GALERIE MODERNÍHO UMĚNÍ V ROUDNICI NAD LABEM, ROUDNICE NAD LABEM (CZ)
In cooperation with the Roudnice Gallery, with which Jakub Tajovský enriches the already established ReVize exhibition line in 2020, he continues its long-standing project Synthetic Landscapes. The starting point of these art cycles, or entire exhibition projects, is study of the possible form and degree of natural interaction and artificial environment. Tajovský takes over the visual and material parts from nature to transform these residues into new ones (but others principles). The resulting new landscape thus consists of both from authentic landscape elements (minerals, rock formations, mosses and resins) as well as from man-made environments (artificial paints, PVC and metal materials or digital platforms).
Unlike in his previous works with landscape, Tajovský in exhibition for Roudnice does not primarily contextualize nature as such, but rather selected sculptures from the depository of the Gallery of Modern Art. These works (among them, for example, sculptures by Zdeněk Vodička, Jiří Lang, Jan Štursa, Jan Mařatka, Jan Hendrych, Eva Kmentová or Daniela Vinopals), whose form the author translates into his paintings, as representatives of artificially created objects (which, however, often come from nature) are included in this nature, in turn, symbolically return. To this the process occurs through images that are at the same time compositionally solved as a kind of landscape painting a record consisting of three spatial plans, in which the applied elements are repeated in different standards: “... I want to point out the many views which make up the spatiality of a work of art… Viewer with the help of multiple versions (views) on the same object can recognize (these objects) as if in space or movement. "Landscape, or let's say a new space is created such a "translation" is then also one of basic motives that the author develops in his creative intent.
The second motive that Tajovský follows is question of medium and matter. Captures in pictures the moment when real objects become organic part of (dissolves) its synthetic landscape structured within a system of horizontal lines, which is closer to the real picture contour render that we can see for example, in 3D printing. "This is a sterile regular mechanical gestures areb in painting enlivened by free-flowing matter and deliver rendered new organic diversity, new texture of the original symbols."
