Daily silence.

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The Installations of Ester Ferrando  put into practice the try of penetration of the work of art, one of the main principles of aesthetic contemplation. With a big sculpture trade Ferrando manipulates the third dimension to build an artistic space that involves the individual and converts it in the authentic main character, because her walk between the artistic elements is the real motor that creates the sense of her works. The reflexive look from an always relative position with the world generates the identity marks of the person and the places she occupies. In this case the withdrawal spaces cause an interrogation about the permanent character of existence from futile acts or gestures.

From 1999 all the Ferrando creations merge from this intimae interrogation about the identity of the human being and its fragility.

Her installations reproduce restricted places where the individual faces its body, its face or its

memory, in the middle of a protective emptiness more than anxious.

An often aseptic  space  of purifier reunion with itself.

The demarcations of these spaces of uterine reminiscences state, on the other hand, one of the remarkable aspects of her creation: the presence of the sound associated to her pieces from the first exhibition “Remors”

Isolation institutes the some limits from the afterlife and we can only receive some light murmurs. The disembodiment of these sounds underline the message suggested by Ferrando: the subtlety of the relation between the silent existence and the certain of an external world where we have to live.

In the piece “Dilució” ( honorific mention in Biennal d’Art de Tarragona 2003)for example, with the inverted perspective we ask ourselves from the outside over the sound source, hide behind the light barrier of the curtain, over the mystery of presence and absence, two principles totally linked.

“Every day something is lost by the shower drain” writes the author in her work notebook as a result(?) of the fight for balance between the ego, time and the others. It is through this notion of drain and dissolution ,produced even in the intimate space, symbolically  stated by oversized scrapyards that Ferrando avoids  cloistering inside this space of reflexion and that the daily silence of reunion with ourselves  becomes a renovation metamorphose. Because  not only the time and the external world drain, but the  human being that does not stop of shading of and reconstituting.

This change shapes up through the transformation of some usual objects that take new meanings inside this abstract universe naked, made of simple lines that reinforces at the same time the subject transcendence and the simplicity of its content.

What is more, according to the most primary aspect of her art, Ferrando often sculpts unique pieces integrated into the whole installation as a metaphor of her activity: bring creation to the centre of life  to modify or to stand out the aspects that she are interested in the most.

It is like this that Ferrando introduces the concept in the matter: Sculptor by trade.

The peculiarity of her artistic language where abstraction and daily routines are articulated reveals with a minimal aesthetic list the value of the small unnoticed gestures that arouse astonishment in front of life polymorphism.

 

Raül David Martínez