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The Projected Sign

On a microscopic level, attention can (and should) also be drawn to the delicate interplay between the "parts" and the "whole", extremes in the sensory balance Fernando Velloso uses to build the surface. A movement that has been present in every one of his works since the 90s creates a sense of expansion and exteriority coupled with another one of containment and interiority. This confrontation ends up pointing, once again, to the object nature of the painting-as-a-built-apparatus and also to their nature as signals of a culture built from various sources of knowledge. The motif cannot be reduced to relationships between "rational" and "intuitive".

It is comparatively easier to follow the transformation in the composition procedures that have informed Velloso's paintings from 1995 on. First, there is a return to the pictorial mass. It begins to get marks, points that insinuate the "free" internal structure that is parallel to the "rigid" external one that organizes the piece. Whereas at first sight there is the built surface with regular forms, a closer look follows another course. It freely flows from the spatial cut configured by the canvas, traverses the modules that build the surface, and reaches the small signals that pulsate in the matters producing expansions and concentrations as the attention of the viewer moves.
 
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