Juraj Kollár
Maliar Juraj Kollár nie je priaznivcom prvoplánového experimentovania. Z hľadiska námetov sa pohybuje na „území“ klasických žánrov – krajina, mesto, portréty, detaily urbánneho prostredia, (ne)miesta ľudskej (ne)prítomnosti. Kollár je predovšetkým zrelým umelcom, ktorý dôsledne a kontinuálne skúma možnosti maliarskeho média, overuje jeho nosnosť. Raster a rozostretie sú dve významové polarity, ktoré sa mi spájajú z jeho aktuálnou tvorbou.Racionálny princíp viažuci sa ku konštruktívnemu úsiliu výstavby obrazu je „spochybňovaný“ optickým zahmlievaním, zneisťovaním, narúšaním jasne rozpoznateľného predmetu. Mimeticky formulovaný objekt je nahradený vecnosťou. Gesto, snímanie, vtláčanie, optické chvenie či indexové znaky predmetov budujú štruktúru maľby, ktorá je vždy zároveň interpretáciou východiskovej „skice“ vo forme fotografického záberu.
Krajinomaľba, perforovaná štruktúrou pletiva, ktoré Kollár začleňuje do obrazu, sa opticky i hapticky rozbíja do množstva pastóznych plôšok. Akýsi reverzibilný divizionizmus (fr. diviser – deliť, oddeliť) rozvibruje plochu, ktorá nie je podriadená ani tak fyziologickým danostiam oka ako skôr „mozaikovo“ štruktúrovanej mriežke. Ortogonálny raster relativizuje pohľad von – do krajiny a navracia ho k obrazu –ploche, fragmentarizujúcej skutočnosť, s cieľom jej lepšieho uvedomenia.
Vizuálna stránka obohatená o kvality hmoty (materiálu) podnecuje k úvahe, že pre autora je dôležité predovšetkým nachádzanie abstraktných princípov v spôsobe nazerania na reálne viditeľný svet. Kollárov maliarsky spôsob vyjadrenia je redefiníciou zaužívaného pohľadu. Je analytickým, vecným štruktúrovaním skutočnosti z cieľom odhaliť jej nehmotnú podstatu.
- When I am in my atelier,00:00:10.126
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- the psychological preparation becomes more complicated00:00:12.241
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- as I find it hard to clear my head.00:00:15.906
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- So I put some music on,00:00:17.994
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- I sit and contemplate,00:00:20.670
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- trying to put myself in the same point00:00:24.717
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- I had left my picture the other day.00:00:28.362
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- There is some acting in it too.00:00:32.007
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- As I am keen on watching the News every day,00:00:35.840
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- my mind is full of media portraits of politicians.00:00:40.301
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- I have been working on them for two years now.00:00:46.640
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- Until now I have only worked with small portraits00:00:52.116
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- which look as if the faces had been created involuntarily.00:00:56.516
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- It didn't look as repulsive as in these large portraits.00:01:01.926
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- In the political situation nowadays00:01:06.197
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- we can see that the right-wing parties00:01:08.925
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- have been replaced by the left-wing parties,00:01:11.707
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- I decided to make one left-wing and after one right-wing politician.00:01:15.001
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- As there is no right-wing politician in Slovakia00:01:20.812
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- that could compete with our socialist Prime Minister Fico00:01:25.585
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- I have found some examples from abroad.00:01:33.464
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- I try to put the head together in some motion00:01:37.785
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- so that it won't be just a simple copy of a photo;00:01:42.887
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- I also try to assure a sort of spontaneous resemblance00:01:46.458
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- between the photo and my portrait.00:01:50.177
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- I don't want to express my political views throughout my works00:01:54.707
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- I just want to dismiss the totality of the media picture.00:02:00.576
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- I am not sure if it is not too relaxing a topic for me;00:02:08.886
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- it is a series where everything has been prepared beforehand.00:02:14.489
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- But I don't want to talk here only about portraits00:02:19.867
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- because I also focus on landscape research,00:02:24.151
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- the structure of portrait painting.00:02:27.989
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- I use these nets which are parts of building materials.00:02:31.977
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- I have always been interested in shops selling electro-installation materials.00:02:38.109
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- The most attractive thing is that00:02:47.124
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- the hand writing I put on the portrait00:02:48.975
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- is negated by the net, so it becomes more general.00:02:51.579
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- As a result my manifestation doesn't depend00:02:57.026
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- only on the expressive nature of the painting00:03:00.599
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- but like this we can read better the information00:03:05.590
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- that is conveyed throughout the portrait.00:03:08.693
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- This is a boy in Luxembourg Gardens00:03:11.704
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- and here is a walking one.00:03:14.645
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- It actually influences these abstractions which are gradually00:03:34.420
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- losing their lyricism.00:03:39.489
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- This for example is a landscape in front of the shopping mall Aupark in Janko Kral Park.00:03:53.775
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- As we walk from New Bridge to Aupark,00:04:01.382
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- we won't find any pavement on the way.00:04:07.705
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- There hasn't been any pavement for more than 10 years00:04:11.800
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- even though thousands of people pass along this place every day.00:04:15.984
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- So, I have started to paint such landscapes00:04:20.942
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- where I added those "things" which should be in that particular scene bur they aren't.00:04:24.397
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- I paint a landscape as it should be.00:04:30.856
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- Another work using the net technique represents00:04:33.925
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- a primary school from the perspective of the glass filling on the door.00:04:38.015
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- It shows children drawings, here concretely tulips.00:04:47.445
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- The presidential elections took place in that school00:04:55.078
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- at that moment.00:04:59.180
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- Some of the events I portray are too personal00:05:02.107
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- to be able to represent a universal experience.00:05:05.418
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- I often take photos of it which I later use as my sketches.00:05:15.404
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- Often when I press it through the net00:05:22.888
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- the photographical quality disappears00:05:33.381
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- and I reach the boundary of that "visual"00:05:37.190
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- and the structure of the painting.00:05:41.042
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- Here is the picture of my mother, voting.00:05:47.354
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- She doesn't want to say who she votes for00:05:57.446
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- so it's kind of mysterious.00:06:00.047
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- She might be considered as a universal voter.00:06:02.204
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- This one is from last year.00:06:05.635
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- Here I have started to leave the nets in the picture.00:06:08.170
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- It is a perspective from rubber plastics in supermarkets00:06:12.910
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- but we don't see them clearly, they only shine through.00:06:19.447
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- The material also supports the realistic quality of the depiction.00:06:23.736
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- Here is also the original text "Staff only" from the supermarket00:06:32.659
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- which once again only reinforces this scene event.00:06:39.066
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- This is another storehouse which is probably more transparent from the distance;00:06:48.551
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- however, I prefer the first one,00:06:56.693
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- which is more mysterious, less clear.00:07:00.314
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- This is Čech Bridge in Prague.00:07:05.436
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- I chose it because there used to be Stalin00:07:08.991
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- and now there is that Pendulum00:07:12.158
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- and then I drew there those columns00:07:14.845
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- as if they were candles and00:07:17.389
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- ...there go the angles.00:07:20.115
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- Ah this is a small picture, showing kids on their way to school.00:07:22.330
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- This is also one of the paintings00:07:27.969
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- that had to be interrupted in a certain moment.00:07:34.163
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- The atmosphere of sensual perception was rising00:07:39.814
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- exactly as I had experienced it as a child00:07:44.850
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- and it hadn't been a photo yet.00:07:48.205
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- An advantage of this kind of painting00:07:56.139
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- is that it facilitates the reconstruction of00:07:58.760
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- different experiences and images from the childhood.00:08:02.486
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- Many memories that were only stored in my memory00:08:08.019
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- come now into my mind and00:08:11.962
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- they are very clear as if it was only yesterday.00:08:14.738
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- I don't know if it is a question of maturity00:08:21.403
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- or rather that of painting00:08:24.008
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- but I try to persuade myself about these truths00:08:26.885
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- and it helps me to concentrate when painting.00:08:32.155
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- This series started in 200100:08:35.853
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- when I was painting a view from my house00:08:39.934
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- into my neighbors' garden00:08:45.824
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- through transparent glass blocks.00:08:48.096
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- As I lived in the surroundings00:08:51.962
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- I experienced that view from different light situations.00:08:54.228
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- Like this I created around 10 more or less the same views,00:08:59.318
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- however the light situation changes every time.00:09:06.797
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- This exhibited piece is from the later period00:09:11.116
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- where reality has been replaced by abstraction00:09:18.190
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- and flatness00:09:24.288
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- and where the space is considered only as minimalizing.00:09:26.610
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- My original idea was that00:09:30.458
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- I had imagined flying plates and pottery00:09:32.553
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- and in that motion I had wanted to separate00:09:36.582
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- that pottery drawing and the plate00:09:40.614
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- in order to illustrate these two dimensions.00:09:43.812
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- In the end I only kept an indication of the plate00:09:47.087
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- and the drawing itself stayed in the front of the canvas structure.00:09:52.475
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- Here is a material;00:10:03.017
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- here is a reference to the setting of that plate.00:10:05.303
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- So I let it only freely dispersed in the space.00:10:10.725
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- Each picture was important for me00:10:15.345
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- and it had to work as a painting00:10:18.319
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- not only within the frame of the small square00:10:21.252
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- but also within the whole.00:10:25.380
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- So the detail seems to be abstract,00:10:28.699
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- however, as the whole it has some realistic atmosphere.00:10:32.447
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- That Berlusconi was removed from its frame today00:10:36.622
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- and Fico too will be taken away tomorrow.00:10:42.491
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- After several days00:10:47.423
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- I realized the impact of the paintings on me:00:10:51.807
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- I violated some human criteria.00:10:56.607
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- It had worked well with small pictures,00:11:00.487
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- however, in the large format it became00:11:05.127
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- unauthentic and monstrous00:11:10.304
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- and the facial expression00:11:18.598
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- designated to have an influence on the spectator00:11:21.642
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- was purposeless,00:11:26.303
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- lost in that material of the painting.00:11:28.631
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- That blackbird over there.00:11:35.421
Tulipany sou bozi