The relation between place and story is crucial for the work of the painter Jakub Tomáš (1982). We can feel the relation at his earlier work cycle dealing with cinema as an emptied place referring to stories of the visitors and directly to a film narration. The less it is present in the picture area, the more it can be experienced.

This connection is clearly evident at figural scenes he used to fill up the area of his circular and from circle coming paintings. Formally straightforward approach of refreshing paintings referring to contemporary European platform and a generous size of paintings drag the viewer right in the middle of the connection without any scruples.

He was limited by a request to work on and with paper which led him to a radical reduction of the format and to link the work installation with a general visual effect. However thematically he hits exactly the above defined relation of place – action – viewer. The initial source for this new and place examining cycle were stereotypic verbal descriptions of specific scenes of different crimes. An extraordinary contrast has thus appeared. If Jakub Tomáš inevitably subjectively biases an absolutely impersonal description, is it possible that the subjective result visually meets the objective source at all? It would certainly be very interesting to compare his work with photographs of the factual places. Jakub Tomáš, evidently „led by paper“ has not got stuck with a simple pictural transcript of the places. He took every place of crime into many layers, moreover often handled spatially. We may also regard the used layers as layers of paintings took into pieces. The basic drawing is affected by a coloured or slit foil. The foil sometimes colourfully influences the mood and sometimes due to the lapped rasters evokes movement and old religious pictures. The scenes of crime are thus more defined and at the same time hidden. It is the viewer’s frame of reference that affects if the scene of crime is going to be revealed or hidden and it makes the investigation very exciting. The space of the K.ART.ON Gallery is evidently in accord with this fact and the viewer is made move ahead the narrow gallery and change his lookouts.

Jakub Tomáš had to face while his work a demanding making-up and a complex installation of more sheets of papers and foils placed one above another. It made him use a fibreboard as a bearing underlayment, hooks and clips. With regard to the rate of size of his works and the suspension system, it is just impossible to overlook all the components and aids he used. The post-modern confession and emphasis of all technical components used reminds of the Centre Pompidou and its uncovered inside.

Šárka Koudelová

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