FERDINANDO AMBROSINO'S WORK. EPIGENESIS OF A HUMAN LIGHT
by Roger Dadoun
 At first sight, the colour: alone, massive and vibrant, resting or raging, discrete or effusive and violent; a colour that revels in itself in its most secret resources, in its enticing regions. But there are also planes and lines, blotches and filaments.
Banks of distinct colour, with a sometimes rigorous and severe geometry, border the painting. Planes of colour, further in, less disciplined, provide the construction, an architecture sometimes tortuous and tortured to read, in which an event, an intrigue, the scene of a play is shown. The collision, the complicity, the concatenation of the surfaces, with their entanglement, sketch and more often vehemently impose roads of meaning.
A conflict arises between the peripheral planes, which serve as a frame, as guardians, even, and the internal surfaces. This conflict feeds on the intrinsic values of the surfaces themselves, which sometimes tend towards a clear, well-constructed, classical geometricism, although laboriously and precariously, and sometimes become absorbed, or fragment, or spread out, gesticulating in all sorts of ways. The painter gives free reign to an immagination of matter: an earthy matter, which displays dull or vivid geological values, mud or slate grays, ochre and browns, supported or rejected by sandy yellows or by chalky whites, which sometimes go as far as a chalky exhibitionism. Then the red and the blue are inclined to overflow in a generally well tempered Dionysian way; and suddenly, in a conflictual chromatic concert, the beseiged white emits the dazzling glare of a “metamorphosis”.
Everything would be simple if these geologies, these landscapes, these vegetations, these structures of earthy colour acted as a medium for the apparition, the event, the epigenesis of a light offered in full view. But these Manichaean struggles, these “chromatomachies” are ordered to accomodate the presence of man: a tense, unexpected, unpredictable presence, with an unbridled voluntarism perceived as an elementary form of freedom.
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