INTERVIEW: RICCARDO GIL FERRARO
Riccardo Gil Ferraro, a luminary whose artistic brilliance illuminates the contemporary landscape of creativity, is a multifaceted artist guided by a profound reverence for the mysteries of the past and the enigmatic realms of the soul. Imbued with a spirit of perpetual exploration, his art stands as a testament to the transformative power of artistic expression.
Having honed his craft through the immersive realm of Painting at the prestigious Brera Academy of Fine Arts in Milan, Gil’s creative odyssey has been a synthesis of technical mastery and spiritual quest. His sanctuary and studio now lie nestled within the vibrant tapestry of Pavia, where the echoes of centuries past mingle with the vibrant pulse of modernity. The seeds of Gil’s creative journey were sown in the ethereal visions of Surrealism and the intricate tapestries of fragmented collage work. These early influences, steeped in dreamlike wonder and compositional complexity, served as the catalyst for a deeper exploration into the annals of art history. Guided by an insatiable curiosity and a scholar’s thirst for knowledge, Gil embarked on a voyage into the age-old narratives of medieval art, each stroke of his brush a testament to the enduring power of visual storytelling.
Yet, it was not solely in the external landscapes of ancient civilizations that Gil sought inspiration, but in the uncharted territories of his inner world. Through the labyrinthine corridors of meditation and the contemplative study of ancient cults, Gil uncovered a profound truth – the existence of the daimon, a timeless and shape-shifting entity named Aibek. Beyond the confines of earthly limitations, this daimonic presence shimmered as a mirage, veiled yet luminous, an ethereal guide to the depths of the soul. This daimon, a reflection of Gil’s innermost self, exists in a realm where notions of gender and form dissolve into the ether. It is a nebulous entity that defies definition, a spectral companion that whispers truths long forgotten and guides the seeker on a journey of self-discovery and enlightenment. Through the focused lens of diligent meditation and the unwavering dedication to inner exploration, the daimon’s elusive whispers resound, beckoning Gil and all who dare to listen to venture into the ineffable realms of the soul.
INTERVIEW WITH RICCARDO GIL FERRARO
Can you share more about your artistic journey, from initially being drawn to Surrealism and collage to becoming a scholar of medieval art and exploring the ancient cultures of the world? How have these diverse influences shaped your artistic style and approach?
I approached art through music. So, like different instruments and parts of a song, I conceive my art. Surrealism is important to me in the measure in which it encapsulates the more than real, the divine, the occult, the esoteric. In the world’s mythologies I found my inspiration, through sincretism I find the motivation to experiment ever changing subjects. The first collages were a direct and simple way of approaching art, since at the time I was a total outsider. Now that I learned to express my symbols through drawing, pen/pencil and paper are my preferred technique by a long shot. The way in which I approach the composition is still very “collagey” though, that’s just the way my imaginative mind thinks. Medieval artwork is a great example of painted collages, and a lot of folk art is too.
The concept of the daimon, particularly your own daimon named Aibek, plays a significant role in your creative process. How does this unconscious entity influence your work, and how do you translate its essence into your art, illustrations, and other creative endeavors?
Well, daimon is an ample definition to indicate your own personal internal fire. And it is ever changing and so very much important. At the beginning of my esoteric voyage I explored my internal conscience, linked to the spiritual world. I found two entities, indicating the same thing (myself): their names were Aibek and Amaris (or so I liked to call them, but I could call them both Gil). Masculine and feminine, each with different suggestions and each gave me knowledge of myself and consequently of my art. Meditation is a great way to communicate with your deep self and with the gods. It just enables you to find out what you hold true or not and pursue it in your art journey. The feminine, the goddess, is one of the most recurring subjects of my creations, the most spiritual and emotional side of the composition. The masculine, the god, is usually represented with horns, or as an animal, the most physical part of the composition.
Your description of the daimon as a reflection of oneself, existing beyond traditional definitions of gender and form, is fascinating. How do you envision and manifest the characteristics of the daimon in your artistic expressions, such as paintings, music, fantasy stories, and tattoos?
My daimon/s are myself. In my musical project, Ticinum, I have an alter ego, which is the magician, Agilulf. In my writings I have my characters, which are parts of me. I left the tattoo world years ago, but the idea at the base of it was that art can be achieved through suffering, like in a ritual (that’s not always the case of course). In my visual art journey I have this attraction to the esoteric, the otherworldly and to nature that gets me out of my bed and keeps stimulating me to do art. Every part of this is a facet of my spirituality.
Meditation and ancient cult studies seem to be integral to your creative practice. Could you elaborate on how these practices inform your creative process and help you connect with your daimon and inner self on a deeper level?
The drawing process allows me to realize my thoughts, my feelings, elaborate symbologies that are strongly connected to my being. That’s why drawing it’s the best way of investigating the mind, individual and probably collective.
Your diverse creative portfolio includes not only paintings and art shows but also illustrations, music, fantasy stories, and custom tattoos. How do these different forms of artistic expression complement each other, and do you find that working across various mediums enhances your creativity and storytelling abilities?
Working across various mediums is essential to keep creating. When you are blocked in one field you can just approach the matter with a different medium and keep on going. Tattoos though are quite a different story (for what I lived in my short experience in that world) because they are directly realized to be of the client’s taste and that strongly limits creativity.
When you were creating custom tattoos for clients, how did you incorporate your unique artistic vision and the concept of the daimon into each design? What was your approach to translating personal narratives and symbolism into tattoo art?
I stopped tattooing years ago, but if I would, today, I think I would research ancient tattoos, and rituals connected with my ancestors’ way of doing them.
As an artist engaged in such profound introspection and exploration, what message or emotions do you hope to convey to viewers and clients through your art and creative projects? How do you navigate the balance between personal introspection and connecting with others through your work?
I just want people to get to know themselves better; their roots, origins, and personalities. Like I try to do everyday. Drawing is my favourite form of introspection, so I think that it shows in my artworks, be them drawings, painting, writing or music.
Looking ahead, are there any upcoming projects or artistic directions that you are particularly excited about exploring in the future? How do you see your artistic practice evolving and expanding in the years to come?
I see myself creating more codices, books containing stories and symbology (after publishing a tarot deck and doing an herbarium for my thesis discussion at the Academy). And of course painting, I’d like to exhibit my art around the world. I have lots of ideas that excites me, all the time, so we will see what will become tangible in the future.
