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The Three-dimensional Temptation

The works made with metal sheets were the trigger for important changes in Fernando Velloso's art. The most important of them was a long, intense, and profound research on matter and material that has been developed until today. In the heart of it there is what the artist calls an "epidermic question", which he explains as "attention given to the effect of time, which confers personality to the matter". Furthermore, it is an experimentation that suggests the potential movement from the plane to the three-dimensional space. Velloso talked about his use of metal in the following terms, "I take the metal as a starting point to discuss pictorial issues. Right now, besides being a reference, I have incorporated matter that does not belong to painting into my work. But it is not a conceptual work; the main issue is still painting. It is quite clear, because of the way I use the material, that he who made that is a painter (…) I like to submit these surfaces to certain rigor, a geometrical mastering of the composition" (8).

Due to the new procedures, the structure of the paintings practically left the juxtaposition of planes behind to become a network of multi-dimensional, multi-material and multi-referential connotations. The first signs of interest for a reasoning that confronts multiple elements in a single piece came up slowly, and the maturation of this process took place around 1990.
 
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