Wie beim Spiel Tangram, bei dem aus einfachen Dreiecken immer neue Figuren entstehen, versteht es Fonseca, einer elementaren Grundform durch leichte Umstellungen und Farbkontraste etwas Neues abzugewinnen.
Titel wie „Rhythmus VIII“ deuten darauf hin, dass Fonseca seine Kunst musikalisch versteht. Wie bei der Musik einzelne Töne zu einem Klang werden, verbindet sich in den Werken Fonsecas das Getrennte wieder und wird zu einer fesselnden Einheit.

Textauszug Franziska Schmid

The construction of geometry is from the beginning a division of  the (picture-) space. Thus, the pattern of  the picture is not only comparable to musical scores, but also to cartographic orders and architectural drawings. Hence, the logic of letting the ornament expand in space and grow is inherent plasticity up to its installation. This is exactly what the work of Fernando Fonseca underlines.
At first glance, all may look transparent: but in the semi shade of ornaments the same happens as when a group of letters is recognised as writing, leading blank spaces and word sequences to coalesce into text.

Text (extract) by Konrad Tobler

Having visited his studio a number of times, I was engrossed by the fact that his paintings bring together a number of qualities that one does not expect to find in a single work. His painting are geometric, yet decidedly hand painted. Working with thin translucent coats of oil paint, they generate bewildering optical effects. Simultaneously, the ever-evolving repetition of patterns produce understated lyrical compositions. Mostly, Fernando Fonseca has developed over the years a truly idiosyncratic and multifarious sense of color, working with both saturated and pastel hues that constantly play off each other.

Text by Fabrice Stroun