PATRÍCIA FURLONG

   The univers of interests captured in urban signs has been referred to in the present set of my works. That which is perceived as fragment of an existence or of an permanence. Being so, I lead my attention mainly to suports of visual communication, like traffic signs and billboard advertising, for I understand that they nest some live elements of a new status of personal references.

   Trapped in a "signal forest" my gaze enters a game process and separates, rejoins, deslocates and associates messages that spread in urban visual spaces. This non-stopping operation attemps to the lending of a soul to the presence revealed by these creative means.

   In this spiral-like process, messages that are "orders" or "commands" present themselves unique for they volatile caracteristics of "non-placement". More than advertisements placars, commands seem to keep swiching towards the edge of communication.

   Message deslocated to its own medium, but this also deslocated. Their skin turned inside out. I pretend that, in these pieces,messages that seemed unquestionable (even if dissimulated)  present themselves open and labirintic, imposing their presence and turning into a enigma condition, by this way approaching what is enigma in a work of art.

   In recontextualizing messages and contents I propose a game that will expand in our daily relationship with a imposing signic environment and that can redeem it into solutions plastically reordered.

   This being so, the medium  for a piece is chosen from within the scope of its concept and by its tactile and ludic aspects.

   The same concern applies to the art piece dimension : my intention is to potencialize possibilities of affectionate involvement with the image or (object) which constitute the piece in question. By so doing a multiplicity of solutions is made possible and in this sense, a finished piece is a draft project allowing multiple solutions. Here again the game playing process is enphatisized.

    The "pessoality"  I search in relation with a context that present itself asseptic of humanity is, beyond  plastic tools, suggested in the possibility of interaction that are offered by these pieces. They can be manipulated, recriated, redimensioned. But  the relation with the world from were they come is kept, for they border impossibility: "spectators" freedom is enclosed by words that cannot be completed and underlying meanings that cannot be changed. 

CURRÍCULO E TEXTOS