The In the Light of Florence exhibition organized in September by the Pneuma Art Foundation at Compagnia della Colonna focused on emerging figurative artists. Intrigued to learn more about a couple of the many artists involved, we had a look at their studio spaces, thanks to the coordination of Luna Gordon and Olivia Marlowe Colbert, with photographs by Andres Escalante.
Enrico Ferrarini @enrico.ferrarini
What’s your background and how did you arrive in Florence?
I come from a small village in Modena, Campogalliano, surrounded by vineyards and farms. My childhood was spent working on the farm and studying at the art high school in Modena, specializing in ceramics. I arrived in Florence in the winter of 2007 to begin my studies in sculpture at the Accademia di Belle Arti di Firenze.
How would you describe your work?
A non-work, a fantastic journey.
Why did you want to make art?
It’s the only thing that always knows how to surprise me, like nature. Infinite conclusions and no boundaries.
What’s your ultimate goal?
To surprise myself and amaze others in the process.
Does your studio space reflect you as a person?
My studio space reflects the extension of my several personalities.
What are your favorite and least favorite aspects about working in professional art?
My favorite aspect is the complete and unique feeling of freedom, and the wonderful worlds you encounter as your experience evolves. My least favorite aspects… I don’t think I have any, but maybe the sacrifices and the difficulty of remaining in this beautiful dream every day.
Does living in Florence have an impact on your art?
Living in Florence has always been inspiring, not only for the quality of the works of art that can be seen every day, but also for the feeling of history and for the multitude of people who come to study art or even just visit the city every day. In terms of my art, the impact has been to examine and confront everything that has made this city the “place of rebirth”.
Marco Franco @marcofranco_art
What’s your background and how did you arrive in Florence?
I was born and raised in Florence, but at the age of 19, I moved to Milan to study restoration at the Brera Academy of Fine Arts. After graduating, I started working in the field of restoration, choosing to return to Florence after eight years to work in painting.
Why did you want to make art?
It’s something I’ve done for as long as I can remember. Like anyone else, I’ve tried countless activities, started thousands of projects, explored many different disciplines and taken on a variety of jobs. However, all of these experiences have been fleeting, like infatuations that eventually fade.
What’s your ultimate goal?
To grow old, with hands like roots still attached to the canvas, without ever falling out of love with my work.
Does your studio space reflect you as a person?
My work is a reflection of my studio, just as a painting is a reflection of the palette. When I paint, I draw inspiration from what surrounds me. The composition emerges from the elements and objects I find. Every element, every object present here has a purpose: to contribute to the creation of the painting. So yes, if my work reflects me as a person, then, in a way, the studio reflects me as well.
Tell us about your experiences of working in professional art.
Being able to work as a painter is undoubtedly an enormous privilege. I get to do and talk about what I love, and I’m fortunate enough to embody the saying, Do what you love, and you’ll never work a day in your life. Moreover, being a painter in Florence is an incredibly rewarding experience not only because of the rich cultural setting and historical and artistic heritage we have access to, but also because the artistic community here is arguably one of the largest and most fascinating in the world, especially for figurative art. This allows us to constantly engage with people who share the same passion, which is a continuous source of inspiration.
Could you tell us about the In the Light of Florence exhibition?
The exhibition involved many artists, which fostered valuable connections and helped strengthen the sense of identity within the artistic community.
Where do you get your supplies?
In two historic stores in Florence: Rigacci and Zecchi, both located in the shadow of the Duomo.
