Combining art, research and documentation, Júlio Pomar's work is shaped by a critical heritage that allows him to approach nature in a relaxed way, without pretending to present a knowledge shaped by the assumptions of science. Nature, a scientific view and an artistic view combine in a discourse that goes beyond disciplinary determinations and guarantees a final result that can be revealed in different layers of information.

In dialogue with the work of Júlio Pomar, by Hugo Canoilas, an extensive body of work is shown that the artist has developed in recent years around a figuration that is sometimes prehistoric or pre-apocalyptic, and sometimes post-apocalyptic. , in a spectacular critical attempt to think about society, about the relationship with art and with nature through art.

What does creation entail? And the perception? What is the truth of nature and what are the origins of artistic making?

In the dialogue The Decline of the Lie, Oscar Wilde underlined that «the more we study Art, the less we are interested in Nature». […]

The works of these two painters form a hybrid field, a territory that leads to rethinking the nature of things, objects, natural phenomena, art, its materials, exercises and methodologies. Art in general equates the ways of seeing and perceiving reality, involving the observer in a constructive participation. The relationship between art and nature, between living form and artistic form, then reveals itself in a space of intelligibility capable of heuristically clarifying the very form of thought.

It was in this broad scope that the exhibition went beyond the explicit theme in the works — wild and domestic animals, existing and extinct — to allow another domain of broader reflections, particularly associated with issues of sustainability, technology, the possibilities of life on Earth and , not least, of time.

[Sara Antonia Matos]