As the impressive volume Ivonne Ferrer: Recent Work, 2014 - 2024 is set to be released, the Miami International Fine Arts (MIFA) center is hosting a solo exhibition by this renowned artist. A notable highlight of the show, titled Infinite Progressions and curated by the MoCAA team, is its introduction to the multicultural audience of Doral. The exhibition brings to life many of the artworks showcased in the aforementioned book. In alignment with the monograph, Infinite Progressions has been curated with a meticulous selection of seminal pieces created from 2014 to the present, with some of them being unveiled to the public for the first time.
At first glance, Ivonne Ferrer’s work—fundamentally postmodern in essence—reveals itself through the appropriation and reassembly of images drawn from the artistic and advertising landscapes of the past five or six decades. To grasp the swift evolution of her art, one must trace back to an early cornerstone of her practice: collage. This technique, always present and keenly attuned, forms the basis of each of her major series. Through an intuitive and sometimes instinctive recombination of a vast array of iconographic materials, she has fashioned a unique sensitivity that breathes new, unexpected irreverence into well-worn symbols and narratives.
The collage itself, an arrangement of disparate elements, underpins her broader oeuvre, particularly her work in ceramics. By reimagining nearly mute, introspective components, she has developed innovative approaches to incorporate ceramic findings onto canvas. From this feverish state of experimentation, it becomes evident that her vision not only embraces diverse visual elements but also capitalizes on a wide array of popular artistic techniques.
In an endless play of combinations, she has constructed meticulous, challenging pieces that juxtapose exaggerated geometries and aggressive angles with the soft forms of the female body. This delicate balance between sharpness and fragmented human anatomy, often in a mutilated state, speaks to a sustained reflection on the individual’s role within the socio-economic fabric, inviting viewers to contemplate the intricacies of human nature.
Over time, Ferrer’s pieces have grown increasingly complex. Her singular voice now encompasses an evolving narrative—occasionally with subtle gender nuances, though never overtly polemical—unfolding discoveries across painting, sculpture, public art, and screen printing. These juxtapositions lead us to perceive her as a collector first, amassing raw material to craft a personal poetics that is anything but fragmented. Her obsessions remain steadfast; it is her mastery in harmonizing objects and symbols—often antagonistic—into serene, contemplative works that has matured. Her creations insist on their discordant nature while resonating with a quiet, reflective strength.
