Human Fauna / 2016 - 2017
The constructive solidity, the precision and sensitivity in the stroke, both with graphite and pencil, an applied and effective handling of the chiaroscuro and the tonal modulation in pursuit of a perfect volumetric rendering, are only some of the outstanding technical virtues in the finished craft exhibited by Fer Pietra. To this we must add, also, the intentional amalgam of different narrative elements - closer to the critical absurdity, metaphor and allegory than to naturalism - which appeals to mount a kind of satirical theatricality, with characters that assume attitudes and poses sometimes hieratic, sometimes impassive, sometimes intentional, which at times seem to be taken from a catalog of neoclassical mannerism.
There is a deliberate almost sculptural freezing in these scenes, although a sketch of the operatic also overfly in the architecture of them, as if Pietra wanted to elliptically allude to the artificiality of certain social class choreographies that imply a certain relationship of power or domination.
Pietra's stage costumes are often referential, and sometimes an archaic mantle that emphasizes the artist's use of some rhetoric of ancient statuary. At the same time, these ghostly characters remind us of the allusions to the illustrations of Doré with which, they say, Fellini was inspired in the sequence of the thermal baths of Ocho y Medio.
Moreover, the presence of marble pets that sometimes become mutant beings with the head of an animal and body of a human being, seems to indicate that Pietra indirectly appeals to the morphology of the fable to feed his quiet invectives.
Likewise, the relations of importance of the figures to each other may or may not follow the norm of representative proportionality, whether the artist prefers or not to allude to symbolic rather than physical dimensions. The faces and set of features to which Pietra evokes cover a very strict sociological range, and in that sense it is related to the more direct contents of metamorphosis operations, which seem to point to the elaboration of a monstrous bizarre anthropology.
Eduardo Stupia, on Human Fauna.
Buenos Aires, august 2016
Chronological mutations / 2014 - 2015
This series symbolizes above all the temporal conflict; the anguish experienced in the journey to the finite path. It represents, on the one hand, the lived journey and the impossibility of continuity. And on the other, the coexistence in the same body of two beings divided by time, by experience and by the road traveled. The two concepts define the title of this series. All the works represented maintain the theme of bodies of different ages contrasted manifested by various parts of it. And this corporal variety manifests the anguish of the protagonists. The surreal character generated by this contrast is implicit as the supreme character in all the images. Each character in this story maintains a remarkable ambiguity: jovial bodies with aging heads and the opposite case. The chronological mutations reflect once again, one of the many descriptions of the urban and contemporary man who lives in the great metropolis. Anxiety and the need not to let time escape. That the infinite is possible. The society in which we live day by day demands different roles and functions according to the age we have and the requirement that comes to us will be proportional "to how successful we are". But that demand is not linear. It does not have to be the same in all cases. This non-formal and real description is what I am interested in carrying out in this series of works. To lose importance to the formal and pre judicious visualization of beings through their implicit temporal content and to glimpse a genuine, profound and true story of the beings with whom we live in our daily lives.
Anthropozoomorphic symbiosis / 2012 - 2014
Jung, 1964, 239) We can make a comparison between modern, contemporary man and ancient man. The first one is repressing his instincts and the second one is not able to control his impulses. We can affirm that in both cases the animal that is inside man has moved away from his own nature.
The term "Anthropozoomorphic symbiosis" refers to two deeply related concepts. On the one hand the "symbiosis" as a fusion between the human and animal figure whose union represents a remarkable harmony in all the works I present. On the other hand, the term "anthropozoomorph", composed of two concepts. The "anthropomorphic", that we can define it as something that resembles the human form and the "zoomorphic" that refers to figures that adopt any animal form. Therefore, the "anthropozoomorphic" refers to the coexistence between these two forms in the central figures of my images. I express a personal, poetic and subjective view. I reinvent an archetype of the so-called cultural symbols transmitted throughout the centuries and even in the twentieth century. I visualize the appearance of the dog as a protagonist animal that coexists with the human in all the cycles of these works. The new use of concepts merely established and accepted by many of the societies that make up this stage of human history as visualizations that express a hopeful narrative towards the spectator, is a challenge that I dare to carry out in the anthropozoomorphic symbiosis. Not only from a critical visual image. Not only re mean the icons of Western culture such as the monogamous couple, repression, sexual prohibition and religious morality but also generating new ways of expressing this discourse from the visual and plastic languages from where I feel most comfortable. From my own vision of what the world that surrounds us and conditions us today is.