CONTRA LA INERCIA AGAINST INERTIA - granada cultura

asis of all artistic activity and painting in particular
– the act of seeing, the fascination with the visible
world and the almost magical discovery of a means
by which to fix one’s own vision of the world. Myopia,
Optics and Painting. What happens when, even
though we know there is no certainty to be found,
we give in to curiosity and put on the short-sighted
glasses? Boundaries and distances become blurred,
we flounder, we enter the hall of distorting mirrors.
Just like short-sighted glasses, Painting intervenes in
the visible by offering unprecedented points of view,
altering the scene, lying and being sincere, reducing
and increasing clarity, all at the same time in a single
gesture. It little matters whether the vision offered
responds initially to an inner or an outer reference. In
the case of Paco Pomet, figurative language, image
recycling, monochrome, the dislocation of spaces and
characters, expressionism, the sense of humour and
even open irreverence speak of an artist that disdains
the creative clean slate to carry out, on the other hand,
a repeated intervention on that boundless environment
of spanking new, harassing images we move
among every day and which, whether we like it or
not, make up the instantaneous near-sightedness of a
reality that we very often cannot or do not want to observe
in all its fullness. What follows is no more than
a proposal of a number of key ideas around which
the singularity of his work can be understood, and it
is, therefore, a manner of ordering images, making
them available and linking them together. Many other
orders are doubtless possible, and probably none of
them would completely exhaust the work of an artist
who still has a fascinating career ahead of him.
II. PaIntInG and PhotoGraPhy
Daguerre’s admirable discovery
does an immense service to the arts
Paul Delaroche, 1839
The first thing one notices on seeing Pomet’s canvasses
is that, in field of the pictorial, we recognise
in them the adoption of an apparently alien visual
code – that of Photography. Something in the play of
the proportions, the point of view, the spatial plausibility
and the chiaroscuro tells us that the origin of
the painted images lies in a photographic image. It is
essential to delimit the sense and the antecedents of
this integration or correlation between the pictorial
and the photographic in order to gain access to an
oeuvre in which the concepts of appropriation, reality
and transgression are fundamental.
The combination of Painting and Photography has
its roots in the very origin of Photography. It is not
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