.

Fourth part: I would like to go back to the definition of this painter, which I defined at the beginning as a Zen painter. It means that he is an artist who comes from another spiritual world, which is not the Judeo-Christian who does not like the idols and sometimes falls into idolatry. Here we are in front of an artist that pays tribute to nature as a message of an invisible that becomes visible, but in this case his flowers belongs to an invisible that, when we write the word Invisible, it must have a capital.

The artist, by Paolo Levi

We can define Roberto Ferrari a soul’s painter, an artist open to the world, inextricably linked to the values of Buddhism and to the Zen’s spiritual culture in particular.

If appearance in his work may seem informal, in truth, the painting alludes to the nature of Ferrari in key essentially lyrical. We read in his paintings fragmentation of painting that image we are used to, in favor of a flow of vital energy that comes from the combination of colors, borrowed from a visual and dialectical near experimentation. The works of Roberto Ferrari allow you to capture expressive harmony free from constraints, ready to engage with the material, with color. His “plots” are nothing more than the methapor of his paintings, where the sign and color mix in favor of pure art.

The artist, by Stefania Bison

Ferrari’ works are intense and hermetic revelations that are transfigured into a persuasive communication, where emotions expand and turn into messages. The choice of the informal therefore seems inevitable, because of the release force put in place to give meaning and weight of a subjective narrative, which dates back to the unconscious.

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