After a voluntary interregnum in his production between the mid-1980s and the second half of the following decade, Vítor Pomar resumed his artistic practice, producing photographs, installations, and objects. Simultaneously, he recovers the practice of painting, creating works that retrieve the vigorous gesturalism and materiality experimented in previous series. The conceptual foundation of these new works is a programme based on oriental philosophy, from which the artist questions the mystical and spiritual dimensions of existence itself.

Composed of three different but interrelated sections, this work is structured as a triptych that, in a certain way, summons the viewer to a transcendent or sacred experience (or even religious, in the original sense of the Latin word - religare
- to hold together). Despite the balance of the set, the multidirectional movement of the gestures and the chromatic contrasts create a permanent tension between the various elements, a metaphor for the permanent existential restlessness of the individual and his search to understand their place in the world.

Each painting has as basis a composition defined by paint application in dynamic brushstrokes that overlap each group of colours, sometimes dragging on to total scarcity. In opposition to moments of colour saturation, there appear suggestions of transparency and luminosity, signs of absence and emptiness. In this game of oppositions, Vítor Pomar proposes a reflection on the relationship between body and mind, between matter and senses, between the visual and the spiritual, essential values of each sensitive stage of his artistic creation process.

JB