José Ferrero

José Ferrero

BIOGRAPHY

Self-taught, Ferrero began photography in 1982. In recent years his teaching work has been fundamental to his practice.  Currently he teaches at the School of Art of Asturias, Avilés. Since his first individual exhibition in 1985, he has exhibited internationally in individual and group exhibits;  Milan, Brescia, Paris, Liège, Mérida (Mexico), Rennes, Eindhoven, Köln, the University of Wisconsin Eau Claire. He has also exhibited in various institutional spaces and national galleries.  Permanent Collection has travelled extensively, to the Utopia Parkway Gallery (Madrid, 2007),  Serpente Gallery (Oporto, 2008), Pamplona Citadel (Pamplona, ​​2009/10), Fallery Valid Foto  (Barcelona, ​​2011), LAUDEO University Extension Cultural Center (Oviedo, 2012) and the Barjola Museum (Gijón, 2014)) and to the ARCO International Contemporary Art Fair. 

 

More interested in investigation, suggestion and concealment than in representation, he understands photography not as a technique or an artistic modality but as authentic life experience. Subjectivity takes over his work in his willingness to express emotions when choosing a motif and  “constructing” in his imagination the images, the scraps of memory, which he then presents to us. Seduction and the mystery of the hidden, which is beyond the manifest, are essential ingredients in many of his series. Hence the halo of mystery that pervades much of his creations. This has a lot to do with the importance that Ferrero gives to light and shadow.

 

In the words of Marta Gili, “probably, one of the most remarkable merits of José Ferrero’s photographs is its ability to intensify our gaze. Although we admit that reality has many faces, our gaze tends to seek the version that requires the least effort and conforms to the appearance of things. Photography, for José Ferrero, is an instrument that allows him to enhance and expand his visual experience and by extension, his life experience. Because it is through what we see and how we see it, that we adjust in part of our behavior and our sensibility “.

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

62 x 62 cm (imagen 44 x 44 cm)

2015

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

62 x 62 cm (imagen 44 x 44 cm)

2016

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

62 x 62 cm (imagen 44 x 44 cm)

2015

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

62 x 62 cm (imagen 44 x 44 cm)

2016

S/T

Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

62 x 62 cm (imagen 44 x 44 cm)

2016

S/T

Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

62 x 62 cm (imagen 44 x 44 cm)

2015

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

62 x 62 cm (imagen 37 x 37 cm)

2015

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

62 x 62 cm (imagen 37 x 37 cm)

2016

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

62 x 62 cm (imagen 37 x 37 cm)

2009

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

30 x 30 cm (imagen 20 x 20 cm)

2016

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

30 x 30 cm (imagen 20 x 20 cm)

2016

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

30 x 30 cm (imagen 20 x 20 cm)

2016

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

30 x 30 cm (imagen 20 x 20 cm)

2016

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

30 x 30 cm (imagen 20 x 20 cm)

2016

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

30 x 30 cm (imagen 20 x 20 cm)

2016

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

30 x 30 cm (imagen 20 x 20 cm)

2016

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Papel cloro-bromuro. Virado al selenio

Fotografía argéntica

30 x 30 cm (imagen 20 x 20 cm)

2015