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TERRAFORMY A UNTROPOCETRICKÉ FIGURY
Po věky lidé hledali imaginativní formy v krajině. Skály připomínající sochu mají obvykle jména jako Ďáblův zadek nebo Milenci. Názvy zpravidla odrážely touhy a starosti sdílené v soudobé společnosti. Náš současný popis přírody je více orientován na technicko-vědecké definice než na lidové mytologie. Každopádně v obou případech jsou úhly pohledu příliš úzké aby zachytily komplexnost objektů a vztahů zařazených do kategorie krajina.
Terraformy a Untropocenrické figury jako náměty krajinomalby postihují komplexní vztahy mezi sociálně-vědeckou a přírodní kulturou. Terraformy jsou interpretovány jako objekty setkání přírodních útvarů a lidského zásahu. Untropocentrické figury jsou tvořeny gesty,a která jsou zbavena otisku lidské fyziognomie.
TERRAFORMS AND UNTROPOCETRIC FIGURES
For centuries, people have looked for imaginative forms in the landscape. The sculpture-like rocks usually have names like Devil's Ass or Lovers. The names usually reflected the desires and worries shared in contemporary society. Our current description of nature is more focused on technical-scientific definitions than on folk mythologies. In any case, in both cases, the angles of view are too narrow to capture the complexity of the objects and relationships classified as landscape.
Terraforms and Untropocentric figures as themes of landscape painting affect complex relationships between the socio-scientific and the natural culture. The Terraforms are interpreted as objects of meeting natural formations with human intervention. The Untropocentric figures are formed by gestures and which are devoid of the imprint of human physiognomy.
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
DEEP WOODS AND ROCKEFELLAS
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:
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 (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.
