In an era where borders—whether physical, cultural, or ideological—seem to tighten with every passing moment, Pablo Monfort is a striking anomaly. The Spanish-born artist, forged in the intellectual and cultural vibrancy of Paris and poised for a research journey to New York, carries an understated but unyielding defiance. His trajectory and philosophy recall the spirit of Zorro—not as a simple rebel, but as a harbinger of empathy and creativity, offering bridges where others might build walls.
Pablo is an artist of movement—through cities, mediums, and identities. His journey embodies a contemporary restaging of the 18th-century Grand Tour, the rite of passage for young European elites seeking cultural enlightenment. For Pablo, however, this is no nostalgic reenactment. His journey is one of global citizenship, a response to the urgency of our fractured times. “Art thrives in dialogue,” he says, “and dialogue requires openness—to places, to people, to change.”
A Modern Nomad in Search of Belonging
Speaking with Pablo, it’s hard to reconcile his profound insights with his age. At just twenties, he speaks of identity, art, and belonging with a depth that suggests not only lived experience but also a keen observational acuity. Raised in Madrid, surrounded by the echoes of Spain’s cultural titans—Goya, Velázquez, and Lorca—Pablo grew up steeped in tradition. Yet, it wasn’t until his move to Paris that he began to understand the fluidity of identity.
“Paris taught me that identity is not static,” he explains. “It’s something you negotiate constantly. It’s shaped by where you are, who you meet, and what you choose to embrace or leave behind.” In Paris, he found a city where the grandeur of the past coexists with vibrant subcultures, a city whose contradictions became fertile ground for his artistic evolution.
The concept of belonging—or its elusiveness—is central to Pablo’s work. His art explores the tension between the weight of cultural heritage and the freedom of self-invention. He speaks of “cultural baggage” not with disdain, but as a resource to be navigated and transformed. His practice is an attempt to reconcile the old and the new, tradition and innovation, personal history and global modernity.
Art as a Living Dialogue
Pablo’s work thrives on contrasts—between the deliberate, contemplative nature of painting and the immediacy of photography. “Painting is slow,” he says. “It forces you to think deeply, to sit with an idea until it reveals itself. Photography, on the other hand, captures the fleeting, the unrepeatable.” This interplay between mediums mirrors his broader artistic philosophy: art as a conversation across time and space.
This duality recalls the work of artists like Francis Bacon, who famously believed that art’s purpose is to deepen the mystery of existence. Pablo’s pieces invite viewers into liminal spaces where perception and reality blur, where the familiar becomes unfamiliar and the past and present collide. “I want my work to ask questions,” he says, “not to provide answers.”
But Pablo’s artistry extends beyond the canvas or lens. His leadership roles as Art Director of Peacock Magazine and President of the Student Gallery have sharpened his ability to weave individual narratives into cohesive wholes. “Curating an exhibition or editing a magazine is like building a tapestry,” he reflects. “Every thread matters, and the final piece must tell a story.”
These roles taught him not only the value of collaboration but also the power of adaptability. One of his most memorable experiences was organizing an exhibition for a late Japanese artist, curated with her daughter. “It was a small gallery, but we created something profound, something that honored her legacy while bringing her work to new audiences,” he recalls. This commitment to bridging voices—past and present, individual and collective—animates his entire practice.
Empathy as an Artistic Imperative
Pablo’s art is not just a reflection of the world; it is an attempt to shape it. He speaks of empathy as the cornerstone of his philosophy, a principle he believes is both universal and urgent. “Art doesn’t need translation,” he says, evoking the transcendence of Beethoven’s symphonies or Picasso’s Guernica. “It connects people on a level that words often fail to reach.”
His admiration for Liu Shiming, the Chinese sculptor whose work blends tradition with modernity, underscores this ethos. “Liu Shiming’s work is a reminder that heritage and innovation are not opposing forces,” Pablo says. “They are complementary. His ability to find balance inspires me to bring the same harmony to my own work.”
The Artist as Cultural Mediator
At a time when nationalism and conservatism dominate headlines, Pablo’s journey feels both necessary and urgent. His art, much like the operas he admires, is grand in scale yet deeply intimate in its emotional resonance. It invites audiences to grapple with universal questions of identity and belonging, to see the humanity in others, and perhaps even in themselves.
As Pablo prepares for his research trip to New York, supported by the Liu Shiming Art Foundation Scholarship, he speaks of the city not as a destination, but as an extension of his artistic inquiry. “New York is a microcosm of the world,” he says. “Its diversity, its contradictions, its energy—they’re all opportunities to expand my perspective.”
Pablo wields his tools—paintbrushes, cameras, and above all, his capacity for empathy—not to resist but to connect. In a world increasingly wary of the unfamiliar, his work reminds us that art, at its best, is not an escape from reality but an invitation to engage with it more deeply.
Pablo’s ambitions extend beyond personal growth. He hopes his art can contribute to a larger conversation, one that bridges divides and fosters understanding. “Art isn’t just a reflection of the world,” he says. “It’s a tool to shape it.”
Interviewed and written by: Chirui Cheng
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