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Pon\u00e7\u2019s diaries provide a crucial entry point into this shift. Brazil appears in them as a space that alters his perception at a fundamental level: \u201cMan in Brazil is closer to nature than the European, formed through books and concepts\u2026\u201d (Pon\u00e7, diary, c. 1950s). This observation introduces an ongoing tension between a culture structured by conceptual frameworks and a more immediate, sensorial engagement with the world, a tension that runs through his work and redefines his approach to form.<\/p>\n\n\n\n
During these years, the image moves toward a condition of openness, where stability gives way to an organization based on internal relations, rhythms, and densities. In works from the Suite Pres\u00e8ncia<\/em> series, this becomes particularly evident: the surface is activated through repetition, accumulation, and the construction of patterns that generate a sustained vibration. Concentric circles, dotted structures, and modular forms operate as perceptual devices, guiding the viewer into an expanded state of attention. The image unfolds as a field of tension, in which no element remains fixed.<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n In contrast, Suite Meses<\/em> introduces a distinct modulation of this logic, where time emerges as an underlying structure of the image. The compositions unfold in sequences that suggest cycles, variation, and recurrence, activating a reading based on duration rather than immediacy. Repetition here is inseparable from transformation, and each iteration introduces a subtle displacement. The image is no longer only a vibrating surface, but a system unfolding through intervals, structured by rhythm over time.<\/p>\n\n\n\n Margaret dos Santos\u2019 assertion that \u201cthe work of this period does not seek to stabilize the image, but to intensify its vibration\u201d (dos Santos, n.d.) finds a complementary expression in these two series: while Suite Pres\u00e8ncia<\/em> concentrates vibration on the surface, Suite Meses<\/em> expands it into a temporal dimension, where rhythm becomes the primary organizing principle.<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n This transformation is also linked to a growing spiritual dimension, particularly through Pon\u00e7\u2019s engagement with Jewish thought during his time in S\u00e3o Paulo. The image begins to function as a threshold, a space of mediation in which the visible is articulated in relation to what remains latent. As he writes: \u201cIt is not about painting what is seen, but making visible what insists behind things\u201d (Pon\u00e7, diary, c. 1950s).<\/p>\n\n\n\n The work produced during this period reaches a state of radical openness, shaped by both intense productivity and episodes of destruction. The works presented in this exhibition carry a particular significance, having remained for decades within private collections, largely unseen by the public, and now offering access to a less visible yet essential dimension of Pon\u00e7\u2019s practice.<\/p>\n\n\n\n In this context, his own words offer a powerful point of approach to the consciousness that underpins this period:<\/p>\n\n\n\n \u00abSomos olas en un mar, o nav\u00edo es mi atelier. \u00c9l flota, flota sobre este mar de almas que se agitan constantemente, que se funden, se destruyen, se comprenden y se ignora, quieren permanecer, pero s\u00f3lo el mar permanece (\u2026) Antes viv\u00eda en la superficie, pero s\u00e9 ahora que lo que mantiene mi nav\u00edo no es lo que se ve sino lo que existe (\u2026) no es Nada y lo es todo (\u2026) Cuando mi br\u00fajula se desorienta, vientos me conducen\u2026\u00bb <\/p>\n\n\n\n <\/p>\n\n\n\n![\"\"](\"https:\/\/galeriasenda.com\/wp-content\/uploads\/2026\/04\/PONC34-1-730x1024.jpg\")
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(Pon\u00e7, 2009, p. 41)<\/p>\n\n\n\n