Ade 2020

Curator: Ah, yes, Roberto Ferri’s “Ade” from 2020. The dramatic lighting just grabs you, doesn't it? Oil on canvas, incredibly evocative. Editor: Evocative is one word for it. Intimidating, maybe? Brooding? I’m struck by how powerfully the figure fills the frame, the tension between that musculature and…well, that frankly unnerving piece of bone structure he's perched on. Curator: It's a potent contrast, absolutely. Ferri consciously positions himself within the lineage of baroque masters – Caravaggio and his intense chiaroscuro certainly spring to mind. This is where Ferri really makes some fascinating choices in my view. Editor: The lighting absolutely shouts "Caravaggio." It’s also playing with, even weaponizing, the tradition of the male nude in art history, which for so long was about power. Except here, there's almost a vulnerability despite the brawn. Curator: Exactly! Think about it – the spear, traditionally a symbol of dominance, is held almost casually. The subject seems burdened, thoughtful. It’s a fascinating subversion, isn't it? The academic precision is undeniable, yet it feels so charged with internal struggle. It’s far from being a purely technical demonstration. Editor: I agree. It reflects a turn, perhaps, within contemporary art toward acknowledging internal life even when presenting strength. By giving a nod to historical painting traditions, and then complicating them with emotional subtlety. We have this interplay between the external image and the interior life…and let’s be real, the almost theatrical quality of the whole composition keeps us hooked. Curator: Absolutely, a theatrical take of modern times. It’s a tightrope walk between reverence and reinterpretation, a dialogue with art history and a conversation with the present. It’s quite stunning, really. Editor: Well said. There is a compelling dynamism at play, no doubt, but also something of an invitation to reconsider old tropes, which for me, leaves a lasting impression.