David Feruch’s artistic journey began with an old Olympus camera carefully stored away in the closet of his parents’ living room. As a child he would often secretly open the closet doors to peek at the prized possession. Finally, at seventeen, he took control of the
precious camera and brought it on a trip to the South of France.
His first shots were a series of photographs of each member of his family transfixed around the dinner table. He found his vocation; he would be a photographer.
Not inclined to join a photographic school, Feruch refined his skills on his father’s clothing seasonal catalogue. He went on to train
under Bernard Charlton, an ex-war reporter, who had become a
celebrated portraitist of personalities such as Jean-Paul Belmondo. As
Charlton’s assistant, Feruch participated in the portraits of
fifty members of the Comité Colbert, while also working at the Paul Steinitz studio. Desiring to pursue more training, he became the
assistant of Dominique Lamy, the photographer for Hermes and
Repetto (France’s maker of dance attires). That is where Feruch learned the delicate mastery of studio lighting.
Sculpture and Light
Once trained, Feruch worked for many years with Bernard
Baruch-Steinitz, who specialized in photographing antics for
museums’ catalogues, galleries, and interior designers. During these years, Feruch retained a love for the animated object that he brought to life with a loving tenderness and a sensual application of light. He gave his subjects moods and personality by playing on a variety of perspectives and changing daylight tonalities.
Collages and New Technologies
One day, as Feruch was shooting a beautiful girl against a white background, he had the desire to import the image onto his computer in order to create a sophisticated universe for his muse. It was the early 1980s and Feruch was one of the first artists to hop onto the digital bandwagon. His process included scanning his collages, reworking them on the computer, and printing them on aluminum sheets. In a constant back and forth between the physical image and the computer, he created his unique technique.
His fantastical images were destined to lead Feruch into the
world of abstraction. A series of four creations, Le Vent dans les Arbres were the first to mark the transformation.
Exhilarated by this newfound freedom, his style exploded, and he created big black & white monotypes. To further his research he
revisited drawing sculptured forms with charcoal, much in the same way some artists return to studying the nude figure. In this time of intense exploration Feruch avoided colors in order to enhance his natural element and concentrate on forms and composition.
Once established in his new style, Feruch started to integrate colors and feminine forms into his art. The colors were first pastel and cool and the forms were gracefully gliding through space; then the colors reached a pick of brightness and acidity, like an opera singer attaining the highest pitch.
Sometimes a subject would emerge from his process of abstraction and become more recognizable, such as in his allegoric series of Paris. In that series fragments of architecture and statues swirl around, twisted in a poetic embrace. Recently the human figure had sparked his interest once more, but soon it would become assimilated into the composition, and be implied rather than shown. Feruch’s creativity swings in a constant pendulum between figuration and abstraction in order to retain its emotional essence.