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Confrontations and harmonies

In the 90s, Velloso's paintings strived to develop a language from the contrast between geometry's drive to discipline and the lack of discipline of the pictorial matter. Color, composition, signs, objects, and different materials were to be used and shaped so as to build this basic contrast.

The starting point was the artist's cognizance of the structuring impact of geometry, understood as a potential for the foundation of a poetics that creates meaning out of the chaos of the world. Its icon will be the gesture, which gets inscribed into the matter and establishes a principle of creation, of interrogation, but also of communication. It would not be improper to say that two methods coexist in Velloso's works: one is systematic, severe, abstract, and privileges the creation of limits; the other is expansive, open to randomness, organic and somewhat referential.

From the reiterated application of these procedures, there came a singular visuality whose motto is the assertion of order as the origin of artistic practice. However, every image also seems to remind us that this order does not exist by itself, but in a respectful or irreverent interaction with what someone called the precipitations of an unselfconscious language.
 
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