
Andrés Ferrandis Spanish, b. 1965
Rhythm Silence, 2023
Acrylic painting, aluminum, digital print on mylar, laser cut drawing, welded iron, wood
37 x 20 x 4 in
94 x 50.8 x 10.2 cm
94 x 50.8 x 10.2 cm
Andrés Ferrandis develops a work that explores the expansion of abstract language, and especially pictorial language. In his artistic production, the reference to painting is a constant, which he resolves...
Andrés Ferrandis develops a work that explores the expansion of abstract language, and especially pictorial language.
In his artistic production, the reference to painting is a constant, which he resolves through his recurrence to a set of hybrid media such as; construction, installation, and expanded painting, as well as experimentation with original and unconventional materials.
His works are conceived through a constructivist composition, emphasizing his vocation for moderation, proportionality, experimentation, and for the staging of a kind of eurythmy based on the correspondence between the various parts, offering us a fragmented vision of his imagined reality. , in which the abstract and the tenuous references of figurative contribution coexist symbiotically, where the parts seem to allude to memory, to the automatic experience of memories, to the paradoxes of visual thought, made up of shreds of memories, which result in a new meaning as a result of the free association and interpretation of the viewer.
In his artistic production, the reference to painting is a constant, which he resolves through his recurrence to a set of hybrid media such as; construction, installation, and expanded painting, as well as experimentation with original and unconventional materials.
His works are conceived through a constructivist composition, emphasizing his vocation for moderation, proportionality, experimentation, and for the staging of a kind of eurythmy based on the correspondence between the various parts, offering us a fragmented vision of his imagined reality. , in which the abstract and the tenuous references of figurative contribution coexist symbiotically, where the parts seem to allude to memory, to the automatic experience of memories, to the paradoxes of visual thought, made up of shreds of memories, which result in a new meaning as a result of the free association and interpretation of the viewer.