|
|
La grande svolta nel suo lavoro avviene all’inizio degli anni Novanta quando Ambrosino abbandona i vincoli formali, crea nuove architetture, e attraverso il rosso ed il nero mostra le emozioni dell’artista. Le linee scure ed i profili rivelano l’intensità dell’artista, il complesso intreccio di vita, passione, fede, partecipazione e remissione allo scorrere dell’esistenza.
|
|
|
Born in Bacoli, near Naples (Italy), in 1938, Ferdinando Ambrosino maintains that his hometown is where his artistic path began. In the early 1950s, instead of finishing his university studies, he was already painting. In 1956 Paolo Ricci wrote in the daily l’Unità that “...Ambrosino’s models are surely Italian realists’ big paintings and he wishes to confront with important themes.” His early works tell faithfully about everyday life, showing objects, people, gestures that surround us. Reality wins out, there are no phantoms. The big turning point in his works takes places in the early 1990s, when he shed the constriction of form and created new line and color structures. Dark strokes and contours express the painter’s strength in a complicate weave of life, passion, faith, participation and commitment to the rhythm of life. This whirlpool of signs, where reality is still clear even if transformed, is a starting point. Thanks to imagination his paintings, once figurative, are now evocative of “another universe”. Barbara Rose, the well-known American art critic, says Ambrosino begun as a landscape painter to eventually become an icon painter. Moreover: “A so radical changing, probably, is the consequence of an important event; a psychological wakening caused by a spiritual epiphany or an emotional trauma. In Ambrosino it seems originated by the 20th century outbursts.” Barbara Rose also believes that the fact he was born near the overshadowing Cumae archeological site has surely influenced his way of approaching history. Since in ancient times the Bacoli area was the home of the notorious Cumaen Sybil, Rose thinks that the Cumae labyrinthine, dark caves symbolize the icons divided into sectors. Beginning from the early 1990s the icon becomes the main theme in Ambrosino`s paintings. He brings to mind obscure secrets, with figures appearing and disappearing, as in a dream.
|
