Olomouc Museum Night
Olomouc Museum Night will make the collections of important museums, galleries, libraries and other cultural institutions accessible to the inhabitants of the regional city and its visitors. It is a unique opportunity to browse through the exhibitions in the unique atmosphere of a Friday night. Olomouc Museum Night is part of the Festival of Museum Nights, which takes place throughout the Czech Republic.
Take a peek with us into the workshop of the Telegraph's current artist-in-residence. David Peshat's paintings continue the modernist concept of the painting in the transformation of its composition and formal expression. The artist responds to this starting point in his own way, reassessing, destroying and reshaping it. He sensitively perceives the framework of experience that modern art has gone through to create the conditions for a free creative treatment of visuality itself (beyond manifestos and orthodox avant-garde proclamations).
18:00 David Peshat: OPEN STUDIO
19:00 David Peshat: EXHIBITION AT LOFT
Peshat sees visuality as a kind of "raw material", a material to be transformed and processed. This is why his main creative motif seems to be the thematization of variously directed metamorphoses (Birth, 2012; Apocalypse, 2011). This is also why most of his paintings move in the ambiguous field between figuration and abstract expression (Burning Forest, 2009). The notion of the object as a static situation has been (not only) forever challenged in painting, it seems. That is why painting is not primarily about it, about its representation and making it present, but about the declaration of the dynamic relationship and the standpoint that the artist takes towards it (Květák, 2014; Hlava, 2014). The standpoint itself also transforms the identity of the subject and the object in the painting and, in fact, the entire pictorial frame and format (Landscape of the Wedge, 2012). In some places, the 'revelation' of the situation is arranged in darkness, as in a theatre (The Crown, 2013), in others it is obscured and retouched with white areas until it disappears completely (Nothing, 2008). The subject or motif is thus a "field of relations" in which the "act of creation" is reenacted by the artist through painting. In this case, the painter is a kind of demiurge who formulates new and different perspectives on the subject world in its processual emergence and disappearance (but also on the word and its meaning in equally set processes of emergence and disappearance, e.g. Old Testament, New Testament, 2013). The subject matter is the raw material from which the thing, or at least its association, has yet to be "figured", modelled, as in sculpture (Smoke, 2009). The freedom of this dynamic approach lies both in its open expressive expression and in the fact that the figuration is left in its various evolutionary stages and is thus not subject to rational-analytical judgement. In other words, it remains itself, it is not alienated from itself in its existence and overwhelmed by the language of discourse. The object-figures here act as a kind of "organs of experience" (The Great Defect, 2014; Ideology, 2012). Open, revealed or hidden. As parts of higher functional units or isolated, removed from their context.
David Peshat's paintings are built on the energetic potential of their author, who finds precisely for and through it the algorithms of a peculiar painting morphology that makes present various complex states of the individual - from apathy and melancholy, to euphoria, defiance and ecstasy. The paintings here are a kind of anatomy of transformations and references about the constant inner metamorphosis of man, which in parallel influence and model his view of the world. A view that never stays the same.
