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Anyway, his decision to forego a career as an architect was very fortunate because he was allowed to concentrate fully on his art.

A craftsman in his field of poetic construction, Fernando Velloso sustains a déplacement sémiologique - to use Roland Barthes' term - throughout his work. It is a displacement of principles derived from architecture to the language of arts. It is easy to see it in the effortlessness with which he designs sceneries for ballets and movies, enriching the scenic space and reinforcing the power of his creative force and coherence of expression on stage. The same architectural principles that migrated to his paintings can be found in these works, highlighting the an inventory of surfaces, an assemblage of wrought surfaces that spark the memory and remind us of experiences senses had with walls, floors, and ceilings long ago.

They are, after all, planes: vertical and horizontal, upward and downward ones around which we were once wrapped and over which the implacable work of time exerts its power. This is true as far as the fruition of matter is concerned. As with all painting, color is something one can't help to mention in Velloso's work: they are telluric, deconstructed, and residual. But the question of form still remains. In a two-dimensional plane, volumes project themselves in a way that resembles assemblages, with their characteristic overlap.
 
 
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