ARTIFICTIONS

Artifictions is an intentionally coined, previously non-existent word combining two semantic areas: artificiality (falseness, unnaturalness) and fiction (fantasy, invention, illusion). Such a combination therefore creates a tautological linguistic construct, whose individual parts repeat their meaning.

At the same time, however, formulating the title of the series as Artifictions triggers the reflection on whether the artificiality of fiction makes the former even more fictional, or whether the opposite is true. For if fiction, which as a rule is far removed from reality, is labelled with the adjective artificial, this can also mean that in perception it becomes a reflection of something quite real. The sizeable canvases depict images that could just as well be viewed under a microscope or through an astronomical telescope. But all this is an illusion presented for a very specific purpose – an illusion created by me in my own experimental way by combining traditional painterly pigments with all sorts of resins, media and chemical additives. Thus, the paintings made on classic canvas, but also, for example, on XPS panels (recycled building material), are images that just seem to resemble the actual micro- and macrocosms. In fact, they are abstract compositions created with specially applied dyes and painting media.

Through my artworks, I want to make the viewer confront some very serious questions about humanism and how it places the human in the role of a host exploiting the natural environment. Through my artistic actions, I signal the phenomena that already occur in our reality, where what is artificial penetrates and merges with biological matter (as, for example, in the case of plastiglomerates, i.e. completely new forms of ecosystem, which are more and more frequently fished out of the oceans), and where the boundary between the living, the real and the inanimate or processed is gradually becoming blurred. It prompts us to reflect on, among other things, transhumanism, which is a utopian movement advocating the use of science (neurotechnology, biotechnology and nanotechnology) to improve the human condition in general and build a sense of happiness. Problems posed in this way even lead to consideration in the context of ethics, bioethics and ecology.

Only polymers left alive · multi-element installation, 31 elements of different sizes(max. 15 x 20 cm) · various types of synthetic material polyurethane foam, polystyrene, acrylic, polyacrylate, PET, polypropylene · 2020

I explore the relationship between organic, inorganic and synthetic matter and consequences of technological development, thus drawing attention to the problems of the age of the Anthropocene. I use mainly materials of artificial origin, emphasising their current ubiquity, but also their potential to create new forms by usurping the qualities of living beings. Given the widespread use of these materials, how easy they are to handle and how durable they are, it is important to reflect on the problem of the ubiquitous presence of plastic derivatives these days. A certain relationship emerges in my work: the artificial imitates the living.

Entelecheia · own technique on XPS · 100 x 100 cm · 2019

human/inhuman

animate/artificial

micro/macro

past/future

nature/culture

abstraction/figuration

Supernova · own technique, acrylic on canvas · 120 x 120 cm · 2020

detail

Solar acid · own technique, acrylic on canvas · 130 x 130 cm · 2022

detail

Unknown · own technique, acrylic on canvas · 130 x 130 cm · 2019

detail

Rhizome · installation · polystyrene, acrylic · dimensions variable · 2022

Circulation · own technique, acrylic on canvas, · 140 x 100 cm · 2020

Topically, the paintings oscillate between the micro and macro worlds, the molecular and cosmic scales. I use the thin perceptual boundary when shapes, structure and matter are very close to each other. It is easy to see various analogies in nature. Its shaping process adopts recurring patterns despite the difference in scales. Thematically, as well as technologically, my creative process has many analogies with the world of science and research. My knowledge of science is more general, based on intuition and my own experience, without penetrating the strictly scientific and molecular structure of matter. Nevertheless, my observations and research into painting technology allow me to enter the process of the artist-researcher and skilfully use the data obtained to create my own toolbox. I use an experimental technique of my own, combining physical phenomena and chemical processes to create visual works that are close to paintings with an organic structure, referring to a cross-section of living organisms, cells, tissues, bacteria or microbiomes. At the same time, the installations thematically move within the correlation of the biological and mineral worlds, i.e. animate and inanimate matter in contrast to the effects of human activity. I treat the thematic scope quite extensively. I extend it successively to include contemporary issues, problems and aspects related to the development of technology and the natural world, thus emphasising questions of materiality and corporeality.