CONTRA LA INERCIA AGAINST INERTIA - granada cultura

126
Foreword
Granada’s contribution to Spanish culture is remarkable,
particularly if we consider some specific areas
of activity, such as poetry, pop music or painting. In
the case of the last of these, specialists are impressed
by the common characteristic of the special care our
artists put into their work, no matter which formal
universe this may belong to. In whatever aesthetic
territory, for when taken together their work covers a
broad range, the technical mastery of Granada painters
stands out. In the figurative tradition there are
magnificent examples of revitalization of a language
that has never been abandoned, and an outstanding
representative is Paco Pomet.
As with most of his generational colleagues, the
Diputación de Granada has accompanied Pomet
throughout his various formative stages. He took
part in the annual collective organized by the Area
of Culture together with a number of final-year
students from the Alonso Cano Faculty of Fine Arts
(Propuestas compartidas II, 1993) and had an individual
exhibition in the Lower Room (Ciudad Cero,
1998). In 2001 he met the influential Tom Patchett
thanks to the exhibition of his collection in the Upper
Room (to which Pomet contributed) and in 2003
he was awarded the 7th Manuel Rivera Grant, allowing
him to study at the School of Visual Arts and,
especially, spend time in New York, with important
consequences for his work. As is the case of some
other artists of his generation, this sequence is now
complemented by the exhibition in the Upper Room
of the Condes de Gabia Palace and to which this
catalogue belongs.
It may be premature to speak of a “retrospective” for
someone so young, but the fact is that what is exhibited
is a compendium of Pomet’s production in the
present century, with particular attention on the last
five years, when his work has ceased to be shown so
assiduously in Granada, due to his recent collaboration
with the Madrid gallery My Name’s Lolita Art.
However, Pomet’s name has not been absent from
the local media, which have reported the painter’s
successes both here and abroad. Special mention
should be made of the recent Excellent Work Prize
awarded at the latest Beijing Biennale, as well as
the reception of his work on the competitive North
American market (where he is represented by the
Monya Rowe Gallery in New York and the Richard
Heller Gallery in Santa Monica), and not only on