https://gustyferro.com Gusty Ferro Fri, 06 Oct 2023 16:20:37 +0000 https://gustyferro.com en http://gustyferro.com/Turning-Into Fri, 06 Oct 2023 16:20:37 +0000 Gusty Ferro 448757 Turning IntoWeston Studio Royal Academy of Arts London 9 Sep to 28 Oct 2023 For the exhibition Turning Into, Gusty Ferro shows recent three-dimensional, graphic and sonic works made in the Royal Academy Schools. Assisted by the tutors and technicians at the sculpture, print and media workshops, Gusty was prompted to experiment with different techniques, supports and materials that led to new developments in their practice. The works present themselves in a state of transition and are prone to be modified over time. <img width="5550" height="3701" width_o="5550" height_o="3701" src_o="https://cortex.persona.co/t/original/i/a17f46526c45e3f4fa0402556bd4dce1aa8278adbb6843f638e8d547828d734e/Turning_into_view_gular_ates.jpg" data-mid="1326377" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/6368245968967481429f307e6f3df679658e5341beaf5c1b66bf8f4891d96f06/_MG_0695_m.jpg" data-mid="1326384" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/d3c8061397a34655c637911e707d8399db2cf9c7db5285f29f8021d5ccc1bc67/_MG_0739_m.jpg" data-mid="1326382" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/7ab646cabeff47a103b2ed1716d845597d448c4ecafcecbf1c279af3e2a228fa/_MG_0746_m.jpg" data-mid="1326380" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/9de3a1c0e50f13a3eeabd4584d8fa71ebee569b95334606f2f100410a62c0b6e/IMG_0788_m.jpg" data-mid="1326379" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/c9a1e0d7de08f16dbbf24dbbb22d498e30a1388dc0f5f86d4a1a10d710fff4e9/_MG_0709_m.jpg" data-mid="1326387" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/e7b64da405c48fe3fdedaa796d36a2d3d104023839a136bac7e21fc2a490fceb/_MG_0736_m.jpg" data-mid="1326388" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/b323376d29ab1942beffa2a50bb156ba6c0667cf22d29e3d1a72916764404f57/_MG_0725_m.jpg" data-mid="1326378" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/75740550f5f8f1b6c21224fd0701532b59c2e95ef23b945996bfe7304db81386/_MG_0735_m.jpg" data-mid="1326381" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/f66c2d355bbc69c67f4753b2002b03c4fc09a2db11914664a2af4eb5963ba47c/IMG_0760_m.jpg" data-mid="1326385" border="0" /> <img width="5462" height="3641" width_o="5462" height_o="3641" src_o="https://cortex.persona.co/t/original/i/75740550f5f8f1b6c21224fd0701532b59c2e95ef23b945996bfe7304db81386/IMG_0756_m.jpg" data-mid="1326383" border="0" /> Turning IntoWeston Studio Royal Academy of Arts London 9 Sep to 28 Oct 2023 For the exhibition Turning Into, Gusty Ferro shows recent three-dimensional, graphic... http://gustyferro.com/text-garth Mon, 07 Nov 2022 13:05:02 +0000 Gusty Ferro 433176  Exhibition forward *by Garth Gratrix Exhibition forward by Garth Gratrix I have been asked to write a forward for this new exhibition of work by Gusty Ferro. I want to do this through a queer lens and my position as an artist, curator and director based in Blackpool waving from across the ocean and beyond borders. Here is where our eyes first met, mine and Gusty's. Our bodies engaged in critical and conceptual conversation, for a year, as we exposed one another to new ways of navigating what it means to live and work on the edges of mainstream society and make art. At a destination steeped in history, both progressive and evasive in how barriers, boundaries and borders can impact ideas and openness. It is ironic to experience the need to hide oneself for safety at times, whilst also living and creating on the coast where 50% of your vision is said to be unobscured at all times. The coast for me is part seaside and part urban built environment, existing as a result of personal desirable, difficult decisions; as apposed to setting a definitive definition for things to exist....a queerness. Waves crash against defences, people defend against their own personal and societal rights and propagated political stances. In Ferro's works I think about orientation, that is to explore a willingness and need to navigate the works from all angles and our position and relationship to it. In exploring these angles and to look at things beyond one stance or position, is an inherently queer decision and experience; to want to engage with the work beyond normative behaviour. It makes me feel animalistic, raw and frivolous. How new urges make me want to get on my knees, crawl through and rub up against, and or cruise the work in some way. Cruising of course in gay culture as a means to roam certain streets, that through word-of-mouth, had become a safe-esque breeding ground to find same-sex pleasure.&nbsp; Most people have a tendency to see straight, told to be straight, sit up straight, act and or carry oneself with straightness!. Ferro's work contrives a situation or moment of encounter in such a way that you could argue the subject no longer sees straight, therefore our relationship to objects and space are reorientated as Merleau-Ponty and Sara Ahmed explore in Phenomenolgy of Perception and Queer Phonemenolgy. The works very nature is 'bent' as a former prejoritve term now reclaimed, it is twisted, made 'peculiar', 'weird' or 'odd' in how we still explore Queer within its dictionary translation. In which case Ferro's ouevre to date could by seen as engaging us in a series of queer encounters and a space in which queerness prevails beyond its own risk of becoming finite. The Untitled (Grinding Series) frolics with how bodies, objects, and double meanings can manifest. Queer theory suggest to us that Reading Into things is necessary, as it is outside the margins, down in the undegrounds and alleyways and beyond our societal views where most queer activity takes place. Through necessity, safety or forced out politically, 'we' individually and collectively hide in plain sight and live within imposed rules and self made systems of codification. These sculptures of metal and plastic are loose and yet self restraining. An intense collection of constricting ties wrap around a phallic shaped metal armature. A snake like sinicism is happening, adding simultaneously to its potential eroticism where materials move from hard to soft, to being gentle and firm in their ability to choke or release tension, spit or hiss back. It is prickly in its tactility, to flick it might be to tease or arouse it or indeed ourselves. To grind could also be read as to be on Grindr- a popular dating app. This perhaps exposes us to seeing the work as a sculptural proposal for future foreplay between lovers, not defined by gender as these materials dance between the desirable, deviant and dirty in their finish and finesse without such arbitrary concerns as taste, preferred body parts or what fits wear in the throws of passion. The inclusion of rubber, oil and feathers in the Rod artworks hold multiple connotations and associations to fetish clothing and or tools for pleasure and shared release. With the metal being fragmented from crowd control barriers, the sensuality of the objects can also be met with concerns as to how nonconforming materials, and lives, offer a protesting and prospecting dichotomy. The work becomes a non-binary offer for new relationships between things to be witnessed and adopted. Drawings offer a smearing, rubbing, caressing between material and surface. The page acting as the space in which to house a queer reading. I see forms within forms, a mirage effect where imagined terrains appear in my mind with varying degrees of kink, play and pleasure. Texture is prolific in all works; this invitation to offer a perhaps unwanted touch makes an exhibition feel slightly more naughty and in tune with being 'open-minded' in your artistic and personal preferences. It is silently seductive to our senses.&nbsp; Gusty's hands are at the forefront of all these works. Is the artist ever just an artist, or also the agent provocateur, the Mistress, a dominatrix teasing the boundaries in which they and their material relationships find tension, pain, lust, love, allyship.....? They are both author and authentic in his open mindedness and willingness to expose themself and us to a new kinship to queers potential. .*(Text written for the exhibitionTrês Pontos at Galeria Pilar, São Paulo, 2022)  Exhibition forward *by Garth Gratrix Exhibition forward by Garth Gratrix I have been asked to write a forward for this new exhibition of work by Gusty... http://gustyferro.com/3-pontos Mon, 07 Nov 2022 12:51:16 +0000 Gusty Ferro 433175  Três Pontos Feb - Mar, 2022Galeria Pilar, São Paulo, Brazil <img width="5047" height="3365" width_o="5047" height_o="3365" src_o="https://cortex.persona.co/t/original/i/4d8d101465dac5036ae6d6fbafc68f6b1b99de399f88bfd7465c41fc0447e7ed/_MG_9013.jpg" data-mid="1238187" border="0" /> <img width="5396" height="3597" width_o="5396" height_o="3597" src_o="https://cortex.persona.co/t/original/i/433f4f31616884031f9ab00c7a2fd907d6565f05ea3467c59ad184b7bce58f2f/_MG_9045.jpg" data-mid="1238189" border="0" /><img width="8143" height="3200" width_o="8143" height_o="3200" src_o="https://cortex.persona.co/t/original/i/ad9fe28b385bd6ae12fdd34d6d51266901222236834809f62ae47d601de1ab23/_MG_9034.jpg" data-mid="1238194" border="0" /> <img width="7901" height="3300" width_o="7901" height_o="3300" src_o="https://cortex.persona.co/t/original/i/8dfd1564dcbef2815dea3eded6f4255aba4e5a99d1920f18c47a46e67cf07c01/_MG_9031.jpg" data-mid="1238188" border="0" /><img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/1a5f1a05150f378824c7c1a1f62490fe3d467d757196ad4ce318711f4a01bfa7/_MG_9047.jpg" data-mid="1238185" border="0" /> <img width="5185" height="3405" width_o="5185" height_o="3405" src_o="https://cortex.persona.co/t/original/i/60629e9868f873b4d6a34f51064cc6f915e2ffc52acc2ca63b7934cf472c0f54/_MG_9059_1.jpg" data-mid="1238199" border="0" /><img width="3648" height="5472" width_o="3648" height_o="5472" src_o="https://cortex.persona.co/t/original/i/033649ae6de388ade7c01e57c4dba496a4714d403dfcab4790f644ebc4b7f287/_MG_9008-copy.jpg" data-mid="1238196" border="0" /> <img width="3648" height="5472" width_o="3648" height_o="5472" src_o="https://cortex.persona.co/t/original/i/ed9806817675e17dd6499767b744e5475b17499e00f3e268ffc8f5dfd0de6a0e/_MG_9064.jpg" data-mid="1238192" border="0" /><img width="3462" height="5193" width_o="3462" height_o="5193" src_o="https://cortex.persona.co/t/original/i/6e64bdea0b4ef7660b42c7be053c5e3941dbeb73bbb32228c8281a2bb532ea79/_MG_9063.jpg" data-mid="1238197" border="0" /> <img width="3648" height="5472" width_o="3648" height_o="5472" src_o="https://cortex.persona.co/t/original/i/433f4f31616884031f9ab00c7a2fd907d6565f05ea3467c59ad184b7bce58f2f/_MG_8995.jpg" data-mid="1238190" border="0" /><img width="3648" height="5472" width_o="3648" height_o="5472" src_o="https://cortex.persona.co/t/original/i/9f0afcde36d057faacb84064e1f42cd70c8d0e5a80351bd1b0922d89221816e6/_MG_9068.jpg" data-mid="1238195" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/04244982fe5cb67deb495a594c6ff6c822c7e56fa7621b160b457153c1c08ee6/_MG_9071.jpg" data-mid="1238200" border="0" /> <img width="3648" height="5472" width_o="3648" height_o="5472" src_o="https://cortex.persona.co/t/original/i/22aaf69b941f3308267e7f641ea945982a8a38ebb40c7464284f3402bb5c032f/_MG_8999.jpg" data-mid="1238191" border="0" /> <img width="5209" height="3472" width_o="5209" height_o="3472" src_o="https://cortex.persona.co/t/original/i/2b10313356ea9c4dcdb1ac17b16a0c42074d86db9ff17f0bfc8702272a162aef/_MG_9030.jpg" data-mid="1238193" border="0" /> Exhibition forward by Garth Gratrix I have been asked to write a forward for this new exhibition of work by Gusty Ferro. I want to do this through a queer lens and my position as an artist, curator and director based in Blackpool waving from across the ocean and beyond borders. Here is where our eyes first met, mine and Gusty's. Our bodies engaged in critical and conceptual conversation, for a year, as we exposed one another to new ways of navigating what it means to live and work on the edges of mainstream society and make art. At a destination steeped in history, both progressive and evasive in how barriers, boundaries and borders can impact ideas and openness. It is ironic to experience the need to hide oneself for safety at times, whilst also living and creating on the coast where 50% of your vision is said to be unobscured at all times. The coast for me is part seaside and part urban built environment, existing as a result of personal desirable, difficult decisions; as apposed to setting a definitive definition for things to exist....a queerness. Waves crash against defences, people defend against their own personal and societal rights and propagated political stances. In Ferro's works I think about orientation, that is to explore a willingness and need to navigate the works from all angles and our position and relationship to it. In exploring these angles and to look at things beyond one stance or position, is an inherently queer decision and experience; to want to engage with the work beyond normative behaviour. It makes me feel animalistic, raw and frivolous. How new urges make me want to get on my knees, crawl through and rub up against, and or cruise the work in some way. Cruising of course in gay culture as a means to roam certain streets, that through word-of-mouth, had become a safe-esque breeding ground to find same-sex pleasure.&nbsp; Most people have a tendency to see straight, told to be straight, sit up straight, act and or carry oneself with straightness!. Ferro's work contrives a situation or moment of encounter in such a way that you could argue the subject no longer sees straight, therefore our relationship to objects and space are reorientated as Merleau-Ponty and Sara Ahmed explore in Phenomenolgy of Perception and Queer Phonemenolgy. The works very nature is 'bent' as a former prejoritve term now reclaimed, it is twisted, made 'peculiar', 'weird' or 'odd' in how we still explore Queer within its dictionary translation. In which case Ferro's ouevre to date could by seen as engaging us in a series of queer encounters and a space in which queerness prevails beyond its own risk of becoming finite. The Untitled (Grinding Series) frolics with how bodies, objects, and double meanings can manifest. Queer theory suggest to us that Reading Into things is necessary, as it is outside the margins, down in the undegrounds and alleyways and beyond our societal views where most queer activity takes place. Through necessity, safety or forced out politically, 'we' individually and collectively hide in plain sight and live within imposed rules and self made systems of codification. These sculptures of metal and plastic are loose and yet self restraining. An intense collection of constricting ties wrap around a phallic shaped metal armature. A snake like sinicism is happening, adding simultaneously to its potential eroticism where materials move from hard to soft, to being gentle and firm in their ability to choke or release tension, spit or hiss back. It is prickly in its tactility, to flick it might be to tease or arouse it or indeed ourselves. To grind could also be read as to be on Grindr- a popular dating app. This perhaps exposes us to seeing the work as a sculptural proposal for future foreplay between lovers, not defined by gender as these materials dance between the desirable, deviant and dirty in their finish and finesse without such arbitrary concerns as taste, preferred body parts or what fits wear in the throws of passion. The inclusion of rubber, oil and feathers in the Rod artworks hold multiple connotations and associations to fetish clothing and or tools for pleasure and shared release. With the metal being fragmented from crowd control barriers, the sensuality of the objects can also be met with concerns as to how nonconforming materials, and lives, offer a protesting and prospecting dichotomy. The work becomes a non-binary offer for new relationships between things to be witnessed and adopted. Drawings offer a smearing, rubbing, caressing between material and surface. The page acting as the space in which to house a queer reading. I see forms within forms, a mirage effect where imagined terrains appear in my mind with varying degrees of kink, play and pleasure. Texture is prolific in all works; this invitation to offer a perhaps unwanted touch makes an exhibition feel slightly more naughty and in tune with being 'open-minded' in your artistic and personal preferences. It is silently seductive to our senses.&nbsp; Gusty's hands are at the forefront of all these works. Is the artist ever just an artist, or also the agent provocateur, the Mistress, a dominatrix teasing the boundaries in which they and their material relationships find tension, pain, lust, love, allyship.....? They are both author and authentic in his open mindedness and willingness to expose themself and us to a new kinship to queers potential.  Três Pontos Feb - Mar, 2022Galeria Pilar, São Paulo, Brazil Exhibition forward by Garth Gratrix I have been asked to write a forward for... http://gustyferro.com/texto-Garth-Gratrix Wed, 24 Aug 2022 11:20:36 +0000 Gusty Ferro 429383 Três PontosPor Garth Gratrix* Texto originalmente escrito para a exposição Três Pontos na Galeria Pilar em 2022 Me pediram para escrever um texto de introdução para esta nova exposição de trabalho de Gustavo&nbsp; Ferro. Eu quero fazer isso através da ótica Queer e minha posição como artista, curador e diretor&nbsp; baseado em Blackpool acenando do outro lado do oceano e além das fronteiras. Foi aqui que nossos olhos se encontraram pela primeira vez, o meu e o do Gustavo. Nossos&nbsp; corpos se envolveram em conversas críticas e conceituais, por um ano, enquanto nos expúnhamos&nbsp; a novas maneiras de entender o que significa viver e trabalhar à margem da sociedade e fazer arte.&nbsp; Em um destino mergulhado na história, progressista e evasiva em como barreiras, limites e fronteiras&nbsp; podem impactar ideias e a liberação. É irônico sentir a necessidade de, por vezes, se esconder por&nbsp; segurança, e ao mesmo tempo viver e criar em uma área litorânea, onde considera-se que metade&nbsp; de sua visão está sempre desobstruída. A costa para mim é parte litoral e parte ambiente urbano,&nbsp; existindo como resultado de decisões pessoais desejáveis e ao mesmo tempo difíceis; no lugar de&nbsp; estabelecer uma definição definitiva para as coisas existirem... uma estranheza. As ondas batem&nbsp; contra os quebra-mares, as pessoas se defendem contra seus próprios direitos pessoais e sociais e as&nbsp; posturas políticas normalmente difundidas. Nas obras de Gustavo penso em orientação, que é explorar uma vontade e necessidade de navegar&nbsp; pelas obras de todos os ângulos, e nossa posição e relação com elas. Explorar esses ângulos e ver&nbsp; as coisas além de uma postura ou posição é uma decisão e uma experiência inerentemente queer;&nbsp; é querer se envolver com o trabalho além do comportamento normativo. Isso me faz sentir animalesco, selvagem e frívolo. Como novos impulsos me fazem querer ficar de joelhos, rastejar e me&nbsp; esfregar, e ou fletar o trabalho de alguma forma. Flertar, é claro, na cultura gay como um meio de&nbsp; percorrer certas ruas, que através do boca a boca, tornam-se um terreno fértil para encontrar prazer&nbsp; entre pessoas do mesmo sexo. A maioria das pessoas tem a tendência de ver da forma adequada (ou seja, de forma heteronorma tiva), falar de forma adequada, agir e ou se comportar de maneira correta! O trabalho de Gustavo&nbsp; cria uma situação ou um momento de encontro de tal forma que você poderia argumentar que&nbsp; o sujeito não vê mais de forma adequada, portanto nossa relação com objetos e espaço é reori entada como Merleau-Ponty e Sara Ahmed exploram em Phenomenology of Perception e em&nbsp; Queer Phonemenology. A própria natureza da obra é ‘dobrada’ como um antigo termo pejorativo&nbsp; que é ressignificado, é distorcida, tornada ‘peculiar’, ‘estranha’ ou ‘esquisita’ na forma como ainda&nbsp; exploramos em seu significado original Queer. Nesse caso, a obra de Gustavo poderia, ainda hoje,&nbsp; ser vista como nos engajando em uma série de encontros Queer e um espaço em que a natureza&nbsp; Queer prevalece além de seu próprio risco de se tornar finito. A série sem título (Grinding Series) brinca com a forma como corpos, objetos, duplos sentidos&nbsp; podem se manifestar. A teoria queer nos sugere que Interpretar as coisas é necessário, pois o sig nificado está fora além dos limites, nos subterrâneos e becos e além de nossas visões sociais, onde&nbsp; a maioria das atividades Queer ocorrem. Por necessidade, segurança ou forçados a politicamente&nbsp; para as margens da sociedados, ‘nós’ individual e coletivamente nos escondemos a olhos vistos e&nbsp; vivemos dentro de regras impostas e sistemas de codificação autoimpostos. Essas esculturas de&nbsp; metal e plástico são maleáveis e, no entanto, auto-contidas. Uma coleção intensa de laços estru turais envolve uma armadura de metal de forma fálica. Um cinismo invasivo aumenta simultanea mente seu erotismo potencial, onde os materiais se movem de duros para macios, e são, ao mesmo tempo, suaves e firmes em sua capacidade de sufocar ou liberar tensão, cuspir ou restringir.&nbsp; São espinhosos ao tato, sacudi-los pode ser provocá-los ou excitá-los ou mesmo nós mesmo nos ex citar. Provocá-los pode ser interpretado como estar no Grindr - um aplicativo popular de encontros&nbsp; gay. Isso talvez nos exponha a ver as obras como uma proposta escultórica para futuras preliminares&nbsp; entre amantes, não definidos pelo gênero, pois esses materiais transitam entre o desejável, o desvi ante e o indecente em seu acabamento e o refinamento sem preocupações arbitrárias como gosto,&nbsp; partes do corpo preferidas ou o que é apropriado nos lances da paixão. A inclusão de borracha, óleo e penas na série Rod, possui múltiplas conotações e associações a&nbsp; roupas fetichistas e/ou brinquedos sexuais para prazer e gozo compartilhados. Com o metal sendo&nbsp; fragmentado das barreiras de controle de multidões, a sensualidade dos objetos também pode ser&nbsp; encarada com preocupações sobre como materiais e vidas não conformantes oferecem uma dicotomia de protesto e prospecção. A obra torna-se uma oferta não binária de novas relações entre&nbsp; as coisas a serem testemunhadas e adotadas. Os desenhos apresentam um borrão uma fricção, uma carícia entre os materiais e o suporte. A&nbsp; página atuando como o espaço para abrigar uma leitura Queer. Vejo formas dentro de formas, um&nbsp; efeito de miragem onde terrenos imaginados aparecem em minha mente com vários graus de tara,&nbsp; jogo e prazer. A textura é prolífica em todas as obras, este convite para oferecer um toque, talvez&nbsp; indesejado, faz com que uma exposição pareça um pouco mais marota e em sintonia com ser ‘liberal’ em nossas preferências artísticas e pessoais. É um sentimento silenciosamente sedutor para os&nbsp; nossos sentidos. As mãos de Gustavo estão na vanguarda de todos esses trabalhos. O artista é sempre apenas um&nbsp; artista, ou também o agente provocador, a Amante, uma dominatrix provocando os limites no qual&nbsp; ele e suas relações carnais encontram tensão, dor, luxúria, amor, aliança...? Ele é autor e autêntico&nbsp; em sua abertura e vontade de expor a si mesmo e a nós a um novo parentesco com o potencial&nbsp; Queer. *Garth Gratrix (1984, vive em Blackpool, Inglaterra). Artista, curador e diretor do Abingdon Studios - o primeiro&nbsp; espaço independente de arte contemporânea aberto em Lancashire no litoral do Norte da Inglaterra - participa de&nbsp; exposições internacionais e possui obras em coleções no Reino Unido e exterior. Três PontosPor Garth Gratrix* Texto originalmente escrito para a exposição Três Pontos na Galeria Pilar em 2022 Me pediram para escrever um texto de... http://gustyferro.com/SELECTED_W Sat, 09 Jan 2021 16:48:35 +0000 Gusty Ferro 394868  Untitled (AS_BLP series), 2021 Left: Untitled (big one); steel chain, plastic cable tie, sand bag, concrete; 156 x 70 x 50 cm ; 2021 Right: Untitled (stile); steel tubes, steel chain, plastic cable tie, concrete, spray paint; 156 x 96 x 100 cm; 2021 Installation view at Abingdon Studios Project Space, Blackpool, England <img width="4288" height="2848" width_o="4288" height_o="2848" src_o="https://cortex.persona.co/t/original/i/8515054f32444a5989b38befbdfe2d318ad5038eca7c002137f8500c868882c3/01.jpg" data-mid="1079649" border="0" data-scale="88"/> Untitled (AS_BLP series), 2020Oil paint on paper42 x 60 cm each <img width="4288" height="2848" width_o="4288" height_o="2848" src_o="https://cortex.persona.co/t/original/i/5866f0a4776dba39b7437350cbcbe8f3d5c74761262de489afaa39ee5eb90cfa/GUSTAVO_FERRO_20.JPG" data-mid="1034976" border="0" data-scale="88"/> Untitled (rods), 2019Steel, oil paint and rubber30 x 15 x 70 cm <img width="5304" height="7952" width_o="5304" height_o="7952" src_o="https://cortex.persona.co/t/original/i/5b3772a0283e89c9060a053572b477c4ac7514494afa77a83cbc563a545d3b26/GUSTAVO_FERRO_19.jpg" data-mid="1034972" border="0" data-scale="88"/> Untitled (GS), 2016 / 2018Welded steel and plastic cable ties150 x 60 x 162 cm <img width="7952" height="5304" width_o="7952" height_o="5304" src_o="https://cortex.persona.co/t/original/i/fce52743f7e47379ac9ce27f91b8ba5cc8cb98511a8fe237a429be0e46a412fb/GUSTAVO_FERRO_18.jpg" data-mid="1034968" border="0" data-scale="88"/> Untitled (Grinding Series), 2016Exhibition view at SWG3 Gallery, Glasgow, ScotlandWelded steel, digital printing on vinyl, wood and graphite on paper Variable dimensions <img width="4896" height="3264" width_o="4896" height_o="3264" src_o="https://cortex.persona.co/t/original/i/32573c4fcc0696efe1b2ea6c96cef1baaec1d67fb1a5602d9a75ffb93927945e/GUSTAVO_FERRO_14.jpg" data-mid="1034969" border="0" data-scale="88"/> Untitled (fall), 2016Digital printing on vinyl and steel sheet 160 x 100 x 160 cm approx. <img width="3264" height="4896" width_o="3264" height_o="4896" src_o="https://cortex.persona.co/t/original/i/59c4b751ee290a7ec2379dba377c400372ce6f85b74b3d3944f3ed5f18d58272/GUSTAVO_FERRO_15.jpg" data-mid="1034986" border="0" data-scale="88"/>Untitled, 2017Pieces of metal railing200 x 200 x 200 cm approx. <img width="3264" height="4896" width_o="3264" height_o="4896" src_o="https://cortex.persona.co/t/original/i/ee570351017e8d7a6af6cc3143543ddaaa9aaef7b21f50c170a51f046dd7290e/GUSTAVO_FERRO_16.jpg" data-mid="1034970" border="0" data-scale="88"/> Untitled, 2017Pastel on paper140 x 155 cm <img width="3264" height="4896" width_o="3264" height_o="4896" src_o="https://cortex.persona.co/t/original/i/51a154593ca462b9ade1276978b4ee8758c5fb8b8fc69f25a7d89dad0788cce5/GUSTAVO_FERRO_17.jpg" data-mid="1034973" border="0" data-scale="88"/> Untitled, 2016Installation view at Camden Market, London, UKScaffolding pieces, tube protector foam and plastic cable tie200 x 200 x 220 cm approx. <img width="4368" height="2912" width_o="4368" height_o="2912" src_o="https://cortex.persona.co/t/original/i/66d1305e696624d64f20e9df31032c78c23c4c0ea4bd6e56d6b47bc26b698796/GUSTAVO_FERRO_09.jpg" data-mid="1034982" border="0" data-scale="88"/> Untitled , 2016Galvanised fence panel, digital printing on paper and wood160 x 160 x 190 cm approx. <img width="4368" height="2912" width_o="4368" height_o="2912" src_o="https://cortex.persona.co/t/original/i/697a5f5b3c4317d147f906166495f0e88e827e0c058ba3e5016214367bde4ca4/GUSTAVO_FERRO_10.jpg" data-mid="1034978" border="0" data-scale="88"/> Untitled (barrier), 2016Welded steel and PU paint180 x 150 x 100 cm <img width="2000" height="1333" width_o="2000" height_o="1333" src_o="https://cortex.persona.co/t/original/i/813d94f5f700acf2913c8e771deaca496444b51978a8d80f0fca774ff3d98692/GUSTAVO_FERRO_12.jpg" data-mid="1034967" border="0" data-scale="88"/> Piquetes Anônimos (Anonymous Pickets),&nbsp; 2015 Collection of objects made out of various materialsInstallation view at Paço das Artes, São Paulo, Brazil250 x 250 x 200 cm approx. <img width="2000" height="1488" width_o="2000" height_o="1488" src_o="https://cortex.persona.co/t/original/i/a711651bd0549f67165a190946ab8f8db2f4881bb3d013bd4b34003cddcc3636/GUSTAVO_FERRO_01.jpg" data-mid="1034971" border="0" data-scale="88"/> Campo Tátil Hexagonal (Hexagonal Tactile Field), 2014Tactile elements made of polyester124 x 0,5 x 125 cm Untitled (bollards), 201450 objects made of plaster and steel installed on the wallVariable dimensions <img width="2362" height="1575" width_o="2362" height_o="1575" src_o="https://cortex.persona.co/t/original/i/467135ddf888bf6b19f47ece9ff310825bb45aa8cf44d0818a00898dab3dd576/GUSTAVO_FERRO_05.jpg" data-mid="1034975" border="0" data-scale="88"/> Untitled (bollards), 201450 objects made of plaster and steel installed on the wallInstallation view at Phosphorus, São Paulo, BrazilVariable dimensions <img width="2400" height="3600" width_o="2400" height_o="3600" src_o="https://cortex.persona.co/t/original/i/3690f7300391d5fcff7304331302636771aa017eadcbc3fa5210b98924bc1367/GUSTAVO_FERRO_06.jpg" data-mid="1034979" border="0" data-scale="88"/> Parede Tátil (Tactile Wall),2013Public sculpture in a park in Itajai, BrazilCement, brick, tactile flags, resin and pigment310 x 30 x 200 cm <img width="3648" height="2736" width_o="3648" height_o="2736" src_o="https://cortex.persona.co/t/original/i/519d0b536d70771311e035c3cc39e273571e2b53eacfe2cd1e5d317c7330a7c6/GUSTAVO_FERRO_04.JPG" data-mid="1034984" border="0" data-scale="88"/> Bloco Tátil (Tactile Block), 2013Intervention using found block of concrete on the pavement in Salvador, BrazilTactile flags over block of concrete, cement, resin and pigment160 x 60 x 90 cm <img width="2000" height="1195" width_o="2000" height_o="1195" src_o="https://cortex.persona.co/t/original/i/93fd66b36cb8e660b51edfb095bf08c166edcf112ac3fbccff78e691ce657add/GUSTAVO_FERRO_03.jpg" data-mid="1034974" border="0" data-scale="88"/> Módulos Táteis (Tactile Modules),&nbsp; 2012 / 2013 Intervention in a public square in São Paulo, BrazilTactile flags, cement, resin and pigmentVariable dimension 26 x 26 x 26 cm each <img width="3648" height="2736" width_o="3648" height_o="2736" src_o="https://cortex.persona.co/t/original/i/3ba38e8dd9c032ed3c7e94628e845e2fad2aeceec0b4af611cc0c98cac76adc6/GUSTAVO_FERRO_02.JPG" data-mid="1034980" border="0" data-scale="88"/>Untitled (urchin 2), 2012Intervention in abandoned building, São Paulo, BrazilWelded steel, aluminum and resin300 x 300 x 300 cm approx. <img width="3648" height="2736" width_o="3648" height_o="2736" src_o="https://cortex.persona.co/t/original/i/3a1860ad47de159c409f0bb33717b7d1aa03652fe98e0f1e2078c8ec5a94cab0/GUSTAVO_FERRO_08.JPG" data-mid="1034985" border="0" data-scale="88"/> Untitled (barriers), 2012Installation view at Paço das Artes, São Paulo, Brazil19 Crowd control barriers and handrailVariable dimensions <img width="5184" height="3456" width_o="5184" height_o="3456" src_o="https://cortex.persona.co/t/original/i/60f390b134664e25a1958e1644c78bd074b997c6cc825406f794c720b319efd9/GUSTAVO_FERRO_13.JPG" data-mid="1034977" border="0" data-scale="88"/> Actin-Out,&nbsp; 2011 / 2012 Performance and installation at Phosphorus, São Paulo, Brazil 400 x 400 cm <img width="1600" height="1370" width_o="1600" height_o="1370" src_o="https://cortex.persona.co/t/original/i/b40e05538dff29df0e8408aea3edccc74bc41504e39653f0e077a076677689f5/GUSTAVO_FERRO_07.jpg" data-mid="1034981" border="0" data-scale="88"/> Untitled (valla),&nbsp; 2010 Urban intervention in Barcelona, Spain Crowd control barrier and gate Variable dimensions <img width="2048" height="1536" width_o="2048" height_o="1536" src_o="https://cortex.persona.co/t/original/i/2a8baebe26abcd9d4cde436056d639eb372b85c4e4418ca6c1a004f9a649e392/GUSTAVO_FERRO_11.jpg" data-mid="1034983" border="0" data-scale="88"/> <img width="2832" height="2219" width_o="2832" height_o="2219" src_o="https://cortex.persona.co/t/original/i/ce903a9717052969ae398bbd673a59e86abb1c574cf3ba277248dccee37fc407/our3.gif" data-mid="1039331" border="0" data-scale="5"/>  Untitled (AS_BLP series), 2021 Left: Untitled (big one); steel chain, plastic cable tie, sand bag, concrete; 156 x 70 x 50 cm ; 2021 Right: Untitled... http://gustyferro.com/AS_BLP Wed, 09 Dec 2020 16:00:53 +0000 Gusty Ferro 392571  Installation view at Abingdon Studios, Blackpool, 2021 The making of Rockified&nbsp;Video by Sam Meredith 29/09/2021 Gustavo Ferro &amp; Sam Meredith, installation at Abingdon Studios Project Space &amp; Window Gallery, Blackpool Photos by Matt Wilkinson 01/07/2021Gustavo Ferro <img width="1000" height="1500" width_o="1000" height_o="1500" src_o="https://cortex.persona.co/t/original/i/ddcc3528544ba754db3b37ed2249c2cd4a26dbe4fc6bbdd8c28287f071f89a2a/IMG_4818.jpg" data-mid="1102902" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/f1a509b234d7b35c900217f28486051549a1f09583f436f0c7c97bf1db41cffe/IMG_4806.JPG" data-mid="1101822" border="0" /> <img width="1000" height="1500" width_o="1000" height_o="1500" src_o="https://cortex.persona.co/t/original/i/df3fff0520e14a5a34c14be41f6ce98267d1556138cd8bec31d626c420587a39/IMG_4815.jpg" data-mid="1102896" border="0" /><img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/e3f7440be4a5982eff6cd7d8cb2673d844183908efd3fdf257e251bd3b72d4a1/IMG_4650-2.jpg" data-mid="1102905" border="0" /><img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/da54e0f029577479a643f2b9a526dcede222b69e7557fbb3a84e82ecfd50875c/IMG_4764.jpg" data-mid="1102899" border="0" /><img width="1000" height="1500" width_o="1000" height_o="1500" src_o="https://cortex.persona.co/t/original/i/b3183ab35481566c70057dee81916b7daf21921415cbef486aea32b68e1a8b7c/IMG_4674.jpg" data-mid="1102889" border="0" /> <img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/f790cd1b20a08e424536d8a55ba7f0d389919bc0510b0ca7ea671cb318f9f349/IMG_4759.jpg" data-mid="1102913" border="0" /><img width="1000" height="1500" width_o="1000" height_o="1500" src_o="https://cortex.persona.co/t/original/i/31271f329089b374546b69a288f0ea4929f1970dd4f3761f27179e4361d67fb8/IMG_4652.jpg" data-mid="1102891" border="0" /> <img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/6fcc90d9b694d675694227218dea3d4e391b69a6a6a64eb275ea525f0d1d9b8e/IMG_4822.jpg" data-mid="1102906" border="0" /><img width="1000" height="1500" width_o="1000" height_o="1500" src_o="https://cortex.persona.co/t/original/i/8acc233dd03e14446ff8659f1ca37b3ae2bbab51c9d773b340bb8d17fb5d938c/IMG_4655-2.jpg" data-mid="1102897" border="0" /><img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/437f9068b7d4def2ddbbd24acd405dd3cb2fd345db5f932b4d379d47a6d325b5/IMG_4807.jpg" data-mid="1102908" border="0" /><img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/bf0fce945e9a39608648c914598bc301bb7674ada4c0cdcc7a7881885a47805c/IMG_4795.jpg" data-mid="1102909" border="0" /><img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/b6aec0ddae7672726cf302ab1d4ee3bebf128c62c5bbd81712eee1bfd8a570a2/IMG_4668.JPG" data-mid="1101814" border="0" /> <img width="1000" height="1500" width_o="1000" height_o="1500" src_o="https://cortex.persona.co/t/original/i/2d0085820273389a1684b90be3f9d175a68ebba65f7f3893835fb6d4faa5b13d/IMG_4819.jpg" data-mid="1102904" border="0" /><img width="1000" height="1500" width_o="1000" height_o="1500" src_o="https://cortex.persona.co/t/original/i/975524169d4bc21cde3661812677d7a24093a9defb6b100a974a4e71e4b271bd/IMG_4814.jpg" data-mid="1102901" border="0" /><img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/d4365b48e5fccf6571027c73f416b0d351b3f55d2bb9a4823202a41ddf8382a8/IMG_4671.jpg" data-mid="1102903" border="0" /> <img width="1000" height="1500" width_o="1000" height_o="1500" src_o="https://cortex.persona.co/t/original/i/ddcc3528544ba754db3b37ed2249c2cd4a26dbe4fc6bbdd8c28287f071f89a2a/IMG_4818.jpg" data-mid="1102902" border="0" /><img width="1000" height="1500" width_o="1000" height_o="1500" src_o="https://cortex.persona.co/t/original/i/afcbfad8fc78dfdf64018440648648fbc886a41e0c91768223072f87684c52b5/IMG_4820.jpg" data-mid="1102893" border="0" /> Sam Meredith <img width="3648" height="5472" width_o="3648" height_o="5472" src_o="https://cortex.persona.co/t/original/i/40a1dc14249b7fb391330bd91d6a33b2f954daa31bb27ef559eb15470bc5fdd0/IMG_4813.JPG" data-mid="1107876" border="0" /><img width="3648" height="5472" width_o="3648" height_o="5472" src_o="https://cortex.persona.co/t/original/i/27acae5bc00f9549deac4771a181719bd152346ac7b5fb24ee8723ca7076c3ba/IMG_4824.JPG" data-mid="1107870" border="0" /><img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/ea63b6e9639144e42e8366ca5d80bcca7ebe6b7912b211ca8b405a72f0b8b871/IMG_4761.JPG" data-mid="1107875" border="0" /> <img width="3648" height="5472" width_o="3648" height_o="5472" src_o="https://cortex.persona.co/t/original/i/5254b0549abe12215567a4ca649c9807bc0364d574348816ce1ab31aa61653fb/IMG_4812.JPG" data-mid="1107878" border="0" /><img width="3648" height="5472" width_o="3648" height_o="5472" src_o="https://cortex.persona.co/t/original/i/314478e3230b9cc9797287ea9b32040006ff6571990a6ed8b7cc25e00be13465/IMG_4823.JPG" data-mid="1107883" border="0" /> <img width="5472" height="3648" width_o="5472" height_o="3648" src_o="https://cortex.persona.co/t/original/i/7e1c28741b8982e1dda3872a01d19e49a163b66c38051958ae6a5751ce7c57b8/IMG_4640.JPG" data-mid="1107868" border="0" /> <img width="3648" height="5472" width_o="3648" height_o="5472" src_o="https://cortex.persona.co/t/original/i/5fd70b9b8b19d20cb0f49e36c0d1cf5920ff93ef7d4b0094e03a0b879788c0eb/IMG_4811.JPG" data-mid="1107884" border="0" /><img width="3648" height="5472" width_o="3648" height_o="5472" src_o="https://cortex.persona.co/t/original/i/90b07f7f9c4ad1b3754b95803313333644d3c8dba7596b5ccfbe6b56d1df14c3/IMG_4809.JPG" data-mid="1107871" border="0" /> ROCKIFIED - Gustavo Ferro in collaboration with Sam Meredith 10/06/2021 <img src="https://lh3.googleusercontent.com/7XUsc7qLx_2Jm-HG3M7qCFP_8kXx2fgenK-yrJ3zRpHvn9NKa9hBcTCGDW617L_zUs1Mn1dNk3DuwMjkBna428dSmAInzmjsT1mUbiz86ppTsj-ySXFWweEyovQJkAf-bz25YAVx" width="602" height="600" style="width: 602px; height: 600px;"> Gustavo Ferro (b.1988) is a visual artist based between Brazil and the United Kingdom. He is interested in the urban environment and the relationship between the human body and man-made objects. His approach to materials is experimental, working across different media such as sculpture, drawing, video and photography.&nbsp; Gustavo and Sam first met as part of the School of the Damned Cohort in 2018. During this time they began a conversation surrounding the materiality of objects and the process of making sculptures, travelling from city to city in the UK and engaging with each other by exploring their practices within different contexts.&nbsp; Gustavo’s recent work comes from an investigation into artificial landscapes built with pulhamite, a material that resembles natural rock created by Pulham &amp; Son and used to ‘rockify’ the cliffs in the North Shore of Blackpool in 1923. Since Gustavo began to research and regularly visit these sites in person, a collaboration with Sam began remotely, developing homemade recipes and mix designs to try and simulate this material. Sam Meredith (b.1991) is a visual artist based in London. Sam’s work arrives through the process of construction, unpicking objects he encounters by making moulds and casting multiples, then slowly assembling them into new hybrids. Sam enjoys documenting the pre-life of his sculptures, filming videos to elaborate on the experience of them being made. Abingdon Studios Project Space and Window Gallery* will act as a laboratory and workshop, allowing for the experimentation with glass fibre reinforced concrete to continue to unravel, exploring possibilities of working together through creating a site responsive installation. For both artists tactility is important, their work is a collaboration with materials that demands kinship and presence, acknowledging the waste, sweat, labour, and love that goes into creation. This project is supported using public funding by the National Lottery through Arts Council England with additional support from Abingdon Studios. *The Window Gallery is a new partnership between Abingdon Studios and Blackpool Council as an iteration of a former Culture Shops Project (est. 2013/14). With thanks to Heritage Action Zone funding. Publication Sign Up - PRE ORDER NOW FOR FREE 12/05/2021 To see the publication&nbsp; web version click here The first 100 subscriptions will receive a limited edition printed publication for free (shipped to the UK only).&nbsp;This project is supported using public funding by the National Lottery through Arts Council England LoadiAS_BLP Drawings Series (oil on paper, A3 &amp; A2), 202015/02/2021 <img width="4288" height="2848" width_o="4288" height_o="2848" src_o="https://cortex.persona.co/t/original/i/3e4151f890bebeddbb15674bc3bcd64cd6d0c9154c0a44822367fd1b3fc17e9a/GUSTAVO_FERRO_NWDC_02.JPG" data-mid="1052972" border="0" data-scale="60"/> <img width="3864" height="2632" width_o="3864" height_o="2632" src_o="https://cortex.persona.co/t/original/i/1c539f4c6022b6aecad336acedd9ca74bf16ec7803622b4455646e2f9625fd69/GUSTAVO_FERRO_NWDC_01.JPG" data-mid="1052971" border="0" data-scale="60"/><img width="4288" height="2848" width_o="4288" height_o="2848" src_o="https://cortex.persona.co/t/original/i/f18ee108e551d24373b95b3fd1a35f278444b06e72ba2ed4172b98f0def8eed1/20.JPG" data-mid="1052973" border="0" data-scale="60"/> Location of a few Pulham sites in North West England10/01/2021 Title of the document .comment { width: 40%; height: 100px; padding: 10px; background-color: #d0e2bc; } Pulham sites in Lancashire: Rivington Terraced Gardens, Bolton 05/01/2021 <img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/c64b62557fa9364ea64fd8efaf7eeb75e5e6313c8fe623e70da7ffaa5d29a551/20210102_144242.1.jpg" data-mid="1032868" border="0" data-scale="60"/> <img width="3468" height="4624" width_o="3468" height_o="4624" src_o="https://cortex.persona.co/t/original/i/9a84b74e8ec76c838471fde177f4842ec773bdfdc7bbda05aeda729caea7832d/20210102_142821.1.jpg" data-mid="1032864" border="0" data-scale="60"/> <img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/3c8e062602a7533ae3d455229ac0ec8304f22b060fa258e0d68fa119d368acb3/20210102_143856.1.jpg" data-mid="1032866" border="0" data-scale="60"/><img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/fd9add94bbd72eb554c2a04e74091c7a2f69d8f21361179b507c353cef45c014/20210102_143332.1.jpg" data-mid="1032867" border="0" data-scale="60"/>Pulham sites in Lancashire: public parks in Preston 22/12/2020 Avenham &amp; Miller Park, Preston <img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/d5ad6aa80b7d9d63c70f8863a522e3a168b72b3b1f4ef8af5e0e913233cac3f2/20201212_145111.jpg" data-mid="1027539" border="0" data-scale="60"/><img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/94de586149ae34b3b50a90fe2d431f8439db6485ed5b452ff16c5dffa9065e1a/20201212_143104.jpg" data-mid="1027553" border="0" data-scale="60"/><img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/bc5ef66e477ce3fd95b11d7e08d1864be9c6062d15db2fe4106f95b560e07044/20201212_145051.jpg" data-mid="1027541" border="0" data-scale="60"/><img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/545d1881ca87c75feb2de45905614b7863364161da0a8e30f90add894b6b4267/20201212_145020.jpg" data-mid="1027540" border="0" data-scale="60"/><img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/1d9eac4ca4893ba530637cd454fc40a0e8a3ceb2d2d34023bf63aa1987d4bd11/20201212_141227.jpg" data-mid="1027552" border="0" data-scale="60"/><img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/0813ec23a3d6c8449d3ed6e751b799e914b2f8646dd5a5cd3d13e2b1d75b5c20/20201212_140834.jpg" data-mid="1027554" border="0" data-scale="60"/><img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/68400aee8e35f227a74e3509dfd27bce34869e9c598ad1844bbaad06006ae9a2/20201212_140858.jpg" data-mid="1027556" border="0" data-scale="60"/><img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/8e4c45ad5b3ae95489032be959024b1a0ab580b1e232a7b1d41418d3afbf79e9/20201212_151616.jpg" data-mid="1027555" border="0" data-scale="60"/> Haslam Park, Preston<img width="6936" height="9248" width_o="6936" height_o="9248" src_o="https://cortex.persona.co/t/original/i/d58d1eecaf280dcb0adf0dc844418003f6f4f2d443bff5ef289a8df026758068/20201206_123430.1.jpg" data-mid="1027609" border="0" data-scale="60"/><img width="6936" height="9248" width_o="6936" height_o="9248" src_o="https://cortex.persona.co/t/original/i/5ef14f4a8fbe17b4c35dddb35155e9bde01d7958370532516b2b9c67a472810e/20201206_124644.1.jpg" data-mid="1027598" border="0" data-scale="60"/> <img width="9248" height="6936" width_o="9248" height_o="6936" src_o="https://cortex.persona.co/t/original/i/6795bfde9a62a03d59f0e9b901c7d2173a0f1e4380555555b9ca0cfa9f8ee33b/20201206_124222.1.jpg" data-mid="1027597" border="0" data-scale="60"/><img width="9248" height="6936" width_o="9248" height_o="6936" src_o="https://cortex.persona.co/t/original/i/19addc8bf1a9a58b4c2312769b03506ceee9ee507cd0a74b51d0452f1836c988/20201206_123624.1.jpg" data-mid="1027594" border="0" data-scale="60"/> Moor Park, Preston<img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/b89a79b6ed1719e4af0c2b8e668d85ee76ff01a9e7430a7d8d7cc2a5a0e27ac4/20201206_140528.1.jpg" data-mid="1027618" border="0" data-scale="60"/><img width="3456" height="3456" width_o="3456" height_o="3456" src_o="https://cortex.persona.co/t/original/i/769cc40515ad851b1811d7f8c82d37f390d776eeb5d9281c02c394a3108effdc/20201206_140706.1.jpg" data-mid="1027619" border="0" data-scale="60"/> <img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/8a5be5ba2f01c324939856236e175d142984a2a96cd7d6f16fbd086d70bf4c90/20201206_134624.1.jpg" data-mid="1027617" border="0" data-scale="60"/><img width="9248" height="6936" width_o="9248" height_o="6936" src_o="https://cortex.persona.co/t/original/i/655ac6e857eb5809a635d5d2c16c0b657e4f0bcbf0380a658b494189a1cac33e/20201206_134539.1.jpg" data-mid="1027620" border="0" data-scale="60"/><img width="4624" height="3468" width_o="4624" height_o="3468" src_o="https://cortex.persona.co/t/original/i/e9c2dcdb8025c69ec65fd6fc114352a62778b5f12f1db23f9851dacb905109ac/20201206_134446.1.jpg" data-mid="1027621" border="0" data-scale="60"/>Pulham sites in the North West of England 10/12/2020 This month I started to develop a project supported by the Arts Council England, taking place in Abingdon Studios, Blackpool. At the moment I am researching about the Pulham Legacy and visiting Pulham sites in the North West of England. In this post I would like to tell you how I got to know Pulham &amp; Son's remarkable design and architectural work and to share some images and footage from the Coastal Cliff Park, along the North Shore of Blackpool. It was the end of summer and I was cycling along the promenade and passed through this area known as ‘the cliffs’ in the North Shore of Blackpool, and I was amazed with this monumental mass of artificial rock dominating the view. I immediately thought about Phillyda Barlow's artwork, especially a sculpture I had seen a few years ago at Jupiter Artland in Scotland (click here). She created a kind of monolith using industrial materials, copying the shape of blocks of slate - an ambiguous sculpture that plays with our notions about natural and artificial landscape. What amuses me about the cliffs is that it’s a manmade object, a product of labor and skilled craftsmanship that resembles nature in a very particular way, installed permanently in public space to become part of the landscape. I noticed because of the wear and tear and lack of maintenance, cracks, scraps and other layers of material are visible underneath the surface; and some edges that collapsed were repaired with a different material, changing its original qualities. Also a few pathways throughout the cliffs that linked the lower part of the promenade to the top bit were closed, presumably for health and safety reasons and are now dead end zones. Upon further research I discovered that the artificial rocks were made with a mixture of materials called pulhamite, created by the firm Pulham &amp; Son and subsequently used to rockify the North Cliffs in 1922-23. I also discovered that during the Victorian and Edwardian era, the company was commissioned to develop around 170 projects in the United Kingdom, including rock gardens, grottos, waterfalls, statues, other architectural ornaments and landscapes spread all around the country. Recently I visited other Pulham sites in the North West. In the next post I will be sharing my impressions about what I found in those places. More information about Pulham Legancy can be found in the website:&nbsp;https://pulham.org.uk/. <img width="4000" height="3000" width_o="4000" height_o="3000" src_o="https://cortex.persona.co/t/original/i/855d51528df4eef15cd00aab1df3bcc57349851a6e72fa99058232473461541d/DJI_0020---Copy.JPG" data-mid="1022004" border="0" data-scale="60"/><img width="2835" height="2126" width_o="2835" height_o="2126" src_o="https://cortex.persona.co/t/original/i/c3a360d7e6c4956175b7ec419f32b6ed0bcb08e16c05bd405de435bdbfddfe9b/20200820_184629.1.jpg" data-mid="1022006" border="0" data-scale="60"/> <img width="1191" height="320" width_o="1191" height_o="320" src_o="https://cortex.persona.co/t/original/i/9b67d95febe26b3fdc38a5931d58e170646679d53db08a9d0055beaef25e2225/lottery_Logo_Black-RGB.jpg" data-mid="1021828" border="0" data-scale="37"/> <img width="2832" height="2219" width_o="2832" height_o="2219" src_o="https://cortex.persona.co/t/original/i/a557440faa6231cc9bc4d9081f00750d02b9c5e6095f488123a342e68092a80f/our3.gif" data-mid="1039840" border="0" data-scale="6"/>  Installation view at Abingdon Studios, Blackpool, 2021 The making of Rockified&nbsp;Video by Sam Meredith 29/09/2021 Gustavo Ferro &amp; Sam... http://gustyferro.com/Untitled-flag Mon, 19 Oct 2020 12:55:22 +0000 Gusty Ferro 387748  Untitled (flag), 2020Work developed for the project Four Flags hosted by Galeria Jaqueline Martins, São Paulo. <img width="5906" height="3937" width_o="5906" height_o="3937" src_o="https://cortex.persona.co/t/original/i/5c1430baae0250112f6f2620b79f5cef4d4af69370281c2dead2dfb7c1c69d82/4flags7.1_baixa.jpg" data-mid="995982" border="0" data-scale="65"/><img width="1160" height="1593" width_o="1160" height_o="1593" src_o="https://cortex.persona.co/t/original/i/57f9c66c3d4f21a344d3ffaba4dd84e5045a1d6f235e590e2b10e09676aa2eee/four-flags.jpg" data-mid="995983" border="0" data-scale="65"/> <img width="2832" height="2219" width_o="2832" height_o="2219" src_o="https://cortex.persona.co/t/original/i/1b7447784bdedd9f9fc4893ab9ce4b465ea808ab0c87b4c9747e3d31118656d6/our3.gif" data-mid="1039327" border="0" data-scale="5"/>  Untitled (flag), 2020Work developed for the project Four Flags hosted by Galeria Jaqueline Martins, São Paulo. http://gustyferro.com/snow Thu, 28 May 2020 16:20:56 +0000 Gusty Ferro 369176  Intervenção com spray sobre neve (graffiti on snow), 2011Intervention at Hyde Park, London Print 91,5 x 122 cm <img width="1200" height="900" width_o="1200" height_o="900" src_o="https://cortex.persona.co/t/original/i/2abb94f42131f751f2ae9dc2433c5b26ceca8de0980a20020fa65b0cc938f934/IMG_0861baixa1.jpg" data-mid="930429" border="0" /><img width="1200" height="900" width_o="1200" height_o="900" src_o="https://cortex.persona.co/t/original/i/cc74e6312e33d9c4ca29d67015f62c10c23c87e913f12a66e440da8612d98871/IMG_0870.baixa3.jpg" data-mid="930430" border="0" /><img width="1200" height="900" width_o="1200" height_o="900" src_o="https://cortex.persona.co/t/original/i/cc74e6312e33d9c4ca29d67015f62c10c23c87e913f12a66e440da8612d98871/IMG_0862-baixa2.jpg" data-mid="930431" border="0" /> <img width="2832" height="2219" width_o="2832" height_o="2219" src_o="https://cortex.persona.co/t/original/i/b4b18ed66d4faf480bc3d0663860f77fc1b0215174b844e2f1fee62a2a90eb04/our3.gif" data-mid="930438" border="0" data-scale="5"/>  Intervenção com spray sobre neve (graffiti on snow), 2011Intervention at Hyde Park, London Print 91,5 x 122 cm http://gustyferro.com/text-germano Sun, 12 Apr 2020 00:31:41 +0000 Gusty Ferro 362759  Ground Controlby Germano Dushá What voice have the barriers, the flowerbeds, sidewalks and railings that surround us? How can a hack seen in any corner move us? What forces addresses us as we walk through the city? The work of Gustavo Ferro at all times shakes the understandings we have of these issues. Beyond what we can see with a conditioned look, or enunciate with known references, the artist seeks to formulate unusual propositions from ordinary objects and phenomena, reconfiguring the dynamics of what we perceive.As the title "Ground Control" indicates, this exhibition leans over the efforts of building and surveillance of the public space. Developed as of research and experience in large metropolitan areas in Europe and South America, it brings together drives, flexes and juxtapositions that play with the effects - physical and psychological - that bricks, concrete and irons produces in the urban tissue. It scrutinizes the nature of these forces aimed to ensure security and isolation; and tensions the limit of contact possibilities that we can engage with these vectors.In the video "Untitled (bus)", recorded during an artist residency in Quito, Ecuador, we watch a scene whose absurdity is absorbed by the flow of common activities. It is about the passage of some buses that, when taking a right in a narrow street (next to where the artist was hosted), fastidiously comes over the sidewalk - already deformed, as if modified to allow the crowded machines to proceed. After leading us in the situation from every angle – in a raw and direct manner, a mixture of distress and mood - the artist intervenes with a stone that blocks the way. The metaphor is placed at the service of compelling practical implications, which frustrates the expectation and demand a reaction from those who sees it. In response to the obstruction, a person comes down, takes the rock and places it across the street. Soon the vehicle sneaks up and follows its route. There is no apparent inquiries or major concerns. For those watching, however, the problems involving an anaesthetized sensitive tissue is underlined, as well as the improvisations and indifference characteristic to certain regions marked by confusion and precariousness.In the series "Multiverse", which combines techniques of drawing and printmaking, Gustavo uses a procedure divided into phases. First, he catalogs, by photography, several obstacles encountered in the urban setting. Later he selects certain objects to be drawn with dry pastel and charcoal. Next, he begins a process of transference among the papers, creating consecutive monotypes that overlap the reunited figures. The result is a vibration of bodies accelerated by a speed that produces and disassembles, in a composition that never completes itself before the viewer. We witness a chaotic mass; and lose notions of scale and function to assign new meanings to the attempts to regulate and shape the city uses.In another work, produced with the help of collaborators in sawmills, the artist wholly manufactures a containment barrier module in order to sculpt it in an odd layout. By appropriating a known form with the purpose of corrupting it, he creates a configuration that is born under the sign of incorrectness. It highlights, thus, the conflict of resolutions impregnated in our social imaginary and the vigor of gestures that risk to transform original meanings. In this case, the anomaly may also be understood as an objection to the very violence represented by the initial object - always used to curtail and prevent. There remains a tool - usual but never familiar - in a condition that nullifies its customary use to dispose of an unprecedented way.Finally, near the entry door of the building that hosts the show, there is a "picket" wheelbarrow - name given by the artist to small structures made in a homemade manner to fulfill tasks of marking, fencing or interdiction. Since 2012, Gustavo collects them based on a standard guided by the size and the cylindrical base. In finding one of these helpless street furnishings, he subtracts it. When there is a declared owner or guardian, he engages them in dialogue and proposes an exchange, offering a new item with the same characteristics as the previous one, so he may take it away with him. If positive, he later returns to the site to replace it. Here, the material serves as a record of an ongoing project, and index of future occurrences of trade and displacement. Likewise, it brings out the repertoire of a spontaneous visual language that permeates the informal arrangements scattered in the streets.As a critical tool for thinking about the role of these control elements that guide our behavior, each work presents different provisions of commonly known experiments. By examining the intentions of repression that we impose and to which we are submitted on a daily basis, they propose other relations with what is programmed to keep apart without in fact being noticed. In this sense, what is visible to us is changed; the organization of our affections is reprogrammed; a time that is not the busy everyday is suggested; the place of the other and the intricacies of how to recognize, architect and record the space that surrounds us collectively is rethought .(Text written for the exhibition Ground Control at Sé Gallery, São Paulo, 2016) <img width="2832" height="2219" width_o="2832" height_o="2219" src_o="https://cortex.persona.co/t/original/i/7a45a15c5d51ed028886048e57a6f4e5e2c1ff6ef56ac9b366dfccf950e4de9f/our3.gif" data-mid="907837" border="0" data-scale="5"/>  Ground Controlby Germano Dushá What voice have the barriers, the flowerbeds, sidewalks and railings that surround us? How can a hack seen in any corner move... http://gustyferro.com/text-Rosie Sat, 11 Apr 2020 23:17:56 +0000 Gusty Ferro 362756  When I Have Finished Here I Will Speed Back Up Again by Rosanna Van Mierlo On one of those rare British summer days that hit suddenly and unexpectedly, LoveCamden finds itself on a rooftop terrace in Peckam. Surrounded by plants and the faint sounds of the city we are here to talk to artists Flora Parrott and Gustavo Ferro, whose exhibition "When I Have Finished Here I Will Speed Back Up Again" opens this Tuesday as part of the 2016 Camden Sentido Program. Conceived as a collaborative project between UK based Parrott and Brazil born Ferro, "When I..." is an exchange of cultures, minds and thoughts, an exploration of conjuction and disconnection, times and spaces. How do you make an art work about movement? How do you connect with someone on the other side of the world, how do you participate, how do you share your experiences? How do you connect to what isn’t physically there? How does the physical and highly personal experience of a moving, affected body translate into art? Which exchanges&nbsp;take place, both in the urban as in the exhibition space? Intimacy &amp; Presence Although their walks were conducted independently, the artists both described their experience as profoundly intimate. It was much more about the invisible presence that the other signified than about the obvious distance between them, a presence conceived through the use of Whatsapp Messenger. By sending each other short, disembodied messages throughout the course of their wanderings a certain lifeline was established: a frail yet distinct sign of life, like a trailing thread or a distant voice. I am – still - here. The mobile phone is an object of contradiction, the embodiment pur sang of a society in conflict with itself: effecting both closeness and distance, making us eternally available and forever busy. Yet, the phone is also an instrument of choice, says Parrott. We can choose to pick up, choose to listen, but at the same time it enables us to walk around in our own private, highly personalized, temporality bubbles, brushing past each other unnoticed. We are connected but distant. When walking around a London cemetery, Parrott says she suddenly understood the ways in which you can be close to someone who is not actually physically there; how your imagination fills in the blanks and your desire for intimacy becomes something that can transcend physicality. The desire for a loved one, the gut-wrenching melancholy that comes with losing the ability to touch another, enables us to partake in an imaginary conversation – we pick up a glass of wine and spend time there, amongst the dead and nearly forgotten, we sit there talking back at our own memories, hopes and dreams, as if someone can still hear us. Parrott remembers taking a picture of this: a glass of wine left standing on a gravestone, an ordinary object of loneliness and desire. At the same time, she reiterates how this lonely imaginary enables us to look at the world differently; the force of intimacy, the need to share an experience with someone else, made her look at the city in a new way, picking up on sights and things she would normally not have noticed or would not have cared much about. Learning To Lose Time &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; The graveyard is a place of quiet, a site where the world slows down, if only for a stolen moment. It signifies the ways in which the urban landscape is made up of different rhythms, how lives unfold at different speeds. This ‘movement’ lies at the core of Parrott and Ferro’s project; the ways in which the rhythm of the city becomes a ‘backdrop of thought’. Ferro retells the story of George Perec watching the busses of Paris go by, waiting, feeling time run through him. Or the man he met on the streets of Sao Paolo, who walked every day – towards a public place, a library or town hall, it didn’t matter. He just walked. In a similar way, Parrott and Ferro’s project is less about achieving some spectacular insight or discovering some hidden urban gem. This is not an adventure story in which a trophy concludes the end of the search. Instead, the artists describe the project much more as a daily artistic practice, a disciplined exercise, not a one time performance. Referring to the works of Hamish Faulton, they emphasize the importance of teaching people how to ‘lose time’ and walk around without an agenda. The Black Void At times the artists found themselves ‘out of touch’ when their signal got disrupted, batteries ran out or incidents happened. These moments, described by Parrott as the emergence of a ‘the black hole’ were like a form of radio silence in which feelings of connection, loneliness and desire suddenly became urgent. The black hole is an interesting figure: it is both something and nothing at all. It is an absence that is undeniably affective. It is a presence that is not a presence, the interruption of flow. The black hole is an inversion of what is logically to be expected. It is the soul of the city: in it we dissapear. We become part of the big murmur that is the voice of the metropole: the sound of taxi engines, toilets flushing, the cough of an upstairs neighbour. Most uncannily, the black hole is the figure of the underground, in which we have no reception, in which we drop off the grid for a short period of time. However, these 'voids' the tunnels of public transport that run underneath the city have as their main function to connect peoples and places, and as such, the black can also be seen as a neccesary state of connection. As a narrative, the black hole as an entity of disruption/connection is a looming presence throughout the project. It is a disruption, a reshuffling of reality. It is restriction, radio silence, confusion and diversion. It is the painstaking period of waiting until the blue tick on whatsapp signals that your message has been received, the waiting time between question and answer. It is batteries running out. It is an instance in which you are stopped, physically, by something and all of a sudden you find yourself existing in two different ‘spaces’ or two different times at once. From time to time, odd similarities kept popping up in the artists’ collaboration, suddenly breaking down the boundaries places upon them by geographical laws. Their experiences became strangely symmetrical. The horizontal bodies of two lovers kissing on the marble benches of Sao Paolo’s library almost shockingly brought Parrott back to the marble clock in the graveyard, and the distant ring of a lover’s murmur embodied in the glass of wine. Disruption inherently comes with reconnection. You get a message back, or find a new path. In the dark, a connection is always established. This generative force of the blackness can be felt in Ferro’s video of the air vents on the markets of Sao Paolo, where people dry their wet clothes. These vents are also connected to mysterious dark tunnels; they remind us of the dark London underground in which Parrott describes travelling. Who is to say where they lead? On the streets of Sao Paolo, the clothes suddenly bellow as if filled with life. <img width="2832" height="2219" width_o="2832" height_o="2219" src_o="https://cortex.persona.co/t/original/i/1e03e793434ce0bd9727307d9e7f260f9a6283451cdb2a4e1a26e2acbb29d3c9/our3.gif" data-mid="907836" border="0" data-scale="5"/>  When I Have Finished Here I Will Speed Back Up Again by Rosanna Van Mierlo On one of those rare British summer days that hit suddenly and unexpectedly,...