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Jakub Roztočil (1979)

 

is concerned with generating real time processes with which to imitate fundamental aspects of universality.

The artists goal is to formulate a crystal clear, non-verbal position, a stop to the uncommitted game being played-out in art history with its references, ironies and encodings. His goal rather is to depict, or at least glimpse

the undepictable, all-encompassing essence of reality.

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His mistrust of words leads the artist to adopt alternative ways of contemplation. He works not with ideas but with interactions built-up between waves, rhythms and gravity resulting in an artwork, where nothing more

than a visual documentation of a process within time and space, is being created.

The paintings being presented are the result of a three-year investigation during which time the

largest  part of his sculptural practice remained hidden.

This then is the artists brush: a generative system which condenses a symphony of tensions with the

help of rhythms, gravity and movement.

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A chain block to which a horizontally, hanging, turning canvas has been attached. An oscillating arm above the

canvas supports a series of tubes from which dilutes acrylic paint drips. All aspects of the construction are

programable: its movements, fazes and drip properties. The self-adjusting technology is an instrument

representing an eternal movement within which interacting frequencies create a symphonic narrative.

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Mechanical repetition allows Roztočil to let the work build up for weeks before reaching its final form.

The artist enters the work through his physical presence as a signal transmitter and agent of unpredictability.

This dialogue between the mechanical and biological becomes a picture of interlocking parallels, involving nature, music and finally the universe itself. He is intuitively broadening the expressive abilities of his own senses