CONTRA LA INERCIA AGAINST INERTIA - granada cultura

(10) Fernando Castro Flórez. “De la
verdad en punctura: detalles y paradojas
visuales en la pintura de Paco Pomet”. In:
Paco Pomet. Ayuntamiento de Cartagena,
2009. p. 9.
(11) Paco Pomet. Dibujos. Cartagena:
Galería La Naval, 2009. pp. 9-16.
138
punctum inserted into the image 10 to act via an alteration
of the human figure. The first justification of
the repertory of anatomical aberrations I am about to
describe rests with a profound interest in the formal
resources of expressionist painting. This is certainly
no less than the truth, but this is the precise moment
when any analysis of Pomet’s work is forced to give
up purely endogenous artistic references such as the
former to enter into the terrain which, through inertia
and an enormous lack of historical perspective,
we still refer to as low culture. We should remember
that Paco Pomet’s artistic vocation developed on
the basis of drawing. He himself has reminded us of
this in his image of a child “fascinated by the details
appearing from the point of a pencil or a ballpoint,”
and recently has done so again in a publication in
which he recalled the overriding role that learning
to draw had in his own personal inclination towards
the plastic arts, especially figurative painting, and
that somehow leads back to his origins in rejecting
colour:
In art class the classic genres predominated and
the discipline consisted of the landscape, stilllife
or portrait – it was a boring, arid, Spartan
period, but it scared off the lazy and impostors of
the “calling”. It also served to build up in those
of us that stayed on an ever-increasing desire for
freedom, to break with that order. (…) I drew
characters stamping on each other and biting
inaccessible parts of their bodies, sodomizing
themselves, turning themselves inside out like a
sock (skeleton out as well), genital organs with
lives of their own, the most voluptuous women
doing unimaginable things with the puniest of
men, invariably implausible murders, gory sports
scenes in which the athlete’s efforts almost always
ended up in a multiple dismembering, lacerating
caricatures of famous people or teachers…
(…) Fortunately, all that iconography gradually
calmed down and softened as I left adolescence
behind, but the radicality of those doodles was
good training for my right hand. Having more or
less conquered those challenges in drawing, I felt
more confident when approaching a problem on
paper of any complexity. There is still a residue
from that time in my manner of drawing that
brings back solutions and options common in
comics and animated cartoons. 11
The drive to draw of this young lad born in Granada
in 1970 and who became a teenager after the
democratic transition in Spain could hardly form
his personal imagery creating men, horses, buildings
and figures, as Vasari tells us of Giotto and
Cimabue. Pomet admits to having copied time and