Vítor Pomar has been a prominent figure in the Portuguese art context since the 1970s. His conceptual approach bears the influence of Buddhism, specifically Buddhist meditation and the spiritual at large. Although rooted in the medium of painting, the work of Vítor Pomar brings together a multitude of artistic approaches, crossing painting with the experience of drawing, photography, and film. His work emerges from reuniting seemingly dispersed knowledge inscribe in daily life, which through a diary-like method, based on fragmentation, observation, and creation of images, captures the artist’s interest in the conceptualization of ideas connected with the subject of absolute existence. By the immediacy of his paintings’ pictorial gesture, Pomar questions our relation, understanding, and experience of time, place, and being.
mind free from meditation is the bliss, 2011, is part of a new group of works, the roots of, which can be found in Pomar’s works from the late ’70s and early ’80s, which have marked a shift in the methodology and conceptualization of the work. Abandoning painting on the vertical, Pomar, instead, places his canvases unmounted on the floor. Using a broom or a large brush, Pomar creates expressive strokes of paint, for which the freedom of movement becomes characteristic. Unrestricted to the problem of composition, the painting is a play of variations – an attempt for a formal search of a code of registers and scale. Scale here is not a problem of dimension, but rather a complex set of relations, between the management of the painting’s internal space, the absolute dimension of the support and the relation of the two to the spectator’s corporality and towards the ritualistic.