Chronological
Mutations

Antrophozoomorphic
symbiosis

Human

Fauna

2016 - 2018

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