Noise of Your Own Head – Studio of Painting III.

FUGA, Bratislava

Exhibitors: Paulína Gajerová, Lilla Gombos, Daniela Illešová, Adam Priecel, Kamil Šlapák

A student who has been fortunate enough to paint a painting and a teacher who looks at it are not, in principle, in the same relationship to this work. While (not only) the emerging painter is concerned with what s/he has managed to show or say, the teacher is more concerned with understanding this painting language, whether and thanks to which it is consistent, and what paintings s/he really and potentially carries. It's not always fair, but fortunately it's not a superior aspect. Furthermore, while the student looks at the painting as a result, the teacher sees in this painting one stop in the long-term unfinished process of author's development. If the dialogue is two-way and long-term, then the student sometimes looks from the perspective of the teacher, and the teacher from the perspective (intentions, desires, critical thinking and taste) of the student-painter.

You can see the results of this dialogue at the exhibition, but it is not harmful to understand them as milestones anticipating the next path. In any case, here we present the noise of the heads from the Studio of Painting III., in which the paintings, about the nature, sensitivity and future tuning of which the presented paintings speak, boil. On the other hand, it would be a shame to overlook the most important thing: the qualities that are already present in the paintings, and which refer to the motivic and thematic commitment of each painter presented. Among these youngest members of our studio, a spontaneous affection for figurativeness dominates. It serves, at least for the time being, as an articulatory tool for - however tempting it may be to simplify an existentially sharpened situation by specific events: We observe protagonists confronted with the environment, defined space, objectivity or structure. We observe protagonists neurotically scurrying from each other, snuggling into each other or in battle with non-own parts of themselves. The work showing two fish below the surface is the reverse of this oppressive density, but at the same time it proves it by the fact that from this silent world of free escape of fish, the view is still separated by the surface of the pastel level. In most cases, this seriousness is immediately followed by a grotesque undertone. And then there is the situation of every single student in poly painting approaches. It is naturally diverse. The exhibition is an opportunity for us to introduce this not only thematic but also painterly diversity into dialogue. It can help shed light on what we painters actually do by understanding how other painters near us do it as they develop and refine their own sensibilities.

Rastislav Podhorský

Supported using public funding by Slovak Arts Council 

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