In December, he was granted the national art pension, which gave him financial security and allowed him to set up a studio in Via Ripetta.
A visit to the Louvre in Paris revealed his interest in Georges Seurat whose style was similar to his own.
In fact, we have a Michelangelo-esque Pietà, which is flanked by a figurative production attracted to childhood landscapes and portraits (including that of Matilde Festa, who would become the wife of the famous architect Marcello Piacentini), but also an early hint of hallucinatory painting, as well as futurist works to be ascribed mainly to the needs of a young author in the cultural temperament of the moment.
Also appearing is the prism, that object loaded with meanings that will have an increasing weight in Ferrazzi's career.
[6] In the 1950s, he spent most of his time at the Casa di Santo Stefano in Monte Argentario where he created his ambient sculpture Il Teatro della Vita (The Theatre of Life).