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[title]Where once Pudvine’s paintings were full of grinning dinosaurs and violent, giant penises (his own, obviously), recently they’ve become rife with tortellini, aliens and Frasier Crane. What his art has lost in Jurassic penility, it’s gained in pop culture surrealism, but its aims are still the same: this absurd, ridiculous, shocking, diaristic weirdness is an exploration of the artist’s own fears and anxieties, his worries about death and masculinity, his insecurities, his pangs of guilt and his loves and passions. It’s just everyday life, with all its cocks and supermarket own brand pasta on display for everyone to see.
What would you say your art is about?
‘I’d say it changes a little bit from time to time. But a theme that runs throughout is trying to understand myself and being here, living right now. Using my practice and my paintings to do that is the physical manifestation of dealing with those questions. I know thats bullshit though. I’m never going to answer anything really. Just going to be asking questions forever like a kid. And that’s perfect for me.’
What inspires you?
‘Generally, it is things that leave me in awe by making me feel very small and that remind me of our finite time. So seeing a Caravaggio or a Bosch definitely inspires me. Seeing St Peter’s Basilica too. And I love and hate crypts, particularly the Catacombe dei Cappuccini in Palermo. But to be honest I’m really inspired by athletic achievements. Getting into other sports as a hobby really makes you respect how spectacular some athletes are because the level they get to is mind boggling.’
What are the challenges of being an artist in London?
‘Rent, equipment, materials, bills etc. Though perhaps what makes London such an attractive place for artists could also create more challenges. For example, the commercial art world in London is very present in the mind, so it’s harder to be naive. When I studied in Leeds I really didn’t have a clue about anything to do with the art world. There are positives and negatives to that for sure but I think I developed a way of making then that didn’t need prompting from a cultural epicentre.’
What one thing could be done to better support young artists in London ?
‘I think a more open discussion around the financial side of being an artist between artists would be supportive. I think the fact that it seems grotesque to talk about selling artwork or that it’s shameful to want to make money from your art maintains a problematic hierarchy that means the business side of an artist's practice often goes over, around and under the artist as opposed to going through them. Making it less of a taboo would be empowering for a young artist and I think it would make the commercial aspect of art less intrusive and manipulative.’
What would you do with the Turbine Hall?
‘I would turn it into a cave. I’d want it to look like it is made out of rock with individual chapels on either side that contain all my favourite artworks leading up to an altar that has Maurizio Cattelan’s ‘Him’. I like the idea of having a representation of evil amongst things that I love, showing multiple aspects of humanity. There would be no artificial light used and everyone would have to carry candles.’
Alex Petalas, founder of The Perimeter says:
‘What I love about Pudvine’s work is that it is like nothing I’ve ever seen before, it continually amazes me. Not only are his painting skills undeniable, his paintings are instantly recognisable and stand out in the art world’s current obsession with figurative painting.’