The work of Johana Pošová has gradually changed in the past three years from the classical way of composing a scene in front of the camera into the form when an automatic mechanism creating a factual filter between the author’s intention and the resulting artifact is almost e and replaced by the photogram technique, the process of a physical examination of the light resources and a gradual layering on the surface of the recording medium. Compared to the classical photogram there is a fundamental difference. The authenticity of the existing object’s impression is just a delusive feeling. The means of the illusion become again a depiction in the form of photographs and textures of materials printed on a tracing paper and their subsequent expose. Fragments of found photographs of crop circles on one of the displayed photogram correspond to light phenomenons whose short duration adds rhythm to otherwise mono-thematic semidarkness of a darkroom.

The possibility of UFO existence emphasizes an important feature of Johana Pošová’s work which is the coaction of both explainable and unexplainable phenomenons. This relation is the most evident in the series of smaller formats which the author coloured in the dark without any visual control. A viewer is thus dragged into a game with an entangled story line oscillating between the reality inscenation and pure fantasy. This persists in her approoach despite the change of formal basis.

Play on words is another name of the exhibition. The meaning of the words themselves but also their rhythm, timbre of their sound and also their repetitive layering are important clues to solving the principles of individual artifacts as well as the whole exhibition. A wet thing is the result of the contact of a solid object with a liquid substance – a material is characterized by its fluidity and floating.The liquid may dissolve the solid object, as well as a photograph spreads into new imaginary shapes and becomes independent of reality.Layering symbols, mixing textures, fragments and snatches of a depiction which is breaking down in a liquid process of changes is a parallel to a visual poetry and provides many associations. Only silhouettes of an object world remain. Skinned skin, kimono and a flying carpet are forms acting as archetypes of a thousand years old civilization, but their content constantly moves, melts, empties out and fills again.

Weaving has appeared in her work only recently. We may understand it as a replacement of the camera for the hands of a weaver who ties individual fiber into a yarn and layers it into a prepared texture, a point creating the final visual impression. It is an imperfect impression of the eye reality, but the filtration of the author as a living person provides the reality with a qualitatively different value. Classic photography and handicraft weaving stand in contrast to each other, both technically and semantically. Johana makes use of their mutual relation which supports both media in the way they are used to deconstruct their original menings which could be characterized as their “inventional misuse”.
In all examples mentioned we see the duality of rationally and technically controlled production of objects contra physical gesture bearing signs of uncertainty and indeterminateness interrupting their unviolability. Although this predominates in her work, we can still feel the dormant presence of a contrast dealing with the gesture, often in a disharmonic way. We also face the question whether the natural order element is also natural to the technology environment we are used to regarding as unoriginal and unauthentic.

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