Dolby Painting, 2012
200×450×20 cm mixed media
Dolby Painting – detail Earthquake
oil on wood
I see Dolby Painting 1/ as an index of painting techniques or a desk of a person who thinks about painting, about its limits, possible forms and functions. It is also a source which makes it possible to imagine what would happen if this index is developed.
Dolby Painting – detail Sarah Morris climbing grip Sarah Morris
Dolby Painting – detail Tuscany
oil on wood
The picture is divided into six fields that are engaged in mutual dynamic interaction, for example, by various inclined and recessed surfaces ￼ ￼ ￼ ￼ right above it, where an uncovered ￼￼￼￼￼￼as well as slightly differentiated polychromy or materials used. This play with the picture space activates the viewer’s perception of the nature of painting, toying with building an illusion, layering individual genres on top of each other and mixing seemingly incompatible cultural contexts. Disparate painting figures have the aim to induce a situation prone to interpretation. The viewer can be a semionaut 2/, who like particles in heavy water leaves a trail of his thought process behind him.
A fragment of a Tuscan landscape floats through the picture and influences the tonality of the field in which it is located. While interacting with the viewer, it evokes the feeling of an earthquake that causes the disappearance of a piece of concrete ￼￼￼￼￼￼￼￼￼￼￼￼￼The picture is divided into six fields that are engaged in mutual dynamic interaction, for example, by various inclined and recessed surfaces ￼ ￼ ￼ ￼ right above it, where an uncovered ￼￼￼￼￼￼as well as slightly differentiated polychromy or materials used. This play with the picture space activates the viewer’s perception of the nature of painting, toying with building an illusion, layering individual genres on top of each other and mixing seemingly incompatible cultural contexts. Disparate painting figures have the aim to induce a situation fragment of abstraction a` la Sarah Morris can be seen in the same visual field. Here the dominant color of the visual field is absent for a change.
It was necessary to balance the weight of concrete within the diagonally laid field. This visual segment consists of collages of cardboard boxes, while its structure is intersected by a “lightly” outlined flying space shuttle. This huge and fast machine breaks through the cardboard in the same direction as the shaking landscape. The space shuttle is painted by a “negative paste”, which forms an antithesis to the simple thick pastose brush strokes in other visual fields that are drawn in the direction opposite to its flight.
Each of these pastes has its function related to its immediate surroundings. For example, the central black paste is a representation of weight and power of the space shuttle overcoming the gravity. Its softness is an optical illusion. Thanks to change of material it can bear a great load and also provide climbing grips for hands and feet for Alice 3/, who can climb to the seat above the picture. Alice casually browses a Picasso’s monograph through a kaleidoscope, whose prism breaks the analytic cubism into other facets; the rabbit hole becomes a singularity of both the surface and history.
￼Dolby Painting – detail
metallic color climbing grip
The upper left part of the picture is marked by “negative” painting, falling into the category of oblique gestures. This aggressive, dynamic punch reminiscent of scratches from the “Monster” logo competes with another kind of aggression, which is represented by one of the Proun Room compositions by El Lissitzky. In my version, this futuristic picture consists of parts of dissembled Bionicle, i.e., a children’s toy representing an android. All elements located in its immediate vicinity may be parts jettisoned from his body. This applies to the walled fragment of a picture a` la Sarah Morris, a “metallic color” grip for hands connecting the two middle panels as well as the seat for Alice. Its seating part, invisible from the viewer’s point of view, consists of a red square which throws a pink shade on the wall.
Dolby Painting – detail
climbing grip – Indian ink
1/ Like, for example, with the ABS series, I borrowed a term from the field of technology, in this case from electrical engineering. Thus Dolby Painting in this case can be viewed as a medium in which I try to suppress noise (errors). However, according to today’s standards it is an outdated means, so this attempt is bound to fail, causing unexpected turbulences which are the real subject of my interest. The implementation of my experiments led me, for example, to a redefinition of some modernist strategies, some degradation media changes, reflections on the accumulation of time in the past, the activation of color hidden in the mass, individualization of ornamental elements, dynamic tiles, crystallization and, by extension, the activation of minimalism arising from chaos, to an attempt at implementation of Taliban calligraphy, the confrontation of action painting with action movie, Russian avant-garde with Hollywood, the juxtaposition of Pollock and Spiderman, Chaplin and Malevich, Picasso and Alice in Wonderland, Lissitzky and Bionicle, EU summit and the Last Supper, etc…
2/ Semionaut is a viewer who is equal to the artist when moving between signs. Bourriaud – Relational Aesthetics. Semionaut. The contemporary artist is a semionaut, he invents trajectories between signs.
3/ Alice in Wonderland. The author is Lewis Carrol, an English mathematician and logician.
435 x 200 x 17 cm
The diptych is a “Dolby painting” in which “continuous curves” inspired by a comics story are applied. This “drawing by painting” consists of open graphemes, repeated in different variations in the image. At various points of the pathways, especially where they intersect, there can occur an associative reading of the story by means of narrative, photographic collage details. Graphemes, also thanks to the pathways which go beyond them, reach out of the images through 3D readymade objects, inviting the audience to action.