“ā¦ Above all, Ferlisiās reality is the colour used for harmonious backgrounds and the essential forms that are arranged and speaking to one another in welcoming spaces. The pictorial techniques employed make very light use of Magritte-like surreal perceptive effects and instead seek to produce neat, clear textures with little shading except when needed to call attention to the lack of light. This serves to enhance the chromatic modulation, combinations and counterpoints of the symbolic forms that cross the artistās imagination.”
Giorgio Segato
“…Francesco Ferlisiās paintings are characterized by visionary figurations that come from the reaction to the progressive inhumanization of a world caught up in a cult of manufactured technological artificiality. In his works, imaginary and geometric architectural structures blend in with symbols of everyday reality against a background of light-filled skies that seem to represent all that remains of a natural environment that is attacked and despoiled daily.”
Gabriele Simongini
- Italo Marucci
- Sergio Garbato
- Duccio Trombadori
- Ferruccio Veronesi
- Antonio Sorgente
- Francesco Butturini
- Camillo Ravasi
- Italo Evangelisti
- Michele Fuoco
- Gabriele Simongini
- Vittorio Esposito
“ā¦ In this sense, his language belongs to the realm of metaphysics because of his capacity to re-interpret the subject and to attribute a meaning different than that āappearsā from the more or less geometric āformsā used in the pictorial space to create āsituationsā that stand out against clear glimpses of landscape. Ferlisi uses paint not as a pretext to express a literal concept but to give his works the true meaning of painting for paintingās sake strongly emphasizing the basic elements that constitute its foundation i.e. ā form and colour supported by imagination. His exploration solidifies into a style that is refined and rich in surprising results concerning space and chromatic elegance.” - Carlo Federico Teodoro
- Carlo Di Stefano
- Elio Mercuri
- Renato Civello
“ā¦ I find it distinguishing that the artist has managed to avoid using pure colour tones which is what you logically would expect to find in a close examination of the compositionās structure that, here and there, makes you think of a mosaic. Furthermore, the extremely delicate tonal migration that at times is done on a scale barely perceptible within an individual segment, aside from being an exercise in technical prowess, enhances the tour of emotions.” - Francesco Chiarini
- Dino Pasquali
- Flavia Casagranda
- Aurelio T. Prete
- Vinicio Saviantoni
- Ludovico Ragghianti
- Vinicio Coppola
- Antonio Mendoza
“ā¦ Objects, all bathed in a mysterious light and bearing colours that are as lively as they are contrasting, which together with the measured severity of the composition (which is never completely symmetrical), initiate a serene yet unsettling dialogue. The beholder yields when faced with the inconceivable logic of this combinations which, in the painting, take on ānormalcyā.” - Luciano Lepri
- Andrea Cilento
- Fernando Bassoli
- Maria Teresa Palitta
- Luigi Tallarico
- Giuseppe Massimini
- Maria Pia Giuliani
- Antonio Valicenti
- Roberta Fiorini
- Daniela Bellotti
- Tiziana Boldrini
- Giorgio Zito
- Paolo Loria
- Enrico Locatelli
- Paolo Zauli
- Gaetano MarinĆ²