Jakub Tajovský is a Phd candidate at FaVU BUT, where he researches the "design" of painting. At the same time, he focuses on painting as a set of specific material practices. In a historical perspective, not only painting styles and techniques change, but also the entire material-craft/industrial complex. Focusing on the material aspects of painting, a partial output of which is an online database dispersanto.com, opened the way for Jakub to view the individual elements entering the painting process as autonomous actors. In this perspective, not only the concept of authorship is being revised, but also the central position of the "spectator" is being questioned. (Jan Zálešák)
With his multimedia conception of the image, Jakub deconstructs the painting - "as a view separated from the observer's body, which explores the dimensions of its own projective movement". Rather than color, the material of the painting figures in his paintings, which, in addition to the color spectrum, highlights the complex qualities of the material of the painting. Through experiments with Jakub technology, outputs often occur on the border between image and sculpture or analog and virtual object. Experiment means a dialogue between the author, the materials and the processes forming the image. In Jakub's output, painting remains a certain field of reference, a point of return, a unifying surface. Foreign objects mimic the mimicry of the painter's creasing of the surface, physical processes disrupt the objective reading of space. (Katarina Klusová)
Painting design
My central project is the design of model situations of the so-called "creative technology" which draws from the reorganization of working procedures. The design of the painting includes both the image and its technological background as performative components of the "painting's mass/materia". The techniques of processing the "painting materia" lead me to one side to the craft tradition of the painted image, on the other hand to appropriations of new technologies.
As such, my re-designed painting tools
and methods help me create a dialectical curvature
visuality - a view evoking the impression of an artificial "material intelligence" speculating about its own formation in a relationship
to the elementary nature-man-culture correlation.
Each tool causes a natural distortion that colors the resulting image.
characteristic quality of painting as an "instrumentalized" image
is abstraction – distortion, amplification, or suppression of the natural properties of materials, tools, and other entities involved
into the picture.
I moderate the individual properties of the substances included in the painting together with other actors in favor of a synthetic identity.
For me, the material as well as the tools are not a neutral medium, they are collaborating subjects that develop their identity in the image
as a set of options and constraints.
As the first output of the painting re-design, the Glup painting material was developed. This emulsion is already in its raw state a work of painting, carrying a set of meanings as well as physical qualities.
I now continue to use Glup to develop painting design - tailor-made processes and tools.
In the solved images and installations, I am looking for an expansion of the illusory capacity of painting - the overlapping of physical and virtual identity. I imagine the subjectivity and performativity of the actors within the painting as transpersonal objects and metaphysical fictions.
Through the re-design of painting technology, I create space for actors in my paintings, whose subjectivity is usually suppressed at the expense of the author's vision. For example, by replacing gestures implying the "human factor" (eg. brushstroke) with those that reflect geomechanical or physical principles, change due to the influence of the environment, or imply the logic of artificial intelligence.
As a result of the critical reflection of the materials and tools, I reevaluate the logic of creative imagination and question the model of the author as a sovereign creator. Instead, I try to take the position of one of the moderators of the nature-human-culture correlation.
Such intermedial painting entails a reorganization of craft procedures and a shift of the painter's attention to an expanded field of vision. Automation seems to directly lead to faster image processing and reproducibility. As a result of specialization, it happens that the tool reduces the time spent on creation and reduces the attention paid to the detail of the image. Such one-way specialization is typical of industrial technologies. With this issue in mind, I developed a modular painting controller "Malbot", which helps me to further develop and problematize issues such as the automation of work, or the relationship between technological and artisanal images.
The painting works as a platform that provokes the gaze. Gaze both creates and examines images based on their material nature. Painting is a process, a record of reality and subsequently exposed misunderstanding.
UV Pyrografie
