10 Questions with Pavel Bulva

Pavel Bulva, born in 1991 and currently based in Minsk, is an artist whose work serves as a profound exploration of religious and philosophical themes, offering reflection on the vices and societal challenges prevalent in an era of mass consumption and archetypal narratives. His art delves into the depths of existential loneliness and immortality, provoking thought and contemplation on the human condition. His work is characterized by minimalist color palettes, expressive lines, and thematic depth. He often explores philosophical and religious topics, creating pieces that serve as visual meditations on life, faith, and the human condition. Pavel's artistic journey began with his graduation from the A.K. Glebov Art College in 2011, and since 2009, he has been sharing his knowledge and passion for painting as a dedicated teacher.

Pavel's work has not only graced the pages of print and online publications but has also been attributed to intriguing pseudonyms, including Control Terminus and Momordica Charantia. His creative portfolio extends beyond personal expression, as he has actively participated in group exhibitions in Minsk, Belarus, and London, UK, and made several solo shows.

Pavel Bulva's art transcends the superficial trappings of universal hedonism and the cult of material abundance, challenging the clichés that often permeate societal perceptions. He invites viewers to embrace sincerity and disinterestedness, advocating for a return to authenticity in a world marked by artificiality. Furthermore, he calls upon fellow artists to engage in meaningful creative discourse, shoulder the responsibility of their artistic endeavors, and humanize their craft. His work is not just an artistic manifestation but also a manifesto, urging a deeper connection with art and a genuine exploration of the human experience. In a world overwhelmed by superficiality, Pavel's art stands as a reminder of the importance of authenticity and depth in our creative and personal pursuits.

@pavel_bulva

ARTIST STATEMENT

“In my work, I have always been interested only in archetypical, collective concepts of protagonists and the story of the monomyth. I neither wanted to react to political or social events nor illustrate prosaic novels or ritual texts. All elements of the myth and its concepts, the seeker and the object of the search - are external and internal manifestations of one enigmatic secret, which is reflected in itself and is a symbol of the mystery of the real world. Myth and its images are the casing of the ritual. Ritual is the integument of sacred (mystical) and timeless knowledge. Archetypes, being the bearers of the history of mankind, are also the fundamental limits of space-time, the limits of any comparison and opposition, any dichotomy, and any discourse in all its possible aspects: matter and spirit, mental and physical, sacred and profane. The origins of culture are contained in mythology, and each stage of history in general and human life in particular are related to the archetypal symbols of the universal myth.”

— Pavel Bulva

INTERVIEW

First of all, introduce yourself to our readers. How did your journey as an artist begin, and what led you to this path?

It's hard for me to designate any milestones in my creative path. Analyzing the speech, approach, goals, and methods of those who are called artists in the modern world, it would be honest to say that all of this is alien to me. I am always embarrassed when somebody calls himself an artist. It seems very pretentious. A person is not the owner of his talent; at best, he is only its conductor. I started drawing when I was a small child, and I still do it. My paintings are created as if they appear by themselves, as a result of the process of my life, research of myself and my surroundings, self-reflection, and intellection. My art is a trace of my presence and memory - nothing more than the slime that a snail leaves behind.

Why did you choose painting over other mediums? What does this medium represent for you?

Painting and drawing are the universal language of communication. Painting has the semiotics of text but is devoid of the limitations of language. Painting does not have the category of time in it, the extension in time like music or cinema, and does not have the limitations of gravity, engineering, or material like sculpture or architecture. The essence of the pictorial language is poetry, and painting is the highest, most ancient, and primary form of art.

Speaking of your work, can you describe your creative process when starting a new artwork?

It would be true to say that I somehow see the images rather than invent them; perhaps they are formed as a result and in the process of my reflections on some other topics besides painting. The style, the choice of color, the composition, or the formal decisions should be subordinated to and followed by the content of what I need to say and what is behind it. Therefore, first of all, I have to understand the symbolic and conceptual meaning of these images that I see of what I am looking for in pictorial plasticity. I do not make sketches but work immediately so that the touch itself, the tactility of the process, would speak for itself. I think this is the only truthful approach. In the process, I try to remain sensitive and receptive, to use my experience, but be open to unexpected improvisation. I try to create, to reveal some symbols, to tell the viewer about what I "saw." The language of these images is saturated with meanings and should provoke meanings, but it is something very vague, never shows the endpoint, and only indicates the direction. Sometimes it happens that the essence of the images in the picture eludes me and is fully revealed only after some period, sometimes only after interaction with the viewer. Pictures are not a set of lines or spots, they are a kind of iconography, marker images that provoke the imagination of the viewer, becoming part of the life and fate of the viewer himself, who becomes a co-author, thinking up and "finishing" the images. The subtext is elusive but carries seriousness - it should provoke the viewer to think, and then the viewer himself "paints his own picture." Also, I have to say that I always look for a certain point of dissonance in a painting. I am convinced that there should be a certain "discord" in art. This is how art differs from design, and a painting differs from a wallpaper.

What inspires your focus on religious and philosophical themes in your art? What messages do you want to convey about society's focus on material abundance and superficiality?

Historical phenomena are of little interest. I am concerned with beyond-historical. The microcosm of each specific person is always connected with eternity, philosophy, and spirituality. A specific historical character is interesting either in a certain context or under certain circumstances. But an artistic image is interesting always and everywhere. Art is built not on documentary recording but on the concept of myth; in this, its beyond-historical and universal nature is revealed. I want to believe that a person is something more and deeper than a set of physiological processes and physical sensations. A being that faces eternity - that must be a person. Art should appeal to the nature of man, his essence. The values of consumer culture and mass culture are destructive, and their main danger is that they instill certain cliches of emotional reactions and make illusory states and needs real, "infantilize" people, make them childish, immature in their reactions, desires, and ideas so as a consequence they do not need art in its true form, because it seems overly complex, frightening and repulsive. Art is always about something initiatory, some mystical knowledge. Because knowledge accessible to everyone is superficial and profane, it is only an illusion of knowledge.

End, ink, tempera on paper, 40x60 cm, 2016 © Pavel Bulva

What do you hope viewers feel or think when they see your pieces?

I guess a good painting is something that comforts the disturbed and disturbs the comfortable. I always wanted my paintings to bring solace to one and accusation to another. And by this to serve both. But what they will feel or think in reality, I cannot know. Sometimes, it seems to me that my drawings are not easy to understand, and often, people's feelings about them are very contradictory.

Looking at your technique, what is the significance of the minimalist colour palettes and expressive lines in your work?

I think it is very important to try to achieve a lot using only the bare essentials. Abundance and excess lead to mistakes. You don't need every possible tool to do the job, but you just need to choose the right one and set it up properly. I always look for simplicity and clarity in the painting, minimalism, and rejection of everything that is unnecessary. Each color has its own, sometimes not obvious and hidden symbolism, its own background; it is necessary to treat it with awe, reverence, and respect, to study it, and to be careful when using it. Color has a certain power, and an artist can pay a very high price for the darkness of black ink and the crimson of reds spilled in vain.

You have exhibited extensively, both in Belarus and the UK. Can you share an experience or memory from one of your exhibitions that particularly influenced your work?

Exhibitions, solo shows, or demonstrations of work are always very important. It is also a sort of certain estrangement - the paintings begin to live their own life in interaction with the viewer. Working with an interesting curator, feedback from fellow artists is also a very significant marker of professional development. But for me, the main experience and revelation is always the reaction of the viewer, the ordinary visitor who is engaged. This "ordinary" audience restores my faith in people and reminds me that things that I create gain integrity and are made complete only by people who enjoy them.

The Devil to Pay in the Backlands I, ink and tempera on paper, 30x20 cm, 2022-2023 © Pavel Bulva

The Devil to Pay in the Backlands II, ink and tempera on paper, 30x20 cm, 2022-2023 © Pavel Bulva

Drawing from your experience, what advice would you give to younger artists who want to succeed in the art world?

It is very difficult and probably pointless to give advice to someone you do not know personally. Everyone has a different context: personal, social, political, historical, economic, etc. Everyone has different starting positions, resources and budgets, goals and ambitions, and ways to achieve the task. Artists are those who are able to create new meanings and ideas, create something out of nothing, heal themselves, and show the path of healing to others. Despite the fact that it is probably the most frustrating, unfair, and difficult profession, an artist should be the most fortunate person. Based on this, the only advice I could give is to feel grateful for your fate of being an artist.

Is there anything else you would like to experiment with, both in terms of techniques or themes?

Perhaps the creative act can be compared to hunting, fishing, or chasing something. Despite the fact that you spent a hugeamount of time preparing, perfecting skills, and mastering your craft, you can never know the outcome, whether you will return empty-handed or with the prey. You can even know where the "big fish" is, but this does not mean that every hunting trip will be successful; it is most likely the opposite. I am convinced that the creative act has little to do with planning. I want to be where painting leads me, where the process will take me, without imposing my desires and dictating conditions. The value of creativity is in the process itself.

And lastly, what are you working on right now, and what can we expect to see next from you?

For already some time, I have been working on a huge and complex project, trying, on one hand, to unite all my creative experience and, on the other, to make something that will differ from everything I have done before. It is no longer enough for me to create a picture that one could just "look at," opposing himself to the image; I want to create space for the viewer, for his presence in my work. I do not want to impose the author's narrative but to create an environment where the viewer will create his own narrative in interaction with the images.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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