Pol Pintó (1993)

Emptiness dominates in Pol Pintó’s work, occasionally with drops and stains of paint that could be considered mistakes. These are the result of an unrepeatable and spontaneous action, every action leaves a trace, sometimes involuntarily. The origin of Pol Pintó’s pictorial work focuses on urban art, understood as a means of free expression without filters. In this environment, speed becomes
essential. Facing it, is what forces Pol to move away from his obsession with
perfection and have to look for other types of tools in order to develop his work. This search led him to the discovery of the chalk line, using an instrument widely used in construction and engineering to draw straight lines. With the use of this, beyond streamlining the process, Pol realised all the other nuances that he brings to his work: expressiveness, inconstancy, randomness. Including error. In addition, the use of this chalk had clear connotations that would become the connecting link to define the evolution of his work: austerity and the continuous search for the primary.


All the pictorial works have been produced with the chalk line (or an interpretation of it), applied directly to raw materials. This simple instrument fills the surface with nuances and with barely any contact by the artist on the canvas. The line is projected approximately where the author has determined, leaving space for accidents, forcing the work to be rethought and reconfigured continuously. This repetitive gesture does not have a specific purpose. Rather, it is the product
of endless routine and ontinuous repetition. How to live a life.

1000

Pol Pintó

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700

Pol Pintó

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Untitled

Pol Pintó

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Repetició

Pol Pintó

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Pol Pintó

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Untitled

Pol Pintó

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Una setmana de teletreball

Rubén Torres

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Teletrabajo 01

Pol Pintó

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