“…every description is a contradiction...“
(Josef Bolf)

The bluntness of objective facts quashes the existence of apparitions. Clear names given to the existing seem to encapsulate it in passive totality. The incoherence and vagueness of an unprogrammed challenge are the fundamentals of a work trying to escape stifling logic of categorization. In an effort to avoid the definitions of a subjective stereotype it offers the infinity of the senses. Rather than an existentialist abyss of personal non-involvement it is a sequence-like shortcut – a box of a comic style story, a film frame, a pause in a computer game – independent of the consequences of further distribution – an emotional impulse. We take on the role of witnesses of events torn out of the context of a plausible story the existence of which can only be assumed, guided by the severity of formal signs attributed to the dramatic pathos of linear stylized sketches of scenes from a comic. The economy of gesture, figures stylized as signs, the almost unbearable calmness of the scenes crammed with drama – these are the features of the works which fully unravel only beyond the reach of the static field of the picture.

A pregnant depiction only emerges after we set sail through the territorial waters of imagination accompanied by a non-predetermined convoy of imaginary emotions, as a response to the situation. The inertness of the artist towards a clear unveiling of his intention, an emphasis on the personal approach of the viewer puts creation on the same footing with finding. The work loses the attributes of a clear expression, spreads its wings to freely rise again from the dust in an endless series of recreations, determined by the viewers in accordance with their expectation. A single sentence from the artist’s comic strip may be the most precise definition of the installation – collage-like clusters of drawings, paintings and song: “(...) all of this is one big oneness”. The frequency of the alternative media of the psalmody negated by the installation spreads out the conditional relationships. The sequencing of the identical with tiny shifts of tautological multiplication of an uncontrolled gradation gives freedom to the viewer becomes the principal figure. The loosening and breaking down of the restrictive boundaries gives rise to a space one can fall or percolate through to somewhere else.
“...than only apparitions are real…”

Yvona Ferencová