Cirquit; 2020, 24x29cm
Traces;2020, 24x29cm
Teraforms, 2020, 500x150cm
Self introspection; 2020, 120x100cm


For ages people were looking for imaginative forms in landscape. The sculpturelike rocks has usually names as Devil's butt or Lovers. As a rule of thumb the names were reflecting the desires and worries shared in a current society. Our contemporary description of nature is more oriented for techno-scientific definitions than the folk mythologies. Anyway in both cases point of views are too narrow for comlexity of bodies and relations included under the category of landscape. 

For centuries the paintng was designed as a synthetic platform were the understanding of figures and cultures is melting into accepted or hated forms of image. 

As we're more distanced from wilderness of the Nature the more wild is our technologically determined vision of the Landcape. Combination of contemporary technologies and raw materials in painting is support for articulation of Synthetic landscape figures.

Hnětení (Kneading); 2020, 120x100cm, Glup and plastic on canvas

the paintings descriptions will appear when you keep cursor or finger on the particular image 

Stillife; 2020, 33x41cm
Deprimitivism; 2020, 33x41cm
Dirty heroes 1; 2020, 24x29cm
Dirty heroes 5; 2020, 24x29cm
Dirty heroes 8; 2020, 24x29cm
Dirty heroes 2; 2020, 24x29cm
Dirty heroes 6; 2020, 24x29cm
Dirty heroes 9; 2020, 24x29cm
Dirty heroes 3; 2020, 24x29cm
Dirty heroes 7; 2020, 24x29cm
Dirty heroes 10; 2020, 24x29cm
Dirty heroes 11; 2020, 24x29cm
Guilty pleasure;2020, 24x29cm
Dirty heroes 4; 2020, 24x29cm
Bark ; 2021, 40x110cm , Glup, shellac spray on birch
Rockerfella I, 2020, 90x110, shelac and engraving on plywood
Still figure; 2020, 90x110cm
Rockerfella II, 2020, 90x110, shelac and engraving on plywood
Noise peak (Fieldrecording); 2020, 30x20cm
Still water runs deep; 2020, shellac on birch110x90cm
Curves; 2020, 24x29cm
Beside itself; 2020
Emulated vision, 2019, 120x100cm
Virtual shift; 2019, 120x100cm
Leviathan; 2020, 120x100cm
Drop into the flat space; 2018, 120x100cm
Synthetic landscape; 2020, 120x100cm
Distopia hadr;2018, 120x100cm
Eye lick; 2020, 21x24cm
Litera 35; 2020
Mimikry; 2020, 19x 24cm
Hive; 2020, 20x25cm Glup on plywood
Hulk; 2020, 20x25cm Glup on plywood
Hroty; 2020, 33x41cm
Nory; 2020, 33x41cm
Vytržený pohled (Torn sight); 2020, 39x29cm

Hmota malby, materiál nesoucí otisk artificiálních procesů v asynchronních harmoniích obrazu. Vyrobena z rozemletých, rozpuštěných a rozmíchaných esencí krajiny, vyčkává v systematicky rozdělených polotovarech až bude rozptýlena na povrchu neutrálních objektů v propracovaný mix vytvrzených otisků, světelných pastí a chemických reakcí. V jiném měřítku funguje jako záznam času, iluze prostoru a nabízí se jako kontejner pro mezilidskou komunikaci i uchování komodit. V pojetí Jakuba Tajovského slouží tato hmota jako mediátor vizuální imaginace fyzického a virtuálního prostředí.

LItera 29; 2020 , 19x24cm
Litera 6; 2018, 19x24cm
Litera 16; 2018, 19x24cm
Litera 11; 2018, 19x24cm
Litera 1; 2018, 19x24cm
LItera 30; 2020 , 19x24cm
Litera 2; 2018, 19x24cm
Litera 12; 2018, 19x24cm
Litera 17; 2018, 19x24cm
Litera 7; 2018, 19x24cm
Litera 3; 2018, 19x24cm
LItera 31; 2020 , 19x24cm
Litera 13; 2018, 19x24cm
Litera 18; 2018, 19x24cm
Litera 8; 2018, 19x24cm
Litera 4; 2018, 19x24cm
LItera 32; 2020 , 19x24cm
Litera 9; 2018, 19x24cm
Litera 14; 2018, 19x24cm
Litera 19; 2018, 19x24cm
Litera 5; 2018, 19x24cm
LItera 32; 2020 , 19x24cm
Litera 15; 2018, 19x24cm
Litera 20; 2018, 19x24cm
Litera 10; 2018, 19x24cm
Fig. Dispersion; 2018, 100x120cm
Dron; 2018, 100x120cm
Demented marble; 2018, 100x120cm
Advantage of self; 2018, 100x120cm
Concrete moments; 2018, 100x120cm
Interview; 2018, 100x120cm
Medusa; 2017,


Litera 21; 2018, 19x24cm
Litera 22; 2018, 19x24cm
Litera 23; 2018, 19x24cm
Litera 24; 2018, 19x24cm
Litera 25; 2018, 19x24cm


The wood layers holds the semi-deep memory of nature-culture. The original wood texture in these paintings is shifted with shellac polish - the natural resin produced by insect Kerria Lacca.

 This small beetle dependent on specific type of the Accacia tree uses its excrements to protect its culture. Processed version of this material is one of iconic colonial products. Before 20th century the shellac polish was most common furniture and paintings protection in Central Europe.

The pyrography on these wooden paintings is an allusions or deep dreams based on memory of used materials.

more info about shellac:

POčasí/Post-timeness/WEather; 2018
ARCH; 2017
Essence; 2018
Platform 6, 2018
Bowl; 2018
Objetí; 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.

Exhibition view
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).

Mirror; 2017
Fift dimension II; 2017
Ghost; 2017, 30x39cm
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

SUPERMOON (2016) - Ø180cm, Glup 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 largest fullmoon of our century (November 2016) from the internet and created this man-size moon painting in realistic-dripping technique.
It is about reading the landscape trhough medium with more physical materiality than digital images. The technology and paint used in this painting were customized to mimic 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.

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
Peak; 2016
Paintboarding; 2015
Pohoda; 2015
Surfíci; 2015
Hero; 2015
Temple; 2014
Surface; 2016
Blueboy; 2016
Flow; 2015
Ručníček; 2015
Float; 2015
Chudák loď; 2014
Square; 2016
Kruh; 2016
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