13/7 — 27/8/2017
Two rooms in gallery. Two paintings floating in space – anchored and yet in some way free-thinking. Two people watching, each for themselves and yet in connection with the other. Can you tune in? Can you watch and concentrate? Perhaps some kind of relationship is being born. At first inconspicuous, fragile, and sensitive. It is in its beginnings, after all. At first, you have to bend in order in order to recognize its beauty. You have to take the first step. The step forward. You have to try. In one way or another, this relationship is subtly changing. Promisingly, minute after minute, a certain timelessness forms between you. You have some idea that you already know, that you already know each other, and in this there is something surprising for you. Something emerges, something remains hidden. Perhaps it will take time, for you cannot show all your cards at your first meeting.
The contemplation with which Hrachovinová plays in her series of new paintings undergoes a certain catharsis. Her work possesses a metaphysical atmosphere that penetrates the viewer’s soul. At first glance the paintings seem to be made of spontaneous energy. Each gesture is consummately thought through, painted, and placed. Each brushstroke is concrete, and there is nothing to indicate that this is merely a light-hearted game. As before, her work has a slow, drawn-out genesis. But what has changed is the dark and melancholy palette that previously characterized her work.
For her exhibition at Galerie 35m2, Hrachovinová works with light and poetic strokes. The work is never done; it is a slowly flowing gesture that turns back on the viewer. On our body. Our physical body, which for many of us is a symbolic shell for our mental and emotional layers. What is important here is being active – just as in life in general. Without this, we would cease to exist in real time. Perhaps it is a question of changing one’s perspective. What side do you take? The fixed game created in the gallery has a meditative character as well. Its aim is not just to delineate human mass within the space of the painting; it is also a form of manipulation by which the artist touches on the way her paintings are displayed. The viewer’s performative act is one of the most important moments of the fragile contemplative perception that is created when we look at a painting.
curated by Tereza Záchová