For Barbara Ferro, whose art has always expressed itself through painting, inlaying is a sort of sublimation of this technique.
The choice of a hard and angular material such as marble is emblematic as the artist, giving it the softness of a fluid material with a malleable appearance, transforms it into coloured backgrounds from which works that are both sculptures and paintings are created.
The peculiarity of her latest creations is in fact that they are three-dimensional: the fragments that make up the images not only create an effect of depth through the use of different thicknesses for the background and the subjects in the foreground, but are also modeled by the artist, each one like a small sculpture, to create through the roundness of the shapes a dynamic effect that distinguishes her inlays from any other.
This technique is also the artist's privileged way of making the fragments become unity.
The need for precision on detail involves an analytical process that distracts from the overall view during processing and at the same time provides a synthesis when the vision is reconstructed.
Contrary to what happens in the assembly of a puzzle, where the fragments have no meaning in themselves, in the inlay the artist must first elaborate the fragmentation and then reconstruct it. She must ideally break the unit down into portions that each have a meaning and then find it enriched by her ability to create.