ARTIST STATEMENT​​​

Origin. Vlad Pocol's practice originates in an act of recovery. While training as a lawyer in Geneva, a painting he had made in the manner of Gerhard Richter fell from a shelf and was destroyed. Rather than discard it, he took an oyster knife to the ruined surface and, beneath the wreckage, discovered a language entirely his own. That founding gesture, refusing loss, reclaiming form from collapse, has governed his work ever since.
 

 

Material and Territory. Pocol builds surfaces of extreme density. Oil applied in seismic ridges with a palette knife, concrete and epoxy embedded into the canvas, textile mosaics assembled into topographic fields. His pigments are mixed by hand, each shade carrying the singularity of its making. The accumulation is not indulgent but insistent: more can be drawn from what remains. The recurring topographic lines, vibrating ridges, and fragmented grids do not depict landscape but construct it, mapping an internal geography shaped by displacement across Switzerland, Paris, and the Arabian Peninsula.

 

Method. Across painting, sculpture, and textile installation, the inquiry remains constant. Oil paintings condense emotional strata into geological form. Sculptures in metal, concrete and resin test the tension between weight and fragility. Textile installations translate the cartographic impulse into woven surfaces. The territory is not found but made, one layer at a time.

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