Thales Pomb (1989) is a visual artist whose practice is grounded in the very act of painting, investigating the phenomenology of the image and what emerges in the instant when a painting begins to take shape. His work moves between memories, lived landscapes, and possible territories, creating a space where the real and the imagined coexist on the surface.

​

Throughout his trajectory, Thales develops a body of work marked by low contrast and a crepuscular light that veils more than it reveals. This quiet atmosphere allows the image to appear at the viewer’s pace, without offering immediate answers. The influence of Barnett Newman is decisive in this process, especially the notion of “zips” as thresholds connecting the natural and the spiritual—openings that, in his paintings, expand to let in another kind of light.

​

This movement led the artist to dissolve the boundaries between figure and ground, allowing both to breathe together within the same surface. The reference to artists such as Milton Avery was important in this transition, particularly in the autonomy granted to color, which no longer serves form but instead establishes its own relationships, revealed as the gaze moves across the painting.

​

Today, his work is built through a direct dialogue with the material itself. Color, gesture, and surface guide the process, allowing the painting to unfold according to what it demands. In this meeting between decision and occurrence, Thales creates images that evolve over time, inviting the viewer to inhabit this field of continuous emergence.