Juraj Kollár

• 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
• 00:00:35.840
• my mind is full of media portraits of politicians.00:00:40.301
• 00:00:40.301
• I have been working on them for two years now.00:00:46.640
• 00:00:46.640
• Until now I have only worked with small portraits00:00:52.116
• 00:00:52.116
• 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• have been replaced by the left-wing parties,00:01:11.707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
• 00:01:25.585
• 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
• 00:02:00.576
• I am not sure if it is not too relaxing a topic for me;00:02:08.886
• 00:02:08.886
• 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
• 00:02:24.151
• 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
• 00:07:56.139
• 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
• 00:09:06.797
• 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
• 00:09:30.458
• 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
• 00:09:36.582
• 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
• 00:10:03.017
• 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
• 00:10:28.699
• 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

1 příspěvek k “Juraj Kollár”

1. 2046 napsal25. led. 2013:
   

   Tulipany sou bozi

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