ARTIST PROFILE

Bretislav Maly

  • Czech Republic (b. 1985 in Hradec kralove)
  • Currently in Brno, Czech Republic.
  • Education : 2011 Academy of Fine Arts in Bratislava MgA. Klaudie Kosziby (traineeship) 2007 Academy in Poznan prof. zw. Wlodzimierz Dudkowiaka (traineeship) 2006 - 2012 Faculty of Fine Arts in Brno, Fisherman 125/13/15, by doc. Vesely and doc. Lahoda
 The full space of three primary colors

The full space of three primary colors

  • 2015
  • Oil on Canvas
  • 350 x 200 cm

  • When the colors merge together, the space will disappear.

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    The dissipation of space as a consequence of the synthesis of colour | 2015

The series was inspired by my reconstruction of Ludwig Wittgenstein’s eight-sided graph describing the diversification of colours and relationships between them. It was exactly the border between the colours that captured me when reconstructing this text and transferring it into a painting. Strict segmental division indicates the relationships between colours and defines space as we perceive it visually; in other words, it points at relationships between colours in their joined and disjoined forms. The last five projects in the Young Gallery has got a common line – classic painting. The first two monochromatic projects from the end of 2014 by Vladimír Houdek (The Net) and Ondřej Basiuk (Position X) were installations, but painting was still more dominant even though still interconnected with new media. (Vladimír Houdek included three videos, Ondřej Basiuk’s installation worked with photography and video animation presented on a mobile. The first project in this year - the cooperation of Jakub Roček and Marie Lukáčová – linked the classical medium of oil painting and video projection to a greatest degree. It was not possible to determine at the firsts sight if any paints have been applied onto the surfaces and it was only their inconspicuous smell that was the telling sign of their presence. In all the aforementioned exhibitions, installation was dominant, or at least equal to painting. With Břetislav Malý, we are at the opposite side of the pole. Painting is so dominant that any more unconventional design of the exhibition would be excessive; as a result, the medium literarily fulfills the exhibition title. Malý consciously abstains from working with paintings in the exhibition installation in such way so that they would become primarily objects in space; he preserves their natural and basic form. It is the medium of painting that is at stake here; even at moments when the spectator might think the primary medium is installation, the gallery equipment in the form of a wall panel plays strictly utilitarian role. The only digression from this strict concept is the inclined board resting against a wall on which smaller canvasses hang which create a unified composition. Despite smaller dimensions, these paintings are equal to the large-format canvasses on the front panel – their scale is different, but the ratio of their sides is the same. These “models in smaller scale” associate a color sampler. The fact that the paintings are installed an a slanted position refers to the texts of Ludwig Wittgenstein, which are placed on the floor and can be removed by the viewers. The angle of the carrier board can be understood as a metaphor of thinking from a different angle; it can also work as the moment which distorts the stereotypical composition, makes one uneasy, etc… Kompozícia obrazov a ich abstraktné zameranie situované do historickej budovy s klenbovou architektúrou vzbudzujú v expozícii kontemplatívnu atmosféru. Veľkoformátové krvavočervené a stále ešte „živé“ plátna s prenikavou vôňou budú schnúť niekoľko mesiacov – keďže kadmium schne The paintings’ composition and their abstract content situated in a historical building with vault ceilings in the exhibition rooms evoke contemplative atmosphere. The intensively smelling fresh large format canvasses with the prevailing scarlet hues which will be drying for several months (cadmium-based paints take the longest to dry, but unlike other paints, they do not tend to crack). Everything has got its pros and cons. Thinking about individual perception of colors and the sharp lighting of the exhibition installation similar to that in an operation theatre made me reread James Elkin’s Why People Cry In Front of Paintings. Obviously, they have different reasons, but the writer asks in fact – why don’t people cry in front of paintings nowadays? Is it that they do not have the time, or that they are ashamed to do so, or do not understand the work, etc.? Břetislav Malý has been creating his paintings in such mode that he destroys the picture by the process of painting, so it should be the picture itself who cries. All Malý’s paintings and drawings are primarily based on the landscape genre. The painter lives and works in Polešovice, a picturesque village near Moravský Písek. He does not strive to create nice pictures; on the contrary: for several years, he has been working with and thinking about brown color, which is not so attractive anyway. The composition of the paintings and their selection is based on the artist’s thinking about color mixing. Malý was reading Wittgenstein’s Notes on Colors when he was working on the canvasses presented at this exhibition. Wittgenstein’s reader is, to put it mildly, perplexed, but at the same time is provoked to consider all those things regarding colors which we find absolutely clear at first glance, but at the second, things start to complicate. In note 283 in Part III, Wittgenstein writes, “Does everything that I want to say here ultimately lead to the conclusion that the statements “I can see a red circle.” and “I can see, I am not blind” are logically different? How can we scrutinize a person in order to find whether the second statement is true? Psychology teaches us to conclude someone’s color-blindness and through it the concept of normal seeing. But who can learn that?” People do not commonly consider matters like this one. Last year, Lukáš Malina had an exhibition in the Young Gallery. It was only later that Malina told me he was color-blind. I found this piece of information absolutely magical. If Malina came to see Malý’s exhibition, he would see two enchantingly green, not red paintings, which changes the whole situation. Zuzana Janeckova