I am a descendant of European immigrants −most of them Spaniards− who converged in Mexico City, where I was born in 1948 and currently live. I am Mexican. My name Ferreiro literally means blacksmith, which may well have been genetically determinant to my vocation.
In my childhood I traveled extensively throughout my country, developing a fondness for my culture, syncretism of the Prehispanic, rich in massive and rough sculpture as well as the Colonial (eclecticism of Celtic, Roman, Arab and Baroque) full of figures and symbols sculpted in every possible material. Mexico is a land of sculptures and sculptors. In that same period −-previous to the media invasion− I also traveled most of the United States and Canada, getting acquainted in person with the most advanced civilization generated from a vast multicultural heritage. That great contrast awakened my curiosity and enjoyment for the ancient as well as the contemporary. As an adult, I broadened my limits to South America and Europe, widening my perspective and consolidating my preferences. In addition to several places of my country, I am particularly fond of Buenos Aires, San Francisco −where I lived and worked for a time-, New York, Quebec, Paris, Florence, St Petersburg, Seville and the small Mediterranean towns.
As for my studies, most of them were interrupted due to financial difficulties or disagreement with the traditional academic methods, but I always had the conviction that constant study and work are indispensable. Thus, I became a demanding and disciplined self-educated person.
Though I wanted to be an industrial designer, for economic reasons I improvised as a graphic designer for more than 30 years. During that period, in my spare time I worked in object design and sculpture projects for my sole satisfaction. Simultaneously, wherever I was at the time, I regularly visited museums and galleries; and something very important: listened to music constantly. Nostalgia for the creation of every-day utensils, passion for geometry and art, knowledge of symbols, and the arduously obtained ability to handle all kinds of materials and techniques induced me to decide in the early 90´s to embrace my current profession.
Such is my background: Study and work, travel, museums and galleries, scientific and technological curiosity and multiple visual arts and musical influences. From Rodin and Tai Chi practice I learned that slow is not only a tempo, but also a mode to synchronize mind and body with the soul, so things are done pondered −I insist on developing my work in such way. I greatly appreciate the artwork of Leonardo, Caravaggio, Velazquez, Goya, Renoir, Picasso, Modigliani, Brancusi and many more, but particularly that of Julio Gonzalez, Pollock, Tapies, Tamayo and Chillida; I also admire all those unknown to the public who produce art, crafts and design with passion and quality and value their teachings.
I don’t believe I am too romantic by asserting that, in my work −which I define as poetic and melancholic, nostalgic and evocative, symbolic, subtly erotic, minimal, primitive yet avant-garde, humorous, ironic and paradoxical− all those influences are manifested, and the music I listen to is materialized: The richness of Bach and Vivaldi, the mastership of Mozart and Bethoven, the subtleness of Debussy and Philip Glass, the drama of Astor Piazzola´s Tango and the rock-and-rolled Flamenco of Alejandro Sanz… La Mari (the indescribable) as well as Rodrigo y Gabriela (virtuoso!), the depth of B.B King´s and Miles Davis´s Blues, the inspired Jazz of Keith Jarrett and Jacques Loussier, the emotion of Janis Joplin, Joe Cocker and Beth Hart, the provocative innovation of The Beatles −with whom I grew up− and the cadence of Vinicius de Moraes´s and Antonio Carlos Jobim’s Bossa Nova, as well as the naive and vernacular sensuality of the Mexican boleros.
I am my own make: Study, workmanship, work.
Designer / Sculptor
- Pedernal 501c México City