The Francesca Ferreri exhibition in Turin

The Peola Simondi Gallery in Turin captures Francesca Ferreri’s spatial reflections through sculptural works relating to the mathematical logic of the Renaissance.

The reception and recognition of the figures depends strictly on the geometry and mathematics that the eyes recognize. A fifteenth-century painter analyzes the shapes that are introduced into the composition of a scene, thanks to calculations and proportions that are taught in the school year and used every day. The secular education is reflected in the art: the measurement of containers for goods, which followed geometric calculations using π for example, is explained in the manual. From abaco (or Dissertation on Abacus) by Piero della Francesca.

Francesca Ferreri, The Mathematics of Matter, PeolaSimondi 2022


The connection between the quantity and the quality of the pictorial composition was internalized in the cultural baggage of the educated public who viewed the images; the judgment about the work and reading of the scene depends on it – the distance between the objects, the dimensions of the architectures and the anatomy of the characters. A practical demonstration (with perhaps philosophical evidence): each manual dealing with measurements uses a repertoire of objects to compare (bricks, cisterns, columns, etc.), including the Pavilion, which is a cone or the composition of a cone in a cylinder (or the connection of a cylinder in a cut-off cone) used to calculate surface area. Whenever a painter used to Pavilion in his representation, the contemporary observer immediately recognized his trace and got it over the object that covered that model; the viewer was “called upon to measure the surface of the painted world,” that is, he calibrated his eyes like the lens of a camera, contemplating the volumes and relationships of the subjects on stage; the artist left a proposal that the public could accept. The immediacy and the sense of wonder have not slipped into the background, on the contrary: the precise and direct evaluation of the Pavilion it made it possible to go without interruption from the everyday dimension (commerce, school) to mystery (sacred scenes), and to bring the irregularities of matter back to the perfection of the calculable geometric shapes. Adopting formulas and calculations requires not only habits of inference, but also interest and visual sensitivity in the face of the reality of a volume to understand the image and appreciate all facets; in short, science and art were in perfect balance.

Francesca Ferreri Mathematics of Matter, PeolaSimondi 2022
Francesca Ferreri, The Mathematics of Matter, PeolaSimondi 2022

The FRANCESCA FERRERI exhibition in Turin

Arithmetic as a restoration of the pictorial tradition, erudition and proportion and sensory harmony are the aims of the research of Francesca Ferreri (Savigliano, 1981), artist and restaurateur who explores the relationship between beauty and algorithms in the sculptural installations at the Peola e Simondi Gallery in Turin. The staff Mathematics of matter – who holds their title Mathematics of matterSeries of works that represent the exhibition and that constitute a visual reference, a Pavilion contemporary thanks to which you can get used to a precise apparent world and calibrate your gaze so that it can take root in space – examines the forms and their concrete and everyday layers. But a few remain unknown: the site-specific installation Quiet, Mossy but alive, consisting of multiple ceramic fragments and recovered iron, plaster and recycled elements, appears as an unexpected and mysterious entity, conscious of a past – the gap of restoration, personal memories, the history of music – that tries to coordinate through absolute signals, unanimously. Pragmatic calculations are intertwined with empathic drawing, just as in the frescoes the moral and spiritual interpretation was linked to the artist’s physical-sensory image qualities; the vision follows the perpendiculars and parallels that go in different directions and seem to hit endless and fluctuating vanishing points, avoiding spectacular schematicism. Perspective construction and writing have a suggestive dramatic function: “The ‘x’ symbol“- see Ferreri -“it evokes the idea of ​​choice, while the line presents itself as a set of different possibilities and the parentheses define a temporary pause“. An allegory with ancient and universal roots.

Federica Maria Giallombardo

Art events in progress in Turin

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