TERRAFORMS AND UNTHROPOCETRIC FIGURES
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.
the paintings descriptions will appear when you keep cursor or finger on the particular image
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.
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.
