“The combination of colors and elements on the canvas is completely impulsive and irrational. There is very little premeditation in the act of painting: it simply happens. It’s a very visceral way of expressing myself, a symbolic explosion that does not respond to formulas or thought-out structures.”
Interview: Buket Bal Soezeri
To begin with, I’d love to hear how your interest in art first started. What inspired you to pursue it professionally, and how have your education and personal practice shaped this journey?
My journey with art began when I was barely four years old. I remember drawing in the street with broken bricks and chalk; those were my first instruments. At four and a half, my parents enrolled me in drawing and painting classes. What was initially just a game, over the years transformed into an escape route, a way to inhabit another world through color and form.
My academic training was classical, with Renaissance roots, but over time and the rebellious years of my youth, my work shifted towards Surrealism. Art was always my lifeline, my refuge, and my way to reconnect with my true essence. The moment I stopped fighting social mandates, and with the support of my family, I made the decision to dedicate myself professionally, full-time. From a very young age, I knew I was an artist. Brushes and paints are part of me; I cannot conceive of myself without them.
In your works, I notice vivid colors, an interplay between organic and inorganic forms, and a strong symbolic narrative. How do you build the relationship between style and meaning in your paintings?
That’s a great observation, and honestly, not an easy question to answer. The symbolic in my work is the way I channel my emotions and energetic states of the moment. It’s almost impossible to translate into words, because the symbol and its meaning arise simultaneously, as if it were a trance. The visual narrative reveals itself at the very moment it is painted.
The combination of colors and elements on the canvas is completely impulsive and irrational. There is very little premeditation in the act of painting: it simply happens. It’s a very visceral way of expressing myself, a symbolic explosion that does not respond to formulas or thought-out structures. I hope that clarifies it, even if just a little.
Your pieces often blend modern imagery with techniques rooted in classical painting traditions—like sacred light or perspective. What guides you in forming this eclectic visual language?
That undoubtedly has to do with my artistic training, which was deeply classical and Renaissance. From a very young age, I was trained in that style, and although at the time it seemed tedious, even unbearable, I recognize that it gave me valuable tools.
During my studies, I used to challenge my professors with provocative proposals, but that also allowed me to break free later on. At the age of twelve, I discovered Dalí, and it was a before and after. I felt that someone else could also paint what they had inside, their inner world, their imaginary. I would say to myself: “That’s what happens to me when I paint what I want to paint!”
Let’s talk about your exhibition In Transition at Galerie Sechs. How did this idea come to life?
It was something magical. The women from Galerie Sechs discovered me while I was exhibiting at Art Friends 2025, a group exhibition organized by the Numas Igra Gallery at the Basel Art Center.
That same morning, I had seen an open call from Galerie Sechs, and I thought about applying later, after the vernissage. But it wasn’t necessary! They came to me. They approached me to talk, interested in my work and my way of seeing art and the market. I told them about my career, my decision to become a full-time artist after moving from Argentina to Europe, and how I was adapting to this new life in Switzerland.
At one point, I asked them what they did, and one of them took out a card… they were from the gallery that I had considered contacting that very morning! It was a causality, not a coincidence. That’s how this wonderful experience began.
Your paintings seem to drift between reality and imagination—almost like the space between sleep and wakefulness. Through this duality, what kind of connection do you hope the viewer will make between the real and the surreal?
My works reflect, in a fairly honest way, how I navigate life: sometimes more in imagination than in reality. But I am not looking to generate a specific connection with the viewer. I can be deeply moved if someone tells me that one of my works generated a certain emotion in them, but I don’t paint to produce a concrete reaction.
I paint from an intimate, naked, visceral place. For me, it is not so important that the work is understood; I prefer that it is felt. And that, at the end of the day, is the most authentic thing I can offer.
How do you begin working on a new piece? Do you have any creative rituals, and how long does it usually take to complete a work?
Everything arises very organically. Something inside me starts to move, sometimes with such intensity that I need to get it out to be able to continue. It’s a visceral, energetic impulse.
My ritual consists of being in my atelier, connecting with myself, and letting everything flow. There is no specific method. Sometimes I can spend the whole day painting because I feel like time is not enough to pour out everything I have inside.
The time it takes me to finish a work varies greatly. It depends on the technique, the size, my energy, and availability. There are pieces that linger in the atelier for a whole year until something happens and I complete them. Others are finished when the technique itself allows it. I simply feel it in my body when it’s ready.
In today’s art world, almost anything can be considered an artistic material. Mostly, you still embrace classical traditions. What are the advantages and challenges of working with traditional media in a contemporary context?
I think the idea that everything can be art is not that new. Dadaism already played with that concept, but with irony. Today, that idea is revisited, but often without that critical spark.
Personally, I don’t see so many advantages in working with classical techniques, rather challenges. In contemporary art, something can be considered “new” even if it was made 50 years ago. In my case, the challenge is that my work, due to its technique or visual language, may seem more classical, although the content and the symbolic background are profoundly current.
Painting with elements of tradition, being an artist of this era, is a valid way of making contemporary art.
As an artist continuing your practice in Switzerland, what are some of the challenges you’ve faced as a foreign creator?
Honestly, I don’t think the biggest challenge is being foreign. As an Argentine, I believe we carry an enormous capacity for adaptation in our DNA.
The real challenges for me, and I think for any artist, are achieving visibility and finding a place within the circuit.
Fortunately, in these four years in Switzerland, I have had many opportunities to show my work, especially in Basel, where I have felt well-received from the beginning.
Being an artist is already a challenge in itself. But I always say: don’t give up. Because at some point, that day arrives. In the meantime, I continue to enjoy the journey and every opportunity to show my inner self through art.
Lastly, could you share a bit about your upcoming projects? Where can we follow your work after Galerie Sechs?
The connection with Galerie Sechs continues. We created an annual project called DON’T THINK, JUST FEEL, a monthly artistic experience that I personally coordinate. Each month it is open to only 10 people who want to explore their creativity through painting. You can register on the gallery’s website:
https://www.galeriesechs.ch/event-details-registration/dont-think-just-feel
In addition, I am working on a new collection that you can follow through my social media: @mau_pavon_artist
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