Street artist Jorge Pomar have shared with us his most recent independent and self-managed project in continuation of “Una Gotita En Suspensión”. The mural stands 15 x 35 meters tall and is located on the wall of a building in San Telmo on Avenida Independencia at the corner of Piedras.
“All the keys to this corner”
The wall in question exhibits the marks of a building that was cut down. They are the signs of an interruption. The traces are subtle, to notice them one must have a look in love with the wall, which somehow is waiting to find its imperfections, its breaks, its cracks and its smooth parts, but above all it is a look attentive to the life in the wall, to the vestiges of the passage of time and the passage of the experience of life through the places of the city.
Could it be that painting the sky on the facade gives it an aura of protection? As if it were a psychomagical act to hide the fragility of our days and protect us from the action of the world: if there is a sky and no wall, it can no longer be destroyed. The brick is vulnerable to human action but the sky is unbreakable.
I think that the representation of the brick in sight is part of the repertoire of possible, virtual and synchronic images that are condensed in places. In this sense, it is interesting to insist on continuing to think about what was there and what happened with what was there. This action is a gesture of bringing back memory, at the same time as a signaling of emptiness: when we speak of spaces that are no longer there, it is really important to us to keep thinking about what was there and what happened to what was there.
When looking up, it is good to keep in mind that both the sky and the “above” are always terrains of disputed meanings. Heaven does not mean the same thing to everyone, nor is it factually the same for everyone. It is not equally accessible to all, and there are even those who are deprived of seeing it. Historically and ideologically, the sky can be only a landscape, a navigation route or the final promised land. It can be the territory of technological or commercial conquests, or the target of policies that watch over the health of those below it.
To paint a sky on a wall is to exercise a kind of playful gesture from the action of cutting and relocation that makes the facade a continuation of the sky. There is a mirage enclosed in the bricks, which can be an illusion of having the superpower to pass through walls. But to paint a sky on a wall is also to want to inaugurate a portal to the future, to the possibility of something different, more diaphanous, perhaps utopian: a city that does not withdraw gray on itself, but that opens towards the clouds, that is not heavy and impassable but light; a city where more attention can be paid to the world surrounding it all. Thus, painting a sky on a public wall becomes a poetic and political proposal: an invitation to never take it for granted.
Photos by Santiago Ortí
This project was supported by Quimera Gallery, Pasto Gallery, Sinteplast, Impulso Cultural and Santander Foundation
Text by Lupita Baliño
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