CONTEMPORARY ART REVIEW
David Feruch Lives and works in Paris, France
ne day, as Feruch was shooting a beautiful girl against a white background, he had the desire to import the image onto his computer in order to create a sophisticated universe for his muse. It was the early 1980s and Feruch was one of the first artists to hop onto the digital bandwagon. His process included scanning his collages, reworking them on the computer, and printing them on aluminum sheets. In a constant back and forth between the physical image and the computer, he created his unique technique. His fantastical images were destined to lead Feruch into the world of abstraction. A series of four creations, Le Vent dans les Arbres were the first to mark the transformation. Exhilarated by this newfound freedom, his style exploded, and he created big black & white monotypes. To further his research he revisited drawing sculptured forms with charcoal, much in the same way some artists return to studying the nude figure. In this time of
intense exploration Feruch avoided colors in order to enhance his natural element and concentrate on forms and composition. Once established in his new style, Feruch started to integrate colors and feminine forms into his art. The colors were first pastel and cool and the forms were gracefully gliding through space; then the colors reached a pick of brightness and acidity, like an opera singer attaining the highest pitch. Sometimes a subject would emerge from his process of abstraction and become more recognizable, such as in his allegoric series of Paris. In that series fragments of architecture and statues swirl around, twisted in a poetic embrace. Recently the human figure had sparked his interest once more, but soon it would become assimilated into the composition, and be implied rather than shown. Feruchâ&#x20AC;&#x2122;s creativity swings in a constant pendulum between figuration and abstraction in order to retain its emotional essence.