Ferdinando Lignano (1945) - Senza titolo

Ferdinando LIGNANO, Neapolitan, was born in Posillipo in the year 1945.
Self-taught painter and sculptor, he loves all forms of artistic expression and more.
Especially those through which one can communicate their feelings, a 'little jewel of life' with a theme filled with simplicity and poetry. He has maintained and continues to maintain personal ties in the three regions most dear to him: Campania, Calabria, and Lucania.
Reviews published by:
Il Mattino, Il Corriere di Napoli, Il Tempo, L'Opinione, Il Gazzettino della Calabria.
"I will paint, I want to paint" and it has been many years that Lignano has been painting with love and respect for art. It loves creative research and the study of expressions as an exaltation of a life that it idealizes through color and the forms of its painting. Nature is life, strength, movement..., and from this nature, it captures the essence in the transformed landscape created by its creativity, to nourish itself and explore freely.


His eyes are filled with images of southern countries, the colorful explosions of spring, the sweet and delicate scents of the earth, and the bluish transparency of the sea. The inner restlessness and the craving for the undefined and the indefinable, typical of the existence of a young and no longer young artist, are evident in every painting and in the overall body of work by Lignano: watercolors, oils, ink drawings, linoleum prints, assemblages in salvage iron, sculptures. Replacing the brush with a spatula marked a profound change in his 'painting technique,' despite being aware of the greater difficulties, thus creating a textured painting full of vitality, closer to his personality.
The artist, always ready for fruitful renewals. With the use of the spatula, I endure my creations, and until the completion of the painting, my emotions are in the colors, the shapes, and the overflowing paint, like small living creatures...


Mai submits himself to a 'conscious' 'procedure,' aware that 'without immediate intuition, without the incalculable grasp of the artistic spirit, no true work of art can be built' (Gropius). His inner world is vast, infinite, varied, and he feels the need and fascination to externalize it by placing it within the great diagram of being. With the Lignano sculptures, he creates something more tangible, if one can say so, always consistent with his overall vision for art, which must transcend the inherent limits of every man, every artist, far from certain academicism.

Art is richer in content and more inventive than life, and it has more surprising methods than nature.