Biography:

- MEMORY


And it was at that age... Art arrived in search of me. I don't know, I don't know where it came from, from winter or a river. I don't know how or when, no, they were not voices, they were not words, nor silence, but from a street I was summoned, from the branches of night, abruptly from the others, among violent fires or returning alone, there I was without a face and it touched me. I did not know what to say, my mouth had no way with names my eyes were blind, and something started in my soul, fever or forgotten wings, and I made my own way, deciphering that fire and I paint the first canvas, faint, without substance, pure nonsense, pure wisdom of someone who knows nothing, and suddenly I saw the heavens unfastened and open, planets, palpitating objects, shadow perforated, fire and flowers, the winding night, the universe. And I, infinitesimal being, drunk with the great starry void, image of mystery, I felt myself a pure part of the abyss, I wheeled with the stars, my heart broke free on the open sky...




- BIOGRAPHY

Born in Panjon, beautiful village near the city of Vigo, Northwest of Spain in 1963. Living and working in New York (U.S.A.) since 1994.

Largely self-taught, his first abstractions give way to a series of paintings with a strong expressionist style where monochromes and nervous brush strokes are his main characteristics. In the mid 1970's, M. Monteferro works with the Saragossa's painter Fernando Artal. During this time, he is greatly influenced by Antoni Tapies, and his works begin to acquire texture and consistency.


In the early 80's, M. Monteferro discovers the works of Miguel Barcelo in Documenta7, Kassel (1982). In Santiago de Compostela, he begins to get acquainted with the Galician post-dictatorship avant-garde movement, while he was studying in the University.


From 1988 thru 1991, M. Monteferro regularly travels to Paris, residing in the city the last six months of 1991. During an exhibition in the Galerie Yvon Lambert (1990) in Paris, he finally meets Barcelo in person. From that moment, he decides to leave his home (Spain) in search for his identity.


In 1992, he begins his search in Mexico, where he resides for almost two years. First individual exhibition is held in Mexico City in the Galleria MADRAS (1993).His work evolves towards contrasts and colors without abandoning his obsession for texture and "substance". Personally experiences the Zapatista uprising in the early 1990's and travels to Chiapas, southern of Mexico. Along this time, he begins his interest in photography.


In 1994, M. Monteferro returns to Spain. During a brief stay, he moves to Milan, where he acquaints with the work of Francesco Clemente and to the reactions of other Italian painters towards Povera art. This generates a rupture in his artistic conceptions, and his work, while remaining abstract, begins to develop figurative elements. Holds an exhibition in the DICIANNOVE Gallery of Milano the same year.


An infinite longing for novelty and experimentation compels him to voyage the American adventure. In 1994, M. Monteferro establishes his studio in New York, where until today lives and works.


His current works reflect human shapes, landscapes and writings concealed through abstraction, which, in his own words, "try to write poetry on a different media, canvas. In essence, I am a poet with my hands stained with oil and melancholy..."


In 1999, his exhibition is held in the CHELSEART Gallery in New York. In this year, M. Monteferro creates the Free Art Movement "F@M" in New York searching for the democratization of art through the Internet, followed soon after by many American painters.


In 2001, he is represented by the 123SOHO Gallery in the ART-EXPO New York and his works are exhibited in the ARTESANOS Art Gallery in Miami. Currently participates in various art projects with the Italian avant-garde movements BABELE arte and Arte UTILE and establishes the charitable NORTSOUTH ART PROJECT at www.infiniteinjustice.net.


M. Monteferro now spends his time putting together an exhibition of his most recent works which will exhibit at the LOFT9 Gallery in New York, late this year.



- SELECTED CRITICS

His painting is poetry. His poetry is painting. It is the running wind, wet fire, the hot cold, cold heat, it is tear, happy nostalgia, sudden lack of words, emotion, fever, beautiful sadness, so pure, so true, Monteferro is one of the last true artists in this cold, electronic, cynical society.

Henrietta Andersen, Poet and Artist, 2000

Monteferro's paintings do not represent anything. They are non-figurative. They are not, then, abstract in the sense that the eruptions of color, the graffiti-like black nerve fibers, the spaces seemingly and illusorily opening deep into the surface of the picture, the reciprocal configuration of the strokes, the architecture of the work or the collision of the colors refer to the objects or motifs in a world outside the picture frame. The inspiration of nature can be felt, but where can it not? You may spot a valley, a mountain or the sea; then again you can do that by looking at the sky and following the changing formations of landscapes or figures created by the clouds. Conversely, it would be a far too banal and above all nondescript reading to speak simply of inner landscapes. All paintings reflect a disposition, a frame of mind, a temperament, a feeling. Monteferro the wanderer, Monteferro the observer, Monteferro the sensitive eye beholds the world around him and beholds life; however, what emerges in these pleasure-filled, self-conscious, self-embracing paintings is not images of life and reality, but paintings that turn into joie de vivre and reality in their own right. They become a quivering, energy-packed encounter of colors in a particular demarcation. This is where Monteferro's peacefulness lies. Highly passionate, highly intuitive, deeply serene. Colors spread across a canvas, intertwining, their temperament and nervous resilience underscored by the palpitating red or black mixed together like voices in a world of colors. Not for the sake of narration, but to give the picture texture, color-swept demarcations and counterpoint. All for the sake of pleasure. All for the sake of the painter. All for that of art.


Frank Merrik, Art Consultant, 2001

- BIBLIOGRAPHY


"THE ARTISTS BLUEBOOK": Extensive information of North American Artists, 2001 by ASKART, Inc.