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.
SEDIMENTS AND HORIZONS
SIMULACRA
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, 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).
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.
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)
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.
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.
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.
