Field recording
Series of painting objects and digital painting dataset. The project was created as part of a residency in Leipzig in 2021, where I developed plein air painting techniques inspired by the musical phenomenon of fieldrecording.
The result is a record of the local landscape where the painting material (in analog and digital form) serves as a carrier of diverse material impressions. Imprints of coal mines and their revitalized areas, and on the other hand, prints of city parks and their entropy and influence of urban culture, create an ecosystem (image) of a synthetic landscape presented as a collection of stylized, abstracted gestures. Their linear applications are based on visualizations of audio recordings and geological samples.
Teraset, 2020,
140x40cm 2x
Glup, dřevo sádra, sklo, uhlí
Teraforms, 2020,
350x150cm
Glup na plátně
I later applied the linear dripping technique in the development of the Malbot modular painting controller.
In the case of the series from the residency at the Spinnerei in Leipzig, I tried to create a painting language that would resemble a technical record such as musical scores or the rendering of virtual objects.
The technical character is spontaneously complemented by the fluidity of the painting material, and thus an ambivalent dialogue between technique and nature takes place.
Flash and Touch, 2020,
35x40cm 2x
Glup na plátně, dřevěný rám
Hroty a nory, 2020
120x30cm
Glup, plátno
Globallization, 2020,
Glup, medicimbal
TERRAFORMS AND UNTHROPOCETRIC FIGURES
For ages, people have sought imaginative forms in the landscape. Rocks resembling a statue usually have names like "Devil's Butt" or "Lovers". The names usually reflected the desires and concerns shared in contemporary society. Our current description of nature is more oriented towards technical-scientific definitions than folk mythologies. Anyway, in both cases, the viewpoints are too narrow to capture the complexity of the objects and relationships included in the landscape category.
Terraforms and Unthropocentric figures as subjects of landscape painting affect the complex relationships between socio-scientific and natural culture. Terraforms are interpreted as objects of the meeting of natural formations and human intervention. Unanthropocentric figures are made up of gestures, and which they are devoid of the imprint of human physiognomy.
