The politics of painting is the foundation of Pacheco’s practice, making painting the principal medium in which Pacheco’s works are conceived and his primary subject. His practice rethinks traditional modes of display, perception, and subject construction. Based on an image from the artist’s archive, Where the wind blows depicts a wind cone moving in the wind. Removed from its context and reality through its framing and the painterly treatment of the image, seducing for the softness of its colors and unusual light, the work appropriates a random object from everyday life, while following a classical manner of depiction resulting in an ongoing negotiation between what and how is being portrayed.
By abstracting the motive from its initial context, isolating it, and reducing it to the very basis of its form, Pacheco points to the impermanence of painting and image production, where nothing is fixed and where meaning is transformed through time. Pacheco’s approach in many ways resembles digital modes of content construction, based on an associative chain, where one thing leads to another and where content is created through rhizomatic structures rather than through a linear approach towards narrative. Like the digital image, the image is left anonymous and abstracted from a singular reality. Through his/her perception, the spectator becomes a protagonist of the work, an active participator in blurring boundaries between the interior and exterior of the work, between the abstract and the representative.