It is an ancient map, a nautical chart traced using the Ptolemaic system and then Copernicus, and his representation of the world, like a window opening to reveal the immensity, the grandeur of it.
The world in miniature then is just that. Identical, (except for the difference in size) an engine of dreams and wonderment.
There is an Arabic proverb which states: “No track has ever led a caravan to a mirage, rather the mirage set the caravan in motion.”
Just an illustration and model of a ship transport us there, where daily contingency prevents us from being. Hard work, stormy work for the narrator who speaks solely with images.
There is no goal which cannot be considered only “partial”, in the mind of those who put their hands among the watercolours and tools that will paint and hone “the things of the sea” in a place far away from the brine. The particulars: a good and magnificent obsession.
Only the artist knows how and how far he has come to approach his archetype of perfection. Always ready to correct, rectify or destroy everything and start again.
Words can do a lot.
Our sense of hearing is always vigilant, however the eyes are even more so, almost ferocious in their ability to catch a minute detail or seeming insignificance.
This is the work of Luca Ferron: to breathe life into the image on the page using sea salt and sea air so that the image can display the courage, hard work, boldness and even fear to all who gaze upon it.
Of course working on a large scale is easier: the miniaturist penetrates the infinitesimal harmony of shapes and proportions, true to himself and no one else, excepting perhaps those (in the case of a vessel) who built it on a slipway to deliver it to water.
There are several ways to fill in the time correctly: an initial sketch, a half hull, a portrait or a model.
The difference is in the invisible something that the work gives off.
If boats have souls, or, at least, if they capture the souls of their owners, herein lies their transitive property, the same mechanism that brings a painting to life, or animates a sailing ship fifty times smaller than the original.
The best colours, the best supports, the best essences and the construction techniques are all in accordance with the original.
Difference is like beauty: it is in the eyes of the beholder.
The “interim” is passed with a head bowed over a sheet of paper and rasping among pencil and wood shavings grated by the blade. From the material comes the form.
These words presenting myself and my work were written by Donatello Bellomo, journalist and writer, and my friend.
These words serve to allow a better understanding of the passion that I put into my work, work that I have been creating for over fifteen years now. Work, study and devotion that have allowed me to navigate this wonderful world (the world of boats) and meet men and women who set it alight with their incredible passion.
They allow me to be one of them, a large, close family of “dreamers”.
I have had the possibility and good fortune to meet and form friendships with men such as Olin Stephens, German Frers and Ron Holland, and in recent years to collaborate with Ed Dubois, Mark Mills and prestigious studios such as Reichel & Pugh, J&V and Nauta among others. Dreams were spun from their materials, allowing us to take to the sea in pursuit of our own “dream”.
I transform these “dreams” from rough materials into objects that can sit in the palm of your hand, or in the homes of their lucky owners in a manner that the “dream” can be continued even when they are far away from the sea.
These little “dreams” are created in a way that only great passion can accomplish, and I feel gratified when I see the look in the eyes of the persons when they receive “the object”.
Illustrator and model boat craftsman