Ferruccio Gard | Pierre Restany – UN RESPIRO ESISTENZIALE
post-template-default,single,single-post,postid-17018,single-format-standard,ajax_fade,page_not_loaded,,qode-title-hidden,qode-theme-ver-9.5,wpb-js-composer js-comp-ver-4.12,vc_responsive


(from the presentation of the personal exhibition “La fissione del colore”, Vicenza, Basilica Palladiana, April- May 2000)

Ferruccio Gard’s art offers the most fascinating of traps: the rational frame of his visual discourse serves only as the mooring pole of a ” Bateau Ivre”, of an endless lyrical hypertrophy. I now see what is the key to Gard’s work. Colour is life within life. Taking on such a vitalistic challenge implies an existential choice-one that is passionate and affective well beyond the more or less rational criteria of “taste”. In the face of this totalising eruptive magma, aesthetic judgement merges into moral commitment. Such decisive commitment may justify a certain reticence on the part of the spectator, but there are very few easy escapes for anyone who chooses to play along who has understood that Gard’s images are auto-resembling fragments, the paroxystic moments of an unleashed and unlimited vital flow, a system of different repetitions in the manner of Deleuze. Dissemination in repetition: Gard’s vibratile brush-strokes proliferate under the urgency of an imperative finality: that of the uncontrollable interior logic of the expansion of the micro-organisms, of the most elementary stages of living matter. Beneath the fractal tangle what always remains in the effervescence of colour, the free trace of cosmic energy. Colour as the traces of the path of energy: this cosmic breath reminds me of the Immaterial Art of Ives Klein and his Zones of Sensibility. Klein’s sensibility was an infinitesimal particle of cosmic energy, the basic element of our creativity. We are not proprietors of the essential poetic influx, but merely tenants. Gard too behaves as a tenant of his own sensibility: his art present itself as a continuous series of open works, different and referential in their semantic substance. The artist’s quest thus assumes all its immanent value, that of a sumptuous celebratory hymn to the spirituality of matter. It is a grave but exalting subject. Gard’s art is existential breath.