Patricia Gouvêa´s work is based no longer on personal memories, but on the relationship between individual and phenomenal reality. Her research has a linguistic duality that uses still images and movements, both strictly adherents to the principles of photography and its expression through light. She considers photography as something far from historical tradition and technical process so that it can be better connected to the current purpose of valueing the visual arts as a unity within the process of neo-conceptual investigation.
Starting from images of landscapes, the author is interested not in the morphological or historical shapes of nature, but in inner sensations, emotional and psychological reactions provoked by the visual analysis of reality. Her research can be included in the impressionist tradition which was adopted by many of the 20th -century photographers.
Starting from images of landscapes, the author is interested not in the morphological or historical shapes of nature, but in inner sensations, emotional and psychological reactions provoked by the visual analysis of reality. Her research can be included in the impressionist tradition which was adopted by many of the 20th -century photographers.
The use of out-of-focus images and movement are functional instruments to wipe out the descriptive characteristic of the images and to link it to a psychological vision in which shapes and colors of variable outlines play a distinct communicative role. At this extent, Patricia Gouvêa´s images reveal modernity by dissociating her work from the impressionist structure to connect it to the psychoanalytical symbolism.
It is possible to draw a parallel between Patrícia´s work and the pictorial abstractions of Kandinsky and Klee, considering the intimate relation that they establish in shape, color and musical rythm. However, this parallelism should not mean derivation, but analogy with conceptual behavior.
Patricia´s images are supported by a strong relation with musical rythm, since this music is not steady sound, but sound in movement as a cinematographical sequence. That is the reason why Patricia inserts movement in her images. The proximity of dipytch and tripytch leads to an enlarged reading about a rythmical and temporal space determined by a cut between one image and the other. This rythm is subjective and belongs exclusively to the reader.
Trying to sintonize the observer with the communicative wave, she creates a filmed fragment in which the takes and the dissolutions of images set a compulsory time of reading. However, it is not an objective rythm since the author is aware of the impossibility of objective images and shows it when she chooses non-referencial representations, undecipherable forms, out- focused and transformed into luminous cromatic relations.
It is clear that the silent music of her photographs is a birth of the soul not the physiological action of the sight. The performance of her images is by no means narrative, but strongly emotional.
Massimo Mussini, italian art critic, for the catalogue of he exibition 4 fotografi dal Brasile (21o. Fotofestival di Montecchio Emilia, Italy)
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