The Filling is a proof of form exceeding its content.
I met Zdeněk and Eva at the FaVU VUT (Faculty of Fine Arts, Brno University of Technology) in Brno where Eva completed her Master’s studies in Václav Stratil’s Intermedia Studio two years ago, and Zdeněk and I completed our study cycles in Barbora Klímová’s Environment Studio – Zdeněk the Bachelor Cycle and I the Master Cycle.
Eva is a painter and her earlier paintings are a girl’s diaries, the source of which were her everyday experiences. She used photographic collages as sketches for painting. In the past three years, she has been increasingly interested in canvas as a three dimensional object. While preparing the canvas for painting, she examines its physical features, separating the layers of paint from the canvas and experimenting with the possibilities of how to hang the picture. She breaks the stretcher bar up into smaller parts and subsequently puts together new objects while wondering whether it is necessary to show the front side of the painting. When she does decide to show it, the cycle is completed, the front side of the painting depicting the construction process of the picture. While deconstructing the painting and making new constructions, the artist uses mathematical calculations, diagrams and sketches which she draws, designs in hand and annotates. Sometimes she draws them onto the front side of the painting and at other times they remain preparatory drawings.
For a longer period of time, Zdeněk has been dedicating himself to subjective (video) documentation of events from his everyday life. The video sequences have several forms – most often they are rapid sequences of short – a few seconds long – glimpses balancing between video and photography. He sorts the recordings as a calendar, then edits them, layers them and overlaps them according to pre-planned graphic layouts. His schematic diagrams use the videos as a time structure. The importance of the video content fades, dominated by post-production and the system of editing. This way of distorting the picture allows for acquiring distance, the removal of pathos, but does not allow for dealing with details. The diagrams themselves are strictly technical and vectored.
The concept of the exhibition titled The Filling is based on the three common points of both artists’ works. Both artists conceptualise the formal aspect of their medium – with Zdeněk exploring the possibilities of video post-production and Eva the possibilities of painting as an object. While doing so, both artists use their diary entries or experiences, helping themselves by creating diagrams, maps and drawings. For the space of the Bunker, they have created a site specific installation where video projections and pictures/objects overlap. While Zdeněk’s videos represent a part of his video diaries, Eva bases her installation on the specific space of the Bunker, making use of the gallery’s atypical disposition. No description texts are used in the exhibition and the installation in the space is complemented by a third type of artifact, an image guide that leads the visitors through the Bunker.