Ferrari Sheppard

Painting to the Rhythm of Jazz

"I view my paintings as timeless, deeply emotional images, akin to fragrances," remarks American artist Ferrari Sheppard, as he describes his art. His work is infused with a soft, pervasive sensuality, stemming not only from the subjects portrayed in an intimate, everyday context, free from the pretentiousness of formal situations, but also from a technique that fuses essential formalism, vibrant chromatic dimensions, and brisk, dense brushwork that forms into nervous, incisive strokes.

To capture the essence of contemporary American life in the third millennium, Sheppard embraces a neo-expressionist style, one that isn't far removed from the formal and symbolic references put forth by the masters of the Roman School during the 20th century, as showcased in the nearby Casino Nobile Museum—a source of ideological engagement for Sheppard. He turns to the annals of art history for inspiration, with particular reverence for figures like Michelangelo and Caravaggio, known for their rebellious personalities that shattered the conventions of their era.

Sheppard's exploration also encompasses 20th-century artists like Cy Twombly, Jacob Lawrence, and most notably, Joan Mitchell, drawn to the liberating essence within the canvases of this icon of abstract expressionism. It's not coincidental that, for this exhibition, Sheppard has created a series of new canvases inspired by the post-World War II atmosphere, not only in Italy but also in the days following liberation when jazz music served as a potent tool wielded by American soldiers against the regime.

For Sheppard, these references aren't deterministic; instead, they serve as thought catalysts. Suggestions, both direct and indirect, converge in Ferrari Sheppard's paintings. He chose to title his debut exhibition in Italy Crucible, underscoring the reference to alchemy, due to the presence of gold leaf in many of the works displayed at the Casino dei Principi, juxtaposed with acrylic and charcoal. Sheppard doesn't regard this material as inherently precious but rather as an energetic element. "Despite its high cost, gold holds no higher significance than the other materials I employ; there are no hierarchies. Each technique imparts a distinct quality," he explains.

Other significant sources of inspiration for Sheppard, who harbors a deep affection for Italy (his given name is derived from the automobile manufacturer), are his familial memories, intertwined with the tumultuous life he experienced during his teenage years. "I grew up in the working-class neighbourhoods of Chicago; my brother was involved in the drug trade, and we faced firearms threats almost daily. Those were dark times, and to survive, I had to fortify myself through art," Sheppard recounts. His paintings often feature faceless figures he encountered during his life journey, spanning from Chicago to Los Angeles and various cities in Africa where he resided.

After pursuing studies in art, Ferrari Sheppard initially worked as a music producer. It wasn't until around 2014 that he decided to dedicate himself to painting, particularly in the realm of abstraction. His passionate and tenacious journey has brought him to Crucible, an exhibition centered on the fusion of Italian and American cultures, invigorated by the syncopated rhythms of jazz music, as evidenced by the titles of some of the works on display at Villa Torlonia. "There's an inherent resonance of jazz in my work, especially in the spontaneous nature of my brushwork and my approach to the canvas. I frequently immerse myself in jazz music while creating, and for this exhibition, I delved into soul music, Parliament Funkadelic, and James Brown, which yielded intriguing subjects." Painting to the rhythm of jazz — this is the vibrant energy that propels Ferrari Sheppard's artistic odyssey.

Ludovico Pratesi