In a world saturated with visual imagery, Sasha Ferré’s work insists on tactile presence.
Her paintings are not depictions of nature—they are traces of an encounter, a response to what the eye alone cannot capture.
The Daylight Constraint: Painting as a Temporal Act
Ferré’s creative process is both physical and conceptual. She paints only during the day, guided by the texture of natural light. Each canvas begins with colored tempera and ends with layers of oily, pigmented matter—demanding that the entire process be completed in a single daylight cycle. This rule transforms her works into time-bound rituals, where materiality meets meaning.
Between Surface and Sensation
Rather than representing landscapes, Ferré evokes their memory through gestures, marks, and layers. Her paintings live in the tension between abstraction and nature, where foliage, waves, and coral shapes are suggested but never explicitly defined. Her art is immersive: you do not look at it—you feel it.
Nature Revisited Through Abstraction
Ferré’s work resonates with broader contemporary discourses around ecology, memory, and embodiment. At a time when nature is often reduced to symbol or spectacle, her paintings invite a more intimate, sensory form of engagement—one rooted in presence, time, and process.
Conclusion: A Practice of Perception
With each piece, Sasha Ferré offers not only a painting but a proposition: that seeing may not be enough—and that art, like nature, must also be touched, sensed, and remembered. Her work is an invitation to slow down and experience form beyond the visual.
