In these rather sculptural paintings, Ferriso thinks of paint as a building material, existing in space and able to form impossible connections.

Many of his paintings are built on panels from wood shop off-cuts because he welcomes moments of chance in the texture, scale, and shape. These ingredients become an important sub-plot. Often, the paintings are layered one on top of the other until an image that holds his attention emerges.

The under paintings provide a texture that alludes to a history of previous images. The framing is the final mark that binds the painting to the wall. Ferriso states:”The idea of the frame excites me because it turns the flat illusionistic plane into an object meant for handling and display”.

The colors define distance, determine placement and trigger emotion. “I am in pursuit of a painted surface that can be flat and deep simultaneously, one which asks the viewer to construct dimension. The things that we encounter on a daily basis -- doorways, buildings and houses, rooms and windows, electrical outlets, chairs and walls -- populate my current paintings”, he says. These objects are metaphors for paintings themselves.

The straightforward setups often lead to spatial arrangements that are humorous and conceptual. His color decisions are motivated by a desire to expand the range of a single color through its interaction with other colors, to activate it; as in a Josef Albers experiment. I think of this phenomenon as “neutrals gone wild."