10.05.2012

24.06.2012

Galéria mladých – Nitrianska galéria, Župné námestie 3, Nitra

Rear Projection

The presented exhibition project of young conceptual artist, painter Roman Gajdoš is legible in more directions that complete one picture...

Author: Roman Gajdoš

Curator: Miroslav Zajac

Venue:Youth Gallery – Nitra Gallery, Župné námestie 3, 949 01 Nitra, Slovakia

Opening: Thursday, 10th of May 2012 at 5 p.m.

After the exhibition opening, you are invited to the afterpARTy, an informal discussion with boththe authorand curator. Free entrance!

The exhibition runs until 24th of June 2012

The presented exhibition project of young conceptual artist, painter Roman Gajdoš is legible inmore directions that complete one picture. While assembling his paintings, he plays with thepossibilities of the spectator’s view of the painting, its composition, formal information, and thepossibilities of interpretation when imagining (usually) pairs of parallel paintings in his mind. Heassembles these as fragments of reality additionally complementing each other on the neutralbackground of a virtual picture, like in case of film tricks.
In movie industry, the rear projection developed into keying, which is a method of shooting usuallyfigural action on a blue or green background, with the background being later substituted by adigital picture. In this cycle of exhibited paintings with the same title, this post-production methodbecame a key metaphor, the supporting pillar of the whole pictorial thinking.
Gajdoš abstracts geometrical details in his paintings like larger and smaller segments ofmonochrome Rubik’s Cube. These appear on the signal green background of the pictorial field,they are a paraphrase of any biological, social or institutional system, and at the same time, theyrefer to the mentioned manipulation and bricolage making of pictures using the rear projection. Inhis paintings, Gajdoš creates a metaphor of a system that is due to reduced colour dysfunctionaland redundant. The green background, painted with flashy green enamel referring to film tricks,also presupposes some other action that doesn’t occur, but remains frozen (paused) in a staticmonochrome composition of the background and situational fragments.
While the visual language of geometry is commonly connected to the reduced visuality, and in itsclassical understanding, it represents order and pictorial regime with specific grammaticality, in theexhibited paintings, this kind of thinking is systematically attacked by meaning and visualexperience. Repetition and ordering, basic elements of geometrical thinking are in this casereplaced by new versions, some kind of imperfect copies that on one hand refer to the emptiness ofcontent, but on the other comment on the impossibility to analyse and concentrate on one thing –fluid modus of attention, the continuous need of authentication in this world where nobody trustsanything. The combination and instability of script in one pictorial space illustrates the distortedattention in a spectacular way, while only the visible schematic outlines in form of contour lines areof some reliance. These underline the artificiality of this visuality, and at the same time, they referthe viewer to the iconography of comics.
The exhibited artworks are a direct continuation of the author’s efforts in trying to gradually emptythe painting field – the pictorial composition becomes confusing with the use of detail orcomposition movement, deformation, positive-negative seeing of reality, change of script or colourreduction. Roman Gajdoš therefore created a metaphor of some system shifted to some place thatmakes it impossible to enter into this system.

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