This is a hand signed giclee on canvas by Fergo titled “Love in Paris”.
This piece is hand signed by the artist. This subject is numbered from a limited edition of 350.
Canvas image measures: 9″ x 12″. Bright and fresh with rich colors. Comes unframed, unstretched.
Comes with a gallery certificate of authenticity. In excellent condition.
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About Ferjo and Symbolism: Most of Ferjo’s works take place within an abandoned interior. They offer a journey filled with surrealistic symbols, sentimental fantasy and visual delights. Reoccurring symbolism you will see in all Ferjo’s along with their meanings are:
• Eggs – represent birth or new beginnings
• Bubbles – represent imagination
• Pencil – points to or leads to the canvas
• Fish & Butterflies – represent freedom
• Strawberries – represent the freshness of life
Ferjo also pays homage to the masters. Modified versions of Magritte, Van Gogh, Picasso or Miro adorn the walls of his interiors, where you can see more evidence of his mastery of painting. Those with background in the arts will recognize in Ferjo an artist who can draw, render and paint with an extraordinary life-likeness, His ability to paint realistically and then to extend realism into a hallucinogenic surrealist vision, filled with symbolic connotations taken from the world of dreams and phantasmagoria, is one of the more startling attributes to be found in the recent paintings. Whether Ferjo is representing automobiles or portraits still life arrangements or sports events imaginary or life like portraits there is convincing evidence of his talent as a technical of painting. There is also evidence of the artist’s versatile and shifting imagination as he moves with considerable agility from one motive to another often-shifting styles in the process. Ferjo creates a kind of magic in his paintings in some ways this magic is over determined, calculated, fraught with unchecked desire. Yet through these magical compositions one may get the sense of another world determined by the artists magic, a world of irrational occurrences where objects float above the floor, where walls disappear, where translucent bubbles are suspended in space, where the laws of prospective and scale are utterly defined. Ferjo has the painterly and graphic precision to make these acts of irrationality appear strangely out of sync. Yet the lack of synchronicity is part of artist’s manipulation. Just as Don Juan manipulates the desires of others through the projection of his own desire, so Ferjo manipulates non-functional space and lost avenues of time, often making sentimental and illogical formulations. Desire and hallucination collide to a weird cornucopia of images.