[Petr Ferebauer]     Born in Brno, the Czech Republic, on September 7, 1959.       

Pictures and Objects
Angelic Pair
1995, (65x45cm) paper, pastel, photo-collage
Bara and Butterfly with Tomcat
1995, (35x45cm) cardboard, oil paint
Christian Motif
1994, (47x66cm) sololit, oil paint
Cleopatra and the Others
1995, (65x45cm) paper, indian ink, ink, tempera, size
Dogs without Names
1992, (35x50cm) wood, combined technique, oil paint
1989, (45x70cm) paper, collage, tempera, ink, fix
Grandfather at Fairgrounds
1990, (31x43cm) wood, photo-collage, oil paint
1995, (46x32cm) wood, oil paint, etching
Map of Czechoslovakia
1991, (23x19cm) paper, combined technique, oil paint, pins, cord, metal
Object 1
1993, (42x36cm) wood, oil paint, wire, cloth
Object 2
1993, (20x30cm) cast iron, wire, porcelain
Vessel in Haven
Saint Frantoch
1995, (30x60cm) wood, iron, oil paint
Self-portrait in Cap
1994, (50x35cm) sololit, combined technique, oil paint
Soft Abstraction
1995, (38x29cm) cardboard, oil paint, pastel
Wedding Night with Tomcat
1992, (40x50cm) paper, combined technique, tempera, beads
1999, combined technique
World Horse&Carriage
2000, (95x61cm) sololit, oilpaint
2000, oilpaint
Orloj of Prague
2007, oilpaint
Intuitive Art
An article in Denní Telegraf, July 1996, by Luboš Koláček dubbed Petr Ferebauer as an intuitive painter, who refused creative rationality. In a latter self-reflexion, his wish in painting feature has been to keep alignment with actual state of mind of persons, their dreams and reality. He simply listens and turns a chat into new sketch.

For a long time, Petr has materialized his creative intuition with certain crispness and applied it in visual arts from LP cover of "Sor un Peyaloro" music group to numerous paintings and murals.
Also, Petr's sculptures tended to contain a number of aged pieces made from various materials, including metals and ceramics.
Yet Petr is also a musician besides other artistic pursuits.
And let's not forget that he excelled as a window-dresser by trade, namely in the townhall organized trim competition when he arranged in alive and rather surprising creations.

When Petr, better known as Ferda, exhibited in a bohemian club "Kabinet Múz", he casually opined that a key to his art form is to keep the artwork in anonymity, not to think about it too much in the process. Characterizing his own pictures at the same time, Petr claims that they were like a smutch, but neat in the clean setting. "In squalor places, people would heat on with it in stove without even noticing."

Among some of representative works of the painter, photographer and musician used to be an interior of Mersey Club in Brno. Here, 1st, 2nd and 3rd image show the interior after 1993, where commissioned Petr used combined technique with oil paint, tempera, scraping, collage and other. Peter employed the same tools creating murals in other public and private places such as Titanic, (1993, without specified location).

Series of Petr's vernissages announced posters: Divadlo B. Mrštíků, Galerie Lužánky, 1 and 2 in Gallery Na Kamence in obscure Kamenná Kolonie in Brno.
Newer invitations were: Mandragora 2009, Pod Petrovem 2012, Mandragora 2012 and Stará Pekárna 2014.

Underscoring the substance of Petr's work was a testimonial by P. Štěpán depicting an atmosphere of a show in Theatre Club Rubin in Prague's Little Quarter. He brought us near to the Ferda's fairy tale world, to his original pictures and embedded various "the ugliest" objects, evoking Byzantine and Medieval scenes. Maybe we do not need to go that far in time as once a correspondent noted paintings remaind him a Latin American art.

If to choose a favorite among the pieces listed here, perhaps, the most interesting is Bird, due to presenting a solitaire object.
Affix numbered images on the book-mark list make selection from a short set on Ferda's CD-Rom from 2001.

A bit older but quality presentation of Petr's painting in print has been Magic World, the Southern Moravian art catalogue, commemorating 170th jubilee of Česká Pojišovna founding.

It seems that a bad fortune helped Peter to bounce in a good sense to say.

  Petr in Magic World by Česká Pojišťovna

"František ridding on a Bubble-maker"
1996, (50x54 cm) combined technique
Petr v Magickém Světě by Česká Pojišťovna (The Czech Insurance Co.)
"...I consider Ferda's paintings quite original for they cannot fit into any academical school, neither they can be put in line with works of amateurish handy fellows seeking good market price or with works of naive dilettanti. Ferda has not been influenced by any -ism, simply because he does not know of any. He is unique in his spontaneous handling of materials, which he allows to grow into amalgams and then he glues them on or nails them down with mighty and rusty nails. He lives his life in the same spontaneous way as he paints. His life and artworks are in perfect unity..."
Petr Štěpán
By the courtesy of Česká Pojišťovna A.S.; Rašinova 7, Brno

O Petrovi
Petra Ferebauera jsem poznal na Vanoce 1993. Hledal jsem trochu tepla a pohostinosti v ulicich vecerniho predvanocniho Brna. Memphis byl to spravne misto. Utulno, zivo, originalni vystava. Ty obrazky jsem si musel prohlednout zblizka, i pres stoly navstevniku. Byl to pohadkovy svet, vytvoreny z nejosklivejsich predmetu. Zvlastni puvab dodaval obrazum ostrazity vyber predmetu a materialu. Nic nesmelo byt prilis nove a prilis pekne! Z urcite vzdalenosti pusobily obrazy jakoby byzantskou nebo stredovekou tajemnosti, nejen duchovni, ale i materialni. Po pristoupeni blize jsem s nechuti objevil odpornou kolorovanou fotografii, draty a paruzek. A dale samorost, kus busty, zarovecku, detinskou kresbu a nejake - tezko pochopitelne - symboly.

Chtel jsem vedet, kdo je autorem obrazu a barmanka me poslala do I.patra, kde Petr - zvany Ferda, zdobil vanocni stromek. Prave pripevnoval kousek hlinikove dratene hvezdy na spicku borovice a zavesoval na vetev ulomek pekneho keramickeho psa. Byl to protest proti spolecnosti, proti konvencim, proti mechanickym oslavam a mechanickym citum, byla to touha odlisit se? Projev negativismu nebo humoru? Mozna ode vseho trochu. Kdyz jsem Ferdu poznal, pripadaly mi v jeho pritomnosti tyto uvahy nepatricne, natolik byl prirozeny.

Jeho obrazy mi pripadaly tak originalni, nebot nepatrily do zadne akadamicke skoly, ani zadnou nenapodobovaly, nepatrily k dilum sikovnych amateru, hledajicich misto na trhu, ani k naivnim napodobitelum. Pozdeji jsem si uvedomil urcite souvislosti s asemblazemi dadaistu a provokativne civilistni tvorbu z 60. let. Ferda vsak zadne vlivy nepripousti a zni to celkem presvedcive, proste proto, ze zadne nezna. Je jedinecny se svoji spontannosti, se kterou se zmocnuje materialu, ktere potom nechava srustat, prolnout, slepuje je nebo je pribiji mocnymi rezavymi hrebiky. S toutez spontannosti zije svuj zivot. Nemuze byt kopistou, protoze jeho zivot a tvorba je v dokonale jednote.

Jeho obleceni, obsah kapes a tasky jsou jen mobilnimi predmety, ktere se pohybuji kolem Ferdy a vytvari nepolapitelny, ale stale pritomny obraz. Neustale pribyvani a ubyvani techto predmetu (stejne jako na obrazech) se ridi vznesenymi prirodnimi zakony.

Originalni je take Ferduv vyber predmetu a materialu. Bezprostredne a neomylne vnima jen svet, ktery je presne cizi sladke spotrebni civilizaci. Pritom ho svym sberacstvim neuvedomele paroduje. Ferduv svet nesmi byt ani prilis esteticky, nalezena starozitnost vstoupi do Ferdova sveta pouze ocistena ohnem, smirglem a klestemi. Jeho antique - shops jsou stare pudy a kontejnery s predmety odvrzenymi a ponizenymi. Predmety a materialy znovu ozivaji a vystavenim dochazi k jejich Nanebevzeti. Ferdovy malirske zasahy jsou z rodu primitivni a detske malby. Toto neochvejne antiestetstvi si zaroven spojuji se svoji predstavou brnenskeho "statlatstvi", ktere muze mit stejne duchovni pozadi s ruznymi pop-arty a undergroundy na celem svete, ale ve sve "estetice" zustava jedinecne.

V roce 1994 mel Ferda vystavu v Malostranskem divadelnim klubu Rubin. Z divadelniho baru vytvoril svymi obrazy a objekty pohadkovou tropickou jeskyni. V chabem barovem svetle nebylo mozno shlednout vetsinu detailu, ale prave ono tuseni nevideneho bylo temer mystickym zazitkem.

Myslim si, ze dalsi vyvoj Ferdovy tvorby muze dostat zvlastni dimenzi ve vytvarnem konfliktu s jinym svetem, napriklad v kontrastu s reprezentativni adjustaci nebo v dramaticke komunikaci s prostorem.

By the courtesy of Petr Štěpán

     P e t r F e r e b a u e r
  © 1998~2016


© 2016 All rights reserved
Brunendam email


List of
angels  bara
bird  christ
cleopat  dogs
ferda  frantobu
frantoch  grand
indian  klauni
leta  letb
mapc  mersey1
mersey2  mersey3
object  objekt
port  saint
self  soft
talk  titanic
untitled  wednigh

31  34  35  37
45  46  47  49  Orloj

exhib1  exhib2
exhib3  exhib4