Mediterranean Icons
‘Canot III’, 2002, oil on canvas, 90 cm x 150 cm, arch frame.
In the intricate tapestry of contemporary art, Ferdinando Ambrosino emerges as a compelling figure whose journey from the verdant landscapes of his early years to the profound depths of iconographic exploration mirrors a quest not only for aesthetic evolution but also for a profound dialogue with the human condition. The genius of Ambrosino, as articulated through his Mediterranean Icons project, lies in his uncanny ability to straddle the realms of the sacred and the mundane, invoking a sensory experience that is at once comforting and unsettling.
Born on the precipice of World War II in the historically rich surroundings of Bacoli, near Naples, part of the vulcanic region of the Phlegraean Fields, Ambrosino’s artistic sensibility was shaped by the tumultuous layers of human history and the perpetual dialogue between nature and civilization. His birthplace, in the shadow of the archaeological site of Cumae, home to the enigmatic Cumaean Sybil, provided fertile ground for his artistic imagination. These ancient landscapes, imbued with tales of prophecy and transformation, serve as the backdrop against which Ambrosino’s journey unfolds, infusing his work with a sense of the mystical and the eternal, setting the stage for his later explorations into iconography.
In the early 1990s, Ambrosino experienced a significant artistic maturation, transitioning from a figurative to an abstract style, which culminated in his engagement with the theme of the icons. This shift marks a deepening of his lifelong fascination with the layers of human history and mythology. Through his Mediterranean Icons, Ambrosino reinterprets the visual structure of Byzantine art, offering a modern and distinctive take that transcends their origins as religious artifacts. These icons emerge as profound reflections on the human condition, intricately weaving narratives of desire, struggle, and transcendence against the backdrop of Mediterranean history. Drawing inspiration from the ancient tales of Greek settlers in Cumae to the dominion of Byzantines and Goths, Ambrosino’s work embodies the flux of empires, the enduring cycle of human efforts, and the eternal essence of creativity and hubris. This transition not only signifies a stylistic transformation but also deepens the thematic exploration of his art, bridging the ancient with the contemporary.
Cave of the Sibyl, Cumae Archeological Park.
The icons, with their compartmentalized narratives and spectral figures, reflect the complexity of modern consciousness, marked by an awareness of history’s shadows and the ever-present spectre of ecological and societal upheaval.
The figures that populate his canvases embody a duality that is deeply human: they are at once bound by the material world and aspiring towards the ethereal. The colours, vibrant yet tempered by an austere solemnity, reflect the complex emotional landscapes that Ambrosino navigates in his work. It is this tension between liberation and constraint, joy and melancholy, that lends his icons their profound impact.
Through his innovative use of iconography, Ambrosino engages with the sacred, transforming holy figures into symbols of human intricacy, characterised by inherent contradictions and the potential for both degradation and redemption.
Ambrosino’s work challenges the viewer to confront the depths of their own historical consciousness. The dark, shadowed icons, filled with twisting figures and enigmatic narratives, serve as a mirror to the collective psyche, revealing the struggles, conflicts, and desires that define the human condition. These icons, therefore, are not passive objects of contemplation but active participants in a dialogue with the viewer, urging a deeper engagement with the layers of meaning and memory that they encapsulate.
‘The Return of the Argonauts’, 2005, oil on canvas, 140 cm x 200 cm.
Ambrosino’s artistic evolution reflects a restless search for a language that can contain the nature of life’s complexities. His journey through various stylistic phases – from Cubism and Neo-Realism to the vivid realism of his landscapes and still lifes – showcases a relentless ambition to capture the essence of his subjects.
Ambrosino’s ability to synthesize diverse influences into a distinctive visual language that speaks to both the past and the future of artistic expression underscores his mastery.
Through his unique blend of historical references, mythological allusions, and modern artistic techniques, Ambrosino crafts a narrative that is both timeless and timely. His icons, rich in symbolism and emotion, are a testament to the enduring power of art to explore, question, and ultimately connect us to the myriad layers of human experience.
In crafting the Mediterranean Icons, Ambrosino invites us into a contemplative space where the sacred and the profane intersect, where the echoes of ancient prophecies mingle with the whispers of the present, and where the quest for salvation is revealed to be intrinsically linked to the acknowledgment of our earthly, flawed nature. Through his art, Ambrosino challenges us to confront the complexities of our existence, offering not answers but a mirror in which we may see our reflections cast in the light of our collective heritage and individual journeys.
In conclusion, Ferdinando Ambrosino’s work, particularly through the lens of his Mediterranean Icons project, emerges as a vibrant dialogue with the human spirit. It is a dialogue that spans the chasm between history and modernity, between the sacred whispers of ancient oracles and the cacophony of contemporary life. In Ambrosino’s icons, we find a reflection of our own duality, a call to embrace the richness of our human experience, and a reminder of the power of art to illuminate the deepest truths of our existence.