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Put the pencil in the eye | From the shooter to the city | Culture

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The drawing, made in Indian ink and watercolor on canvas, ‘Peixera’ by Anna Pont.Anna Point

The architect Anna Point He shares with Jordi Comas – and with three other architects – one of the most unique studios in the country. On the one hand, they sign urban interventions that change everything without it being barely noticed. Your recent Reorganization of the Carrilet de Reus environment sews neighborhoods with a new structure that allows the pedestrian to be in charge of the place. Or whoever sees their space as more protected, prioritized.

On the other hand, its architecture, of Nordic design and ecological concern, understands that space is light and that materials, like volumes, cannot harm. In that line, your Clinic (CAP) in Riells and Viabrea, built with natural wood flooring and CLT and recycled wood walls, introduces the landscape into the interior of the building.

But, beyond a demanding and committed professional practice, Pont has a life of its own. And in it he demonstrates with skill, determination and subtlety that he knows the value of time. Without her own gallery and without training in Fine Arts, Pont began drawing horses as a child. And from there she went on to portray her family. Her partner says, Jordi Comas who once entered a shop on Las Ramblas to ask what portrait painters used to achieve intense blacks. There she began to use Indian ink, mixing it with watercolor.

The work 'Fat' by Anna Pont.
The work ‘Fat’ by Anna Pont.Anna Point

It was Comas who encouraged her to leave the drawing pad format and switch to canvas. She also has to focus on something other than family. The result was an exhibition in the Vic casino (Barcelona) where they live and work. And a success. Later she would win drawing competitions in Shanghai, Milan, Venice, Treviso, Rome and New York. But, curiously, it has been the social networks, Instagram and Twitter, that have made known her own world of firm lines, humor, non-indifference, kind but incisive gaze and delicacy.

As can be seen in the 16 drawings that make up the sample Women, now hanging in the Roman Temple of Vic until next April 21, Anna’s drawings claim more humor than blood. They are not screams, but they are not whispers either. They talk about violence and motherhood, human weaknesses, dreams, injustice and illness.

The drawing 'Ballet' by Anna Pont.
The drawing ‘Ballet’ by Anna Pont.

Maite Palomo Chinarro, the curator of the exhibition, quotes the North American historian Linda Nochlin to explain that the history of feminist art exists to wage war and question patriarchy. But Anna does it with the humor of quiet wisdom: the one where she understands that the journey is also in the imagination. Thus, his portrait Stripes (2023) confuses the black and white lines of skin and a blouse. He turns them into something anecdotal. His Fish tank (2022) sips water from a fish tank with a straw as if he were sailing, or diving, on the high seas.

It is true that Pont’s drawings accompany, but they do so by inquiring, asking questions. They stick the pencil in the eye when two girls equally raise their arms. The blonde to dance (Ballet), that of Asian features to transport water. They bother and reward the eye when they draw the breasts like a bra, something external – in someone who suffers from breast cancer – (pen girl) and when the beauty of selfie It is that of excess. The woman who makes a selfie Among the portraits of Anna Pont she is plump (fat, 2018).

The piece in Chinese ink and watercolor on canvas, 'Ratles'.
The piece in Chinese ink and watercolor on canvas, ‘Ratles’.Anna Point

Therefore, in the same way that architecture draws the scene of life, Anna Pont’s portraits define our relationship with humanity. They are made from humor, that is, from love, not from judgment. They portray a beauty that escapes sizes, canons and prejudices. The one who sips the water from the fish tank with a sailor shirt and a tattooed anchor has the look, the attitude that Anna has when she draws.

What is that look? The one of calm. That of someone who knows the value of time. In the end, Pont’s drawings talk about the time dedicated to each stroke “between five and ten afternoons”, Comas measures the time invested. “It depends on the size”. Devoting so many hours to a light idea is a way of being in the world.

'Pen girl' by Anna Pont.
‘Pen girl’ by Anna Pont.

Anna Pont is a great architect. And she is an exceptional cartoonist. She exposes herself. She talks. She makes you think. She allows you to dream. She also enjoys her drawings. Even poking her finger in the eye, she does not disturb the viewer. Not because she is lukewarm (she is incisive), but because she is capable of talking about the most painful and complicated things from a deep humanity. The healing beauty that comes from her pencil takes time. And she talks about the value of her, the value of being here.

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