The first thing you notice when facing Hugo Pondz‘ artworks is that rich profusion of blue which prevails in all of the artist’s paintings. The artist – who himself describes blue as a “relaxing colour” – could seemingly not have picked a better colour scheme to rely on. It would indeed seem impossible to deny the potence of the effect of stillness and absolute immobility that the artist managed to bring into existence by “merely” adopting the blue. What, however, lies behind this perceived serenity of the landscape?
It turns out an artist only needs as little to be able to say as much.
What was your professional activity before you fully dedicated yourself to painting? Did you receive any formal education/ training in arts?
Before painting I was a photographer. I never received any artistic education but I was always surrounded by paintings, as my father was an antique dealer.
With blue so richly prevalent in your works, is it correct to say it’s your favourite colour? Is it aimed at evoking certain emotions in the viewers of your paintings?
You know, 70 percent of the Earth’s surface is covered with this blue liquid, and strangely enough, we are made up of almost the same percentage. The celestial vault is also blue.
I think everyone loves blue, it’s a relaxing colour.
What paintings decorate the place where you live?
I have to put my paintings somewhere, and my girlfriend loves to see them, so…
What’s the importance of music in your life? Do you listen to it when painting?
I’m very lucky to have my girlfriend, who is a pianist, so that’s it. But I really love heavy metal and electronic music as well.
With so many artworks at our disposition, is it still possible for a contemporary artist to create something innovative rather than “recycle” what’s been created before?
I think all artists have always done that. They are inspired by nature, they look at what other artists do, and repeat all this through their own filter. After all, it is a matter of taste, education, and spatiality. A European does not approach a work in the same way a Chinese does and vice versa.
Why do artists often try to seem mysterious and inaccessible to people outside of the artistic circle?
No, no one is mysterious. Or rather everyone seems mysterious when you don’t understand their language. If you listen to two electricians talk about their work, you probably won’t understand much, not to mention two nuclear physicists 🙂
How crucial is it for an artist to be a man of his time and why?
I think the real question here is: how crucial is it for a man to be a man of his time and why? I think it is important to take an active part in the world, and especially to do good things. Too many people are working for the dark side and only see money, and it is a big mistake. And our whole society is based on it, and it is inevitably going to its downfall. So, I think it doesn’t matter what job you do because, after all, you need everyone. And one of the best things you can do is to question yourself about everything, all the time. Because we live in a society of liars, and if we want to move forward, we have to question everything.
For my part, among other things I’ve always been shocked by the blatant lie of the 9/11 World Trade Centre events. You see, in plane crashes there is always something systematic happening that no one, not even the President of the United States, could prevent. Not even the military-industrial complex. Despite all the CGI (author’s note: computer-generated imagery) they give us to see, they could not prevent families from going to the airport to ask for news about possible survivors. But it didn’t JUST happen – it’s as simple as that! It was the key to fighting the war, and getting the Patriot Act signed. And now no one in the world can pass through an airport with half a liter of shampoo in their suitcase anymore.
So, for the work below “The First Key” seems to be the right title. Hope you like it.
Interested in learning more about Hugo Pondz or getting in touch with him? Here is where you can find him: