The characteristic feature of Lucie Sceranková´s work is the emphasis she lays on our perception of photography as a means of exploring the possible forms of reality. Despite this or perhaps because of this reality seems to be relative, variable or its firm definitive forms becomes unattainable. Photography instead of being a faithful reflection of reality acts today rather as a technology which creates an autonomous reality, and the landscape of rocks and seas is put at its mercy. The distinguishable subjective „me“ stepped into the picture and merged with it into a dream and in its version the world is just a plane of projection of ideas, fantasies.

The basic themes of photography – time and movement – are categories which despite the desire to penetrate into their essence only reveal in every next step the imperfection of every, even very intensive attempts at their absolute definition. The idea about one´s own identity thus becomes an object of considerable disparity in comparison with the dimensions of the universe. This feature of her work with scale is one of the important means of Sceranková´s work through which she comes to terms with her own experience of reality. She transforms it into more generally conceived themes to which the viewers can relate to through metaphorical images and a play with associations. However, the artist still leaves the viewer plenty of space to search for his own interpretations. Personal experience is non-transferable but it is comparable. The model, which creates specific conditions of perception, thus becomes one of the artist´s other important reflections related to the nature of the universe, which can be viewed only through schemes that put us into certain discursive and cultural contexts.

According to Sceranková the image stands on the border between surface and space, where we are only able to recognise familiar and understandable, seizable forms which we try to reach and which we try to associate ourselves with similarly as to a path at the end of which we hope to find a meaning. Smart work with archetypes and surreal visions, taking into account the psychology of the viewer eventually turn our attention to the reflection of visual culture and traditional models of reading images and also to current changes in the perception of the subjective self in the archives of shared memory and language.

Martin Nytra

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