Protirečník. Rámce a latentné možnosti vizuálnej tvorby

Visit of the dissertation exhibition of Rastislav Podhorský connected with a guided tour.

The tour will take place on Hviezdoslavo nám. 18, in room no. 231 (Painting Studio III.) on the second floor.

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The dissertation is a textual-pictorial composition, both components of which are in mutual dialogue, and as far as it was in the relationship of mutual lighting.

The theoretical part of the work basically consists of two texts flowing in parallel. Both texts are equivalent because they are complementary. The first is the text „Ferryman. About people in non-art and figures in art“ (AFAD, Slovart, 2017). The second is the text „Protirečník - Frames and latent possibilities of visual creation“. The ferryman is based on the premise that we are irrevocable social beings, and as such we are situated in interpersonal relationships even when we are alone locked in our studios with our paintings (or other art forms). Since interpersonal relationships are external to such a painting or drawing, the more general problem was: how does an artist connect art with non-art?

On the other hand, the intention of the text Protirečník is not a priori to contradict the Ferryman, nor to indicate the numerous unresolved problems which undoubtedly produced his own contradictions. Rather, it is a perspective change and an attempt to approach the issue in the opposite direction, which does not exclude that the Ferryman and the Protirečník will meet - as in the word role, if they meet the basic conditions - at a certain point. The focus of the perspective of the newer text thus becomes the intra-artistic space, the tradition of art, the medium, the language, the signs and the issue of becoming an artist.

The theoretical part also includes a pictorial accompaniment, which consists of: 1. drawings, diagrams, painting sketches and accompanying sketches from notebooks. Notebooks form a key part of this project, as they were the real, original, intersection of the flow of images articulated in drawing and painting, with the flow of handwritten thinking. Drawings and paintings created in this form have a very diverse and often quite different character from the part of my work presented so far. 2. The latest drawings and paintings created in parallel with this text have the character of a conscious "transitional phase of creation". Between writing and creating, it was no longer possible to remain in the field of figuration, which I treated as visual poetry, while preventing the figural (force) and abstract (non-localizable) side of language from becoming more important. The aim was, moreover, to critically re-evaluate my work and subsequently to open a wider range of transformations and transitions between the three above-mentioned planes of drawing and painting (figurative, figural and abstract).

The exhibition in a figurative sense, even literally, maps the approaches and principles that I, as an artist, learned and tested during the entire doctoral study: 1. Color in drawing. Line in painting. Color and material. 2. From iconic lines through diagrams to the release of force lines 3. From modeling to modulation and back again 4. Delegated performativity, fictional people and art acting 5. Translation of vision. Translation of experience. 6. Cartoon idea. Games with signs of materiality 7. Preparatory phase: sketches to paintings, sketches to drawings, sketches to exhibitions and finally: 8. Personal excesses of the painter