Pedro Pedro’s latest exhibition at The Hole in Tribeca presents a vibrant clash of the mundane and the magnificent. Far from traditional still lifes, these eight new paintings explode with unexpected objects, creating scenes that are both familiar and utterly surreal. Imagine breakfast, lunch, and dinner remnants mingling with art supplies, medicine cabinet essentials, and a curious assortment of knick-knacks – all meticulously rendered on canvas as if the artist has upended his life directly onto the wooden surfaces. Pedro Pedro’s artistic vision offers a playful rebellion against order, a beautifully painted world that might just be a neat-freak’s worst nightmare, yet undeniably captivating.
Pedro Pedro in Exhibition
Despite the apparent disorder, there’s a compelling allure to Pedro Pedro’s messy compositions. The artist’s graphic precision, the electric vibrancy of his colors, and the almost tactile, organic texture he achieves in paint, all work together to draw viewers into his chaotic domestic universe. You find yourself lingering, exploring the jumbled scenes, discovering new details within the carefully constructed chaos. It’s a testament to Pedro Pedro’s skill that he can transform the everyday clutter into something so visually arresting and strangely harmonious.
It comes as no surprise to learn that Pedro Pedro thrives amidst this kind of curated disorder. Relocating from the New York art scene to Los Angeles, he recounts with laughter how he funded his move with the proceeds from a medical malpractice settlement – a story involving a courtroom experience as dramatic as his canvases. He speaks of sunny Californian mornings spent wandering between his home and his garage studio, a space he intentionally fills with “cool trash,” often interrupted by springtime birds who venture in, adding another layer of unexpectedness to his creative process.
Shortly before his exhibition, Cantaloupe and Kokomo, opened its doors, Interview magazine connected with Pedro Pedro at his LA home to delve into the inspirations and quirky narratives behind his striking new collection. Through his words, we gain insight into the method behind the seeming madness, and the intentionality that shapes his anarchic still lifes.
Deconstructing the Chaos: “Chair with Aloe Plant, Bologna, Bag of Fruit and Paintbrushes”
Pedro Pedro's Artistic Process
Pedro Pedro’s process begins with a humble sketch, a seed of an idea that blossoms into complex compositions. He elaborates, “I start off with a small sketch. I take that small sketch and I take a photo of it, put it into Photoshop and then do a collage, a digital collage of whatever I want to make. I take a bunch of images from clip art or wherever the hell. I kind of mash it together with one of my images. And then I’ll start working on the canvas from that image, where I’ll draw it out in chalk first.” This digital collage phase is crucial, allowing him to experiment with arrangements and juxtapositions before committing to canvas.
He continues to describe his unique painting technique: “And then from there I start using Dye-Na-Flow, this dye-paint sort of situation. So I start building that up—it’s kind of a wash—circling up the wash, start drawing out the images, put the background in. And then from there, I start putting on more acrylic and things, which builds it out a little bit more.” This layering process, starting with washes and building up with acrylics, contributes to the rich texture and depth found in his works.
Pedro Pedro also reveals his perfectionist tendencies and the cyclical nature of his creative struggle: “Sometimes I end up spending too much time with the paintings, where I’m obsessively going back over and over and over again. I never remember how to do anything. Every time I paint a lemon, I feel like it’s a new experience. I’m like, ‘What? How did I do this last time?’ It’s ridiculous. I don’t know if it’s ever done, actually. I have to kind of walk away from it, abandon it. When the image starts to pop for me, that’s usually how I can kind of tell…. I try to give them as much life as I possibly can.” This iterative, almost rhythmic process of creation and re-creation, going “over and over and over again,” resonates with a certain musicality, a visual “Pedro Pedro Pedro Song” of artistic endeavor.
Self-Reflection in Still Life: “Tray with Salad, Tea and Cigarettes”
Pedro Pedro’s paintings are not just about objects; they often reflect his personal experiences and internal dialogues. He shares the anecdote behind “Tray with Salad, Tea and Cigarettes”: “I woke up four months ago and I got this weird lump on my foot, this weird foot stigmata. So I was like, ‘Okay, I got to start trying to do better. Maybe I’m getting older now. Maybe I have to start treating myself a little bit better.’ Although I still have problems with that. I’ll be like, ‘I’m just going to have one drink with my friend.’ And then it’s 2:00 or 3:00 in the morning, and I’m stashing beer bottles like, ‘Why does this keep happening to me?’ It’s a constant struggle, trying to wake up, be better, do yoga. Trying to be healthier, have a nice normal lifestyle. Then I keep going back.”
This personal struggle with self-improvement and the push-and-pull of lifestyle choices becomes a central theme in this particular still life. “And one morning, as I’m doing some half-ass yoga and kind of hungover, I’m looking at one of the paintings that’s in the corner of the room at the time. And I just start to look at this big lush bouquet of salad and all these other elements around it. You have a crushed pack of cigarettes, an empty beer can. I started seeing that there was something there. I think that lifestyle kind of reflects in the work.” The painting becomes a visual representation of this internal conflict, the healthy salad juxtaposed with the remnants of less healthy habits.
Lockdown and Liberation: “Table with Oysters, Lobster, Laundry, Shrimp, Dog and Steaks”
The impact of the pandemic and lockdown also finds its way into Pedro Pedro’s art. He explains the evolution of his themes during that period: “[During lockdown in January,] I started out kind of repetitive, like, ‘Okay. Every day, here it is again… every day, it’s lunch, dinner, whatever. It’s all we do.’ And then things started opening up a little bit more, and I painted this big bowl of lush fruit and things. Then I thought, ‘Okay, well maybe I’m starting to open up.’ So I did the big table piece after that. There are oysters in there. Like, ‘Oh, we’re actually going out to get dinner or lunch or something; I got bloody Mary out of the house.” I’m kind of branching out. But there’s still the pile of laundry there in the corner. You’re still stuck [in lockdown], but it seems like there’s more stuff going on now.”
“Table with Oysters, Lobster, Laundry, Shrimp, Dog and Steaks” captures this transition from confinement to a tentative re-emergence into the world. The luxurious seafood and bloody Mary symbolize a return to social life and indulgence, while the laundry pile serves as a reminder of the ongoing domestic reality of lockdown.
Pedro Pedro further elaborates on the symbolic dog within the painting: “I think I saw the dog as a bit of a self-portrait. It was like me if I were a dog, peeking through the foliage of whatever that thing is. And as you can see, I’m kind of witnessing the world opening up from afar. Like, ‘Oh wait, it’s happening. Okay, here we are.’” The dog, peeking out, becomes a metaphor for the artist himself, observing and cautiously re-engaging with a changing world.
Unintentional Sensuality: “Wood Bowl with Cantaloupe, Knife, Grapes and Flowers”
Wood Bowl with Cantaloupe, Knife, Grapes and Flowers Painting
Finally, Pedro Pedro touches upon the often-unintentional sensuality that can emerge in his work, even when his intentions are purely focused on form and composition. Regarding “Wood Bowl with Cantaloupe, Knife, Grapes and Flowers,” he admits, “I’m trying to not make them overly sexual in any way, but I sometimes just kind of do it. I have no control over it. I just want to make a nice fruit bowl. If it ends up having other connotations to it, well, I guess that’s what it is.” This highlights the subjective nature of art interpretation and the way viewers may find layers of meaning that even the artist may not consciously intend.
Pedro Pedro’s Cantaloupe and Kokomo exhibition at The Hole offers a refreshing and unconventional take on still life painting. His anarchic compositions, infused with personal narratives and a keen eye for the beauty in everyday chaos, invite viewers to reconsider the mundane and find allure in the unexpected. Through his vibrant colors, meticulous detail, and playful arrangements, Pedro Pedro creates a world that is both unsettling and utterly captivating, a testament to his unique artistic vision.
