Life can take unexpected turns. The great race car drivers Juan Carlos Ferrigno admired as a child now have works by the artist hanging in their private collections. The Barcelona-based Argentine artist captures legendary cars and racing scenes in a unique way: brimming with movement.
Text by Anja Van Der Borght
“When I was ten, my father took me to the Buenos Aires circuit to watch an F1 Grand Prix,” Juan Carlos Ferrigno begins. “It was as if I fell in love with sports cars and F1 machines… I was especially struck by the Porsche 917 in a way I had never experienced before. I vividly remember not being hungry for two weeks after that!” At the time, Ferrigno had no idea how pivotal that visit would be for his future.
You worked as an illustrator for major names such as Marlboro, Renault, and Aerolíneas Argentinas? JCF: “At 20 years old (Juan Carlos Ferrigno was born in 1960 in Buenos Aires, editor’s note), I was already working in the most renowned illustration studios in Buenos Aires. We created realistic depictions of cars, airplanes, and more, mainly for advertising or business purposes. It was a huge responsibility to work for these companies, but it gave me a lot of confidence.”
How did the idea of depicting movement in your car paintings come about? JCF: “A few years later, I became a highly realistic illustrator. At the time, computers didn’t exist, so everything was done by hand. I started attending evening classes at The Fine Arts School after my studio workday. Those were tough times, but it gave me an artistic perspective on my paintings. I discovered that realism was just one of many ways to paint and opened my mind to different styles and artistic visions. I also had an excellent painting teacher who helped me immensely in advancing my own style, which focuses on movement, action, and the excitement of motorsports. Since then, I’ve incorporated this concept into my work.”
What’s the challenge of painting movement? JCF: “Your painting must make the viewer feel the speed and action. That idea always needs to be in the back of your mind. My style balances realism and abstraction. Car enthusiasts like to distinguish the car’s shape in the painting but also want to feel the speed. The hardest part is finding that balance—sometimes leaning more realistic, other times more abstract. Each painting requires a unique equilibrium.”
Is it easier to depict movement with pencil or paint? JCF: “Definitely with paint. Pencil is useful for preparing the scene and shapes, but painting is where I find joy. Color on the canvas is more powerful… The feeling of brushes and knives moving the paint transforms the painting. I use acrylic because it dries faster than oil. This allows me to build layers of color, and the painting progresses with every brushstroke until I decide I’ve reached the right balance.”
How would you describe your style? JCF: “That’s not an easy question. From the descriptions I’ve heard over the years, I particularly like ‘dynamic realism.’ My works depict the car as you see it, in motion, capturing only its essence without unnecessary details. The key is action and speed… without losing the forms.”
What’s your process? Do you use photos or moving images as references? JCF: “Every car has a unique shape, color, or feature that makes it stand out. But painting a specific car or race purely from memory is impossible. So, I first gather the information I need. From there, I determine the composition based on the story I want to tell. Then I decide on the size, colors, and start creating my narrative. Accompanied by good music, the painting gradually comes to life over the next hours. It’s pure magic.”
In 1996, you won first prize at the International Motoring Art competition, chosen from 260 entries by artists worldwide. Can you tell us about that? JCF: “I decided to participate in the competition because the jury included prestigious figures from the motorsport world. I chose to paint Fangio and the Alfa Romeo 158/159 (61×50 cm) in acrylic because, like Fangio, I was born in Argentina, and I’ve always loved that Alfa. It was also the car that led Fangio to his first F1 world championship title. I wanted to paint in my own style and give the painting the right realistic/abstract balance. To my great surprise, my work won the top prize. Of course, I was very proud. The painting later played a significant role in my career as an artist; it connected me to F1 and the racing world.”
Which of your works holds special meaning for you and why? JCF: “During the 1992 Mille Miglia, I met Belgian jeweler Eric van Esser in one of his beautiful Bugattis. As a major art collector, he immediately asked me to paint much larger works for him. After several attempts, I realized I could bring even more power and movement to my work this way. I enjoyed it. Today, I’m very proud of my large paintings of Porsches, Bugatti 35s, Ford GT40s, or vintage F1 and Ferrari race cars. Every time I start a two- to three-meter painting, I’m faced with a big and exciting challenge.”
You also paint musicians and maritime themes? JCF: “They share a lot with moving cars, despite being very different. Cars, boats, and musicians all have movement and color, requiring a powerful painting. My style, which aims to captivate the viewer with action and emotion, easily adapts to other subjects. I love music and have painted many works featuring legendary figures from rock, jazz, and blues. Musicians performing on stage make for lively paintings. But when I think of ‘painting,’ I really think of race cars. I have gasoline in my veins. Race cars are my true childhood passion, and they always will be.”
How have your works opened doors to exclusive meetings? JCF: “It was my way of meeting people I thought impossible to reach. True motorsport legends like Stirling Moss, Derek Bell, John Watson, Tony Brooks, Jody Scheckter, Jackie Stewart, Richard Attwood, Ross Brawn, Ron Dennis… Knowing these people enjoy my paintings in their collections is a great honor. They were the drivers I admired as a child, so meeting them at exhibitions or F1 circuits was a dream.”
1970 Le Mans Winners Hans Herrmann and Richard Attwood in their red and white No. 23 Porsche Salzburg 917K . (Ford GT40 in the back)
How did you meet Stirling Moss and Keith Richards? JCF: “For years, I mainly worked for the English market. Stirling Moss, being British, attended all my exhibitions and wrote the foreword for my first book, The Motorsport Art of Juan Carlos Ferrigno, published by Haynes in England. I also met Keith Richards personally, but he and Mick Jagger bought their portraits during a major charity exhibition in London. Every time I listen to the Rolling Stones, I think back to that time and the paintings.”
Do you dream of a specific painting? JCF: “Of course, it has to be on a very large scale, but I’d love to reach my true limit and create the best race car painting ever. It’s an impossible task! Painting is a fantastic trap. You spend your whole life trying to create your best painting, but you can never achieve it. So, you keep trying, and this dream is the drive you need to never stop painting and to keep chasing that unreachable dream.”
More info: www.cappelleschi.com, www.jcferrigno.com
