Despite being always under a strong expressionist influence , Jerico’s research will show itself under an entirely new light. Exactly as Francis Bacon, an ubiquitous reference for Jerico, used to say about his paintings, the works created for Fade to Blue are the results in trying to do something instead of saying something.
Still life, geometry and birds, frozen in the act of flying, are all standing in precarious balance between Damien Hirst’s blue paintings and Eadweard Muybridge’s studies.
Blue has always been for the artists a kind of totem to be treated with reverence and respect; in a Taoism-like juxtaposition with red, it has been enough to synthetize the wide range of human emotions. Red’s edginess contrasts with the roundness of blue, the color of both the mysterious ambiguity of the sky and the cold deepness of the abyss. The infinite is a place tinted in blue, invented by men, built up in solitude and silence and populated by human beings which are always stretching towards each other without ever touching.