:: interview with renzo ferrari::

1st interview with Renzo Ferrari (indoor, house in Cadro, april 2004)
The still-lifes are a kind of second melody, paintings that depict still life. I make these pauses in contrast to movement and to other subjects which are more artificial. What I do is think over, in a slower and more relaxed manner, the elements which accompany us in our daily routine. The atmosphere in Cadro, for example, is more relaxed and "domestic" than in Milan. It happens, however, that both worlds contaminate each other.

2nd interview with Renzo Ferrari (in the atelier in Cadro, April 2004)
It happens to everyone to have ups and downs in their creativity. The experience I have gathered helps me to avoid the downs by continuously training the ability to observe, and therefore to absorb images, the movement of images. This allows me to build up a reserve, a reserve made of outdoor sketches. They are varied and range from an almost impressionist recording of something I like or that has struck me, maybe even since my childhood if it's something about Cadro.

3rd interview with Renzo Ferrari (New York, Brooklyn Bridge, march 2004)
It's actually like being inside a picture of Tobey. The continuous lines formed by the skyscrapers' windows form sort of squares interpolated by the diagonal lines of the bridge's wires. I think it's beautiful!

4th interview with Renzo Ferrari (New York, on the streets of Manhattan, March 2004)
VH: What does New York make you feel?
RF: It's very stimulating. Actually I should have here more frequently. I should come here more often. The towering dimensions here are impressive. The skyscrapers, these constructions that seem to climb up to the sky, inevitably make one feel tiny.

5th interview with Renzo Ferrari (New York, on the streets of Manhattan, March 2004)
VH:What do watercolors mean to you?
RF: It's a technique that allows me to be spontaneous, fast. This may sound contradictory, because the paint takes time to dry. However, it immediately gives me an idea of the colors, which I could then bear in mind for a painting. It's like a first thought.

Imagofilm Lugano, 2004