Weather; 2018
Bowl; 2018
Platform 6, 2018
Essence; 2018
ARCH; 2017
Objetí; 2018
Stroke1; 2018
Stroke2; 2018
Stroke3; 2018
Venus; 2018


Fift dimension I; 2017
Rotor; 2017
Troll; 2017
Fragment; 2017

Neobjektiv monument; 2016, 120x300cm, wood, canvas, Glup paint

This work is developed from the position of the third eye (camera).

 It is the attempt to realize an object that is originally virtual or, to say it in a better way, that didn’t exist before the painting. It is repeatedly rendered into more conrete form in conditions of every particular exhibiton.

Black mirror, Zoom; 2017

Black mirror, 2017, Series of various forms of painting discovering the transfigurality. It is a fusion of three perspectives - Traditional media, digital platforms, and the spectator.

The BM is an allegorical object with historical-mystical and contemporary-technological meanings. The viewers figure, in the same way as the figure on the image, are transformed in the general environment of the exhibition. It represents the reflections of past (traditional figurative sculpture) changing into the visions of the future (synthetic imaging with human touch).

Exhibition view
Mirror; 2017
Fift dimension II; 2017
Ghost; 2017
Fragment; 2017

I think a mirror is a metaphorical object that represents painting. It is a flat, reflective surface with some degree of distortion. As in painting, there are physical processes in mirrors such as the light conditions or a corrosion that change the appearance of and in this objects. 

As in a paint, we can see a fixed composition between the space inside and outside a mirror. In contrast with paint, reflective surface allows more dynamic transitions in the content of the image.

But what happens with the locked space when is presented as an photography? Its the automatic device for the selfportrait.

Mimoobraz; 2017
Strokes; 2016
Tenderness and the third person; 2016

Compression of tenderness; 2016, 300x20x8cm, Gloop paint cast from the exhibition Pseudopainting. It is a compression of the painting Tenderness and the third person into the form of the frame. (below)

Tenderness and the third person; 2016
Stroke and Strike; 2018
Alternative devices; 2018
Holy platform;2017
Augmentation; 2017
Bless; 2017
Black Mirror platforms; 2017
Subconcious; 2017
Land; 2017
Moon ray; 2016

Tenderness and the third person is the free association on the drawing of the same name From Marlene Dumas. The first (painting below) was my painterly interpertation of her drawing. The Second one (above) is my interpretation of the name. Its the attempt to describe the same poetic moment differently. 

Later I'd decided to turn around this poetic moment conceptually so I created the Compression of tenderness.

The Platforms are pseudorealistic paintings of mobile devices.

These objects serves for speculative design of custom made visual technologies.

Solar wing; 2017

Supermoon; 2017, Ø180cm Gloop paint on canvas - Moon is familiar object for all of us, but we cannot see its nature with the bare eye. 

Most progressive technologies allow us to observe the photorealistic landscape of space bodies. Technological representation always indicates certain reductive logic for experiencing the landscape. 

To get the more spatial experience I took the mesh of the best resolution photos of the supermoon 2016 from the internet and created this man-size moon in realistic-dripping technique.

It is about reading the landscape in a less reductive manner. The technology and paint were customized to develop natural diversity in the landscape. So, in the end, the painting is even less realistic about the Moon, but more about the nature of the technology.

Supermoon; 2017
Peak; 2016
Paintboarding; 2015
Pohoda; 2015
Surfíci; 2015
Hero; 2015
Temple; 2014
Surface; 2016
Blueboy; 2016
Flow; 2015
Ručníček; 2015
Chudák loď; 2014
Kruh; 2016
Square; 2016
Float; 2015
Jump; 2014
Puf; 2014
Untouchable; 2013
Work in progress; 2013

Shopwindows (Schaufensters) are one of best sources for inspiration to me. It has several similarities to paintigs, for eg. it is basically flat surface for presentation of products and it is excluded space which can stimulate our fantazies. There are many categories of schaufensters but most I like such spaces where its not clear if its accidental or conceptual in some way.

Wabi; 2013
Schaufenster; 2012