Medium: Acrylic on canvas
Size: 1.31 x 1.88 m
Since the 1980s, Patrone has been creating a pictorial proposal that revolves around the theme of the decrepitude of the architectural splendors of a Montevideo gone by. She establishes a peculiar relationship between architecture and the female figure. She devotes herself to the architecture of Montevideo's Old City, particularly to its façades. Numerous details of the rich historical eclecticism so damaged by real estate speculation are redeemed through her painting. Patrone's exalted pallet gives new life to the deteriorated, yet beautiful, architecture. In several series, woman is linked to the architecture of the past. Female things move through space; feminine images float in the air or escape from enclosures (both real and metaphorical). Patrone revitalizes women's capacity for self-fulfillment.
She states, "I believe in the ancient, ritual power of drawing and painting, which is maybe as old as our conscience. It is a difficult, complex activity, which can also be very easy going at the precise moment. Always mysterious, unreachable, exhilarating, exhausting, painting is human. My painting is a flat land, a map of intentions, a process in which form and meaning constantly interact. Each and every time I start with human figures, mostly women, in their variety and complexity; searching for the mirror, carrying the wish to understand, the wish to explain. I build scenarios in which those women act: cities, fields, skies. I don't know who they are, but I think I know where they come from: reality, time, art. The substance I work with is colour. Colour, which by perceiving, we make exist. A ghostly game."
Her solo exhibitions include: Iris en la tierra purpúrea, Addaya Centre d'Art Contemporani, Alaró, Mallorca, Spain, 2005; Nuevos y viejos Patrones, Museo de Arte Contemoráneo de Montevideo, Montevideo, Uruguay, 2000; El nimal fabuloso, Galería Sur, Punta del Este, Uruguay, 1998; Montevideo por encargo, Cabildo de Montevideo, Montevideo, Uruguay, 1996; paintings and video installation, Galería del Paseo Narvaja, Club de la Pinacoteca, Montevideo, Uruguay, 1994; Galería del Paseo Narvaja, Club de la Pinacoteca, Montevideo, Uruguay,1993; Lo maravilloso, Linda Moore Gallery, San Diego, California, 1992 & 1990; Metropolitan Museum of Tokyo, Tokyo, Japan, 1990; Galería Latina, Montevideo, Uruguay, 1990; Museo de Arte Contemporáneo, Montevideo, Uruguay, 1989; State University of New York, Albany, NY, 1988; Uruguayan Consulate in New York, NY, 1988; Galerķa de la Ciudadela, Montevideo, Uruguay, 1987; Ventanas a la calle, Anglo-Uruguayan Cultural Institute, Montvideo, Uruguay, 1986.