The work of Hana Garová has been developing in a very exciting way despite its essentially introspective continuity. Recently, after officially leaving the educational art institution, she made about thirty drawings which enabled her to reach a significant catharsis despite the fact that the drawings were doomed to a very short life and had to be destroyed shortly after. The seemingly vigorously rendered drawings gradually acquired density and energy of painterly concentration. Cataleptic corporality, latently mocked eroticism, the very desire for the subject contained in eroticism as well as a melancholically decadent grin at reality and its irony – all those are examples of psychological and intimate sources. Through them the artists interprets her observations across the bestiary of art history, however, she also draws from philosophical, literary or poetic texts, which nourish her complex mind.


The gestic brushwork and explosive nerve of her drawings and paintings stem from agile ambiguity. One part of her thoughts – both through observation and knowledge of facts – endorses tradition, works of art and their authors who we call masters nowadays and whose art originated depending on church or secular oligarchy, the same as it might have originated quite subliminally, individually or even secretly in generally valid themes. The art of the so-called old masters, in which psychology still means natural human figure, expression of the body and face. The state from the ecstasy of the mind to the ecstasy of the body, a state of erotic and sexual pleasure is also a tradition of transgression. Transgression in this sense means exceeding certain given and often rigid moral stereotypes. It is the very eroticism, which is a transgression of religion, as is mentioned by the philosopher Georges Bataille. Eroticism is a spiritual depart from religion by subversive passions and darkness of the soul and by violence which rule the body.


The second part of her thoughts is occupied by the marching present. The present, naturally reflected in Hana Garová´s quiet personality, is what later cataleptically bends, psychotically trembles, what grins and stares from paper or canvas. Her aim at technological consistency which is connected to the above mentioned passionate relation to tradition, is a tool that enables her to make hardly perceptible internal things monumental. On other occasions she wants to step out of tradition, stale mustiness and the stench of what is no longer tradition, she wants to kick that rachitic sexism which is just a rigid and sterile scarecrow in reality. And isn´t it only a question of picturesque corporality or a superficial game with its vocabulary. These premises need to be thoroughly understood and cannot be just compared to anything like it so easily. Garová is an example of a contemporary artist who has been made to create her own private language through temporal and technical consistency of its medium, i.e. through painting and drawing. And whether we call such a language expressive or oppressive, by mere attribute we shall never get close enough to everything we are actually looking at. We shall more probably get close to what we wish to see. It is us who think through expressions.

Radim Langer

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