For Bruno Pacheco, painting is an act of “neutralization,” as the Portuguese artist has described. Rendered in luminous pastel washes, Pacheco’s subjects become detached from context. The resulting images are flattened, ghostly, and impressionistic, toeing the line between representation and abstraction. Under Pacheco’s brush, all subject matter—be they contemporary, historical, landscape, or figural—are rendered in a transient, ephemeral haze.
This past April, Pedro Cera
,” Pacheco’s first solo exhibition at the Lisbon-based gallery. “Borrasca,” named after the Portuguese word for “storm,” showcased a series of works created within the past year. Looking to dismantle the hierarchies of traditional gallery viewing, Pacheco mounted his canvases back-to-back on rearrangeable, freestanding support structures. Instead of being individually hung on the gallery wall, pairs of paintings became a singular object to be read in relation to one another. “The show is about the unfolding of possibilities,” said Pacheco in a video accompanying the exhibition. “Sometimes there is a relation more with the image. Sometimes there’s more of a relation with the way it’s painted. All of those things are an unfolding of associations that can be created.”