Paco Pomet's Pop-Art Analysis
The work of the Spanish painter Paco Pomet (Granada, 1970) inserts itself against the flow in the contemporary visual culture of intensive production of images vindicating the use of the imagination to challenge the common, and obsolete, perception of reality. For the execution of his paintings, the artist selects anonymous images, usually from photographic archives, and reproduces them with astonishing accuracy and exceptional technical mastery. Along with this operation, Pomet distorts the meaning of the original image in different ways: integrating an element alien to the thematic depicted, and usually humorous; deforming the limbs or physical extremities of the beings he portrays; combining diverse scales; or using bright, almost unreal, colors, among others. The
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With the work of the painter Mark Tansey (San Jose, California, 1949) his keeps a great methodological thematic and color affinity. The artist from Granada joins Gerhard Richter (Dresden, 1932) in his interest in the ‘photo-painting,’ naturalizing the illusionistic space and equalizing the oeuvre’s information through the blurring of its background. In Spain, Pomet’s work shares with Angel Mateo Charris’ (Cartagena, 1962), its inspiration in comics and the Pop-Art, and with that of his former studio colleague, Santiago Ydáñez (Jaén, 1969), its technical freshness.
A characteristic feature of Paco Pomet, however, is the almost tangible value that the dimension of time acquires in his paintings. The artist’s fascination with the technological revolution of the first half of the twentieth century, and the innovative spirit from which it arouse, is translated, in his work, in the representation of many inventions of this epoch animated by a futuristic air. No less exclusive of Pomet’s oeuvre are his "grotesque" propositions; the recreation of Americana’s scenes; the framing of non-sites; and the capture of moments immediately preceding a fatal
With the work of the painter Mark Tansey (San Jose, California, 1949) his keeps a great methodological thematic and color affinity. The artist from Granada joins Gerhard Richter (Dresden, 1932) in his interest in the ‘photo-painting,’ naturalizing the illusionistic space and equalizing the oeuvre’s information through the blurring of its background. In Spain, Pomet’s work shares with Angel Mateo Charris’ (Cartagena, 1962), its inspiration in comics and the Pop-Art, and with that of his former studio colleague, Santiago Ydáñez (Jaén, 1969), its technical freshness.
A characteristic feature of Paco Pomet, however, is the almost tangible value that the dimension of time acquires in his paintings. The artist’s fascination with the technological revolution of the first half of the twentieth century, and the innovative spirit from which it arouse, is translated, in his work, in the representation of many inventions of this epoch animated by a futuristic air. No less exclusive of Pomet’s oeuvre are his "grotesque" propositions; the recreation of Americana’s scenes; the framing of non-sites; and the capture of moments immediately preceding a fatal