Signo pictórico y signo escultórico en Francisco Méndez y Claudio Girola

This paper studies the concept of sign in the painter Francisco Méndez and the sculptor Claudio Girola, members of the School of Architecture of Valparaíso. It will contextualize this practice, understood as an ephemeral plastic gesture associated with the poetic act, and will review some examples made by Girola in the Travesía Amereida (1965) and others led by Méndez in the travesías to Cape Froward (1984) and Curamahuida (1986). It will be suggested that the sign defined part of the individual work of these artists: in the case of Méndez, in the practice of the pintura no alberagda, and in that of Girola, in the material diversity employed. Finally, it will be proposed the existence of a signic turn that determined a particular aesthetic characterized by emergence and material precariousness.