In his photographs rarely appear people. And if y do, if y give life to images, y do it to be reference of scale or how close or far y are auntic protagonists of ir photographs: buildings, walls, wastelands, ruins, rubble, dampness of walls and Semi-deserted streets that force us to look and walk image from end to end, as if a verse is read. And is that images of Paco Gómez (Pamplona, 1918-Madrid, 1998) have some poetic, capturing an instant. This is what allows to see 150 photographs of exhibition Paco Gómez. The poetic moment and architectural image, inaugurated in Fundación Foto Colectania de Barcelona (until 17th of June) in which work of this photographer is vindicated, one of main renovators of photography in Spain in Sixties and Seventies , which was not a professional photographer, but amateur, at a time when this was synonymous with creativity, who earned a living by running a tailoring, a family activity that never left.Cine Barceló, by Paco Gómez. Photo Colectania
In spite of that, his family bequead, three years after he died, 24,000 negatives and about 1,000 copies that speak of gaze of a professional of reflective and aestic photography. Ramon Masats, one of his colleagues and friends defined him better than anyone else: "It was, in my opinion, best photographer of my generation. Neir more nor less. "
And that his photographs seem simple, based on pure and almost abstract lines and forms, playing with lights and shadows, bites and unusual perspectives. According to expert Alberto Martín, curator of exhibition "Gomez is one of few photographers who develops an urban documentary practice in a conscious way. He knew how to capture a fundamental time for architecture of our country, from 1960s to mid-seventies, where re was an important renovation with great names and works. "Madrid, 1973, by Paco Gómez. Photo Colectania
The exhibition, which could be seen in Madrid in room Canal Isabel II goes furr and works as a kind of travelling throughout its career, extending canon that existed on it, "according to Martín. It begins with a selection of images that were released between 1957 and 1963; It crosses stage of group Afal (since 1957) which was decisive in its work; The exhibition in Paris in 1959 where it is present its poetic style in which it already photographs its walls and walls.
In selected images it is clear how city breaks into countryside, limits of urban and periphery, especially in Madrid. When figures appear, appearing out of fog, shape an austere landscape, and place ir images very close to neorealism and lyricism. and But how to describe those huge skeletons of half-discovered buildings surrounded by a mud. "In his works nothing happens. There is no specific narrative element. What it records is existence by merging abstraction and a very strong plastic sense and composition. So you can talk about a neorealism existentialist, "continues Martin.House in Somosaguas, by Paco Gómez. Photo Colectania abstractions
Photo Colectania also exhibits 40 covers of magazine Arquitectura, which published each month official College of Architects of Madrid, a pioneering publication in its time directed to a professional sector, for which Gomez worked for 15 years; Some works that threw to fame Gomez after its director, Carlos de Miguel, was subjugated of his style and his poetic vision. "In se works Gomez is fixed in problems of life of city and its transformations," explains Martín who does not hesitate to qualify images of Gómez of photographic file to which it goes on different occasions to select unpublished images or to Re-publish some granting a new meaning. Many go beyond images of architecture to use and are abstractions from graffiti, torn posters or fragments of walls, mes for which Gomez felt true devotion.Solitaires portrayed
In excellent catalogue published for exhibition you can see a selection of his portraits, both of anonymous people and of architects — creators of buildings he liked so much —, colleagues by profession, artists in his studies and self-portraits, most At tailor shop where I worked all week. In most, portrayed appear as solitary and thoughtful beings that show an existential component and do not stop looking at camera, Interrogándonos.