Luca Ferrero was born in Turin in 1995. He graduated in Product Design at the Albertina Academy of Fine Arts in Turin, and currently lives and works between Turin and Rome. His practice is developed through installations, paintings, videos and sculptures. Through his work, the artist gives an irreverent interpretation of the contemporary world, a kaleidoscopic look at high and low culture that explores the multiple aspects and paradoxes of our time. Recent projects include the solo exhibition “d’istante” at Villa Doria Pamphilij in Rome and the group exhibition “The Milky Way 7th-Edition” at Galleria Continua in San Gimignano.

STATEMENT

Luca Ferrero’s artistic practice unfolds as an inquiry into the gap between reality and representation, nature and culture, what is and what merely appears. Through minimal gestures, paradoxical juxtapositions, and subtle alterations of pre-existing materials, Ferrero constructs visual devices that mimic the world in order to expose its contradictions. His sculptural and installation-based language is rooted in the everyday—surfaces, utilitarian objects, architectural modules—yet generates ambiguous environments where the artificial masquerades as organic and the decorative as biological.

At the heart of his research lies a sustained reflection on the concept of imitation and on the contemporary desire to recreate what has been lost—or perhaps what was never truly possessed. His works inhabit this interstitial space between the real and the plausible, between the material memory of the familiar and its aesthetic transfiguration. Nature, when evoked, is always a staged nature: domesticated, defused, transformed into surface or pattern. Ferrero does not work with things themselves, but with their images—their perceptual and symbolic aura.

The play of scale, function, and context constitutes another fundamental dimension of his poetics. Marginal or standardized objects are enlarged, replicated, stripped of utility, until they emerge as autonomous presences, charged with tension. Irony, always restrained, operates as a critical device: it turns gesture into short-circuit, and space into enigma. Within this tension between citation and invention, a broader reflection takes shape—on dwelling, the body, and the domestic imaginary as a repository of time, desire, and control.

By superimposing references to material culture and popular memory, Ferrero challenges the very notions of naturalness, authenticity, and permanence. His works do not seek answers; rather, they configure visual questions, in which every detail seems familiar yet eludes classification. They are fragments of a landscape at once recognizable and reconstructed, where humanity sees its reflection without ever truly perceiving itself.