Autor: Ferraz | Publicado: 2016-06-20T19:58:00-07:00

O céu &nbsp;é o Limite&nbsp;


Usando mais de dois Milhões pregos&nbsp;de aço&nbsp;rígido&nbsp;para&nbsp;recriar &nbsp;algo tão&nbsp;frágil&nbsp;e cheia de curvas como o corpo&nbsp;humano&nbsp;não&nbsp;é&nbsp;tarefa das mais fáceis,&nbsp;mas&nbsp;artista FerrasFerraz consegue&nbsp;comunicar com ele sem&nbsp;tanto&nbsp;como&nbsp;um esboço.









Nascido em um cidade do interior da grande São Paulo , Ferraz Participou em programas de tv . E fez algumas apresentações &nbsp;de seu trabalho em exposições em São Paulo e Minas Gerais.














&nbsp;
Demorando&nbsp;entre vinte dias&nbsp;a 6 meses&nbsp;para&nbsp;concluir algumas&nbsp; de suas&nbsp;obras-primas&nbsp; ele usa&nbsp; entre&nbsp;15.000&nbsp;e&nbsp;mais&nbsp;de&nbsp;50.000 pregos dependendo&nbsp; da arte. 

Ao colocá-los&nbsp;em&nbsp;diversas alturas&nbsp;e&nbsp;distâncias, ele pode&nbsp;criar&nbsp;diferentes&nbsp;tons&nbsp;distintos e manipular&nbsp;a&nbsp;intensidade&nbsp;dos contornos.&nbsp;Ele domina&nbsp;várias técnicas,&nbsp;como&nbsp;ondulado&nbsp;a altura&nbsp;de um&nbsp;prego&nbsp;ou &nbsp;sua&nbsp;cabeça redonda,&nbsp;mas Ferraz admite&nbsp;que a luz&nbsp;tem&nbsp;um papel importante&nbsp;a desempenhar&nbsp;na&nbsp;sua arte,&nbsp;como&nbsp;"de sol&nbsp;a sol de&nbsp;manhã&nbsp;à noite&nbsp;as sombras&nbsp;entre&nbsp;as esculturas de&nbsp;mudar&nbsp;e&nbsp;afetar o&nbsp;contraste,&nbsp;e&nbsp;alterando&nbsp;a iluminação artificial, as esculturas&nbsp;podem&nbsp;aparecer&nbsp;leve como&nbsp;um&nbsp;desenho a lápis&nbsp;ou&nbsp;escuro como um&nbsp;desenho&nbsp;de carvão vegetal&nbsp;a vida."&nbsp;













&nbsp;Provavelmente&nbsp;a coisa mais impressionante&nbsp;sobre&nbsp;a arte deste artista Plástico brasileiro, é que&nbsp;ele&nbsp;não Desenha nada&nbsp;de antemão, a&nbsp;imagem&nbsp;é&nbsp;apenas&nbsp;em&nbsp;sua&nbsp;mão.&nbsp;Ele admite&nbsp;que&nbsp;depois de&nbsp;terminar&nbsp;uma&nbsp;peça, ele&nbsp;olha para&nbsp;ela&nbsp;e&nbsp;pergunta: "Agora&nbsp;como&nbsp;eu fiz&nbsp;isso?",&nbsp;mas lembra-se&nbsp;que,&nbsp;para&nbsp;fazer um&nbsp;começo&nbsp;você tem&nbsp;que&nbsp;dar um primeiro passo, então&nbsp;ele pega&nbsp;uma tela e um&nbsp;martelo e coloca um prego,&nbsp;em seguida,&nbsp;adiciona&nbsp;um outro,&nbsp;e outro,&nbsp;até que o&nbsp;trabalho&nbsp;começa&nbsp;a&nbsp;tomar forma. Neste&nbsp;ponto,&nbsp;ele&nbsp;já está&nbsp;em&nbsp;sua&nbsp;"zona" de conforto e não para pra&nbsp; pensar&nbsp;nisso,&nbsp;ele&nbsp;martela&nbsp;pregos, logo após&nbsp;prego.




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A
maioria&nbsp;das&nbsp;obras&nbsp;de Ferraz&nbsp; foca sobre o

corpo&nbsp;humano,&nbsp;uma&nbsp;escolha&nbsp;estranha,
considerando&nbsp;que
ele&nbsp;escolheu&nbsp;um&nbsp;meio&nbsp;rígido&nbsp;como&nbsp;os pregos de
aço&nbsp;para criar representações&nbsp;de
tais&nbsp;formas&nbsp;curvilíneas.&nbsp;O&nbsp;artista&nbsp;explica&nbsp;que&nbsp;após
o uso de&nbsp;pregos martelados&nbsp;para&nbsp;descrever&nbsp;formas&nbsp;abstratas,
percebeu que&nbsp;"a interação&nbsp;entre os
rígidos,&nbsp;hastes&nbsp;angulares&nbsp;e&nbsp;as curvas&nbsp;suaves&nbsp;do rosto
humano,&nbsp;seria&nbsp;fantástico impressionante."





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