cameo

Bruno Pacheco

cameo, 2019

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. The theme of still life, based on the idea of selecting and isolating an object of interest, is a crucial element in Pacheco’s practice. Based on an already existing photographic image from the artist’s archive and derived from everyday life, Pacheco’s paintings of objects choose random everyday motives while depicting them in a classical manner of painterly depiction, creating thus an ongoing negotiation between what and how is 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 that are 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. Similar to 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.

Bruno Pacheco is based between London and Lisbon. His work has been exhibited at the 31st São Paulo Biennial, Sharjah Biennial, Culturgest (Lisbon), Van Abbemuseum (Eindhoven), Serralves Museum of Contemporary Art (Porto), Whitechapel Gallery (London) among other. His work is part of the Fundação Calouste Gulbenkian – CAM (Lisbon), Fundação de Serralves (Porto), Kadist Art Fioundation (Paris), The UBS Art Collection (London), Van Abbe Museum (Eidenhoven), Sharjan Arts Foundation collection and the MCA – Museum of Contemporary Art Chicago collection, among other.