There are artists who create with great facility and speed and they literally churn out new work. Jitka Mikulicová (born 1980) is not one of them. She describes her method as time demanding which applies to both her paintings and pondering on non-painting projects she has always been resolving to make for a long time. Her work doesn’t involve any bigger series or cycles, her work is rather solitary in a way. Typical of her paintings is multi-layering, one layer covers another but at the same time it co-creates it. Many of her paintings may evoke an impression of incompletion, but closer observation only shows a happy intuition of the artist, who „knows when to stop“.
Portrait is perhaps the most frequent genre she engages in. She often uses photographs as a model, both family albums and photographs found or bought at flea markets. She finds „eye contact“ with the portrayed person essential. The portraits often show features of the past which demonstrates the influence of retro aesthetics and evokes feelings of nostalgia. (Stairs, 2007, At the Wall, 2008). Looking back to past is after all an important creative impulsion for Mikulicová, whether it’s her memory of a boy portrait at cemetery she identified with as a child (Mireček, 2007) or a motive of black boys figures she was fascinated by in the times she hadn’t seen any personally until the Velvet revolution (Black Child Bubu, 2008). Certain childlike naivety is also apparent in her formally inspirational source – creating glued collages from torn pieces of paper she made as a child. The artist who was trained by Martin Mainer, Neo Rauch and Jiří David, recasts these collages into a sophisticated painting spreading out into a number of colour facets. She draws from cubism heritage she refers to by a modest colour range. Besides her knowledge of a classic reference to modern art she finds inspiration also in folk art and folklore which is most apparent at her Wooden Paintings from 2005. Here she also came out from a personal experience as her father engaged in woodcarving in his free time. We can say she intensivelly immerses in every piece of work and her work expresses and extends her own personal history.

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