VERONIKA REMAK MOLATOVÁ BRATISLAVA 2012

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Francine Palmer
5 years ago
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2 VERONIKA REMAK MOLATOVÁ BRATISLAVA 2012

3 VERONIKA REMAK MOLATOVÁ

4 The landscape in all its possible variations and its transformations as portrayed in classical painting has become Veronika Remak Molatová s subject matter. The ability of sensitive perception from a painter s point of view her perception of the character and mood of the landscape, which are vehicles of inspiration and which result from geographic location, altitude, light conditions, season of the year, part of the day, and even the influence of civilization, or, on the other hand, a need to celebrate through painting places untouched by civilization, all of this comprises the material the author has been working with for some time. And it appears that neither the landscape itself, let alone the author, show any signs of weariness in the competition of nature vs. artist. In the words of sport mutual passes fly back and forth, there is always something to surprise the opponent with, and there s still willingness for adequate response. Ms. Molatová commands the skill of artistic transcription of the subject matter with her very own sense of generous harmony based on the principle of colour. She works purposefully with paint; the way she alternates distinctive parts of the painting, placing light scumbling in contrast to impasto painting, enhances the vivid impression of her canvases, a sense of motion and a feeling of depth, and a sensation of infinite space. She has the ability of applying beautiful details to the benefit of the whole. PAVEL HOLAS Veronika Molatová creates landscapes, which at first sight may seem a very classical and often interpreted theme. However, hers is a quite particular approach, not only regarding her attitude towards theme but mainly in the way she approaches the landscape. She shows an act of painting landscapes, which combines direct visual perception, experience, and construction. The restitution of the original experience or perception is not a return to it, rather an exposing of its meaning. This, however, presumes that Ms. Molatová responds to the landscape through her painting and suggests that her response apparently comprises two dimensions: on the one hand, it is directed at the landscape to which she responds, on the other hand it is directed to the one who responds. A painting thus created attracts the viewer because it is disconcerting: it is a landscape (concrete, even more so since Ms. Molatová also uses photographs in her work) but it is more than a landscape because the artist wants to touch something inside of her in the landscape (but not by the means of the landscape). Thus a strange space of multiplying echoes comes into being. The response comes in the form of an echo but here and there, quite unexpectedly, something else appears in this seemingly confined harmony of voices. The painting changes from iconic that is, representational, to indexical that is referring to or touching something, leading our eyes to something in, but not on it. It is not a re-presentation of experience, rather evidence, which re-creates the experience anew in a singular way. It seems to me that exactly because it is a matter of bearing witness and because involved here is something difficult to capture in an experience, Veronika Molatová chose inconspicuous methods in order to avoid her paintings to attract attention by their external effects. That is why her landscapes are almost ordinary landscapes. However, their atmosphere similarly to the minimal artistic intervention in the paintings, appear to aim at directing the viewer s attention to the motion, in which the interior becomes the exterior and vice versa, as well as at the discovering of fleeting moments when something appears that is neither one or the other. I very much appreciate the works of Ms. Molatová for their inconspicuous character that comes hand in hand with a premeditation of the choice of means, and perhaps certain discretion in places where there is a threat of possible monumentalization and play with effects. Yet, Veronika Molatová s landscapes are apparently everything but classical landscapes: they are simply different. MIROSLAV PETŘÍČEK VERONIKA REMAK MOLATOVÁ 6 7

6 ON THE ROAD I OIL ON CANVAS / 105X145 CM 2009 VERONIKA REMAK MOLATOVÁ 10 11

7 VERONIKA REMAK MOLATOVÁ ON THE ROAD II OIL ON CANVAS / 105X145 CM 2009

8 VERONIKA REMAK MOLATOVÁ LANDSCAPE IN A FLOOD OF MORNING LIGHT OIL ON CANVAS / 140X150 CM 2008

9 STORM I OIL ON CANVAS / 100X115 CM 2009 STORM II OIL ON CANVAS / 100X115 CM 2009 VERONIKA REMAK MOLATOVÁ 16 17

10 CELESTIAL MEMORIES OIL ON CANVAS / 200X200 CM 2008 VERONIKA REMAK MOLATOVÁ 18 19

11 VERONIKA REMAK MOLATOVÁ SNOW COVERED SLOPE OIL ON CANVAS / 115X125 CM 2008

12 SNOW WAVE OIL ON CANVAS / 140X150 CM 2008 VERONIKA REMAK MOLATOVÁ 22 23

13 MISTY MORNING I OIL ON CANVAS / 115X125 CM 2009 MISTY MORNING II OIL ON CANVAS / 115X125 CM 2009 VERONIKA REMAK MOLATOVÁ 24 25

14 FLOODED LATORICA RIVER OIL ON CANVAS / 105X135 CM 2012 PANTA RHEI OIL ON CANVAS / 70X80 CM 2011 VERONIKA REMAK MOLATOVÁ 26 27

15 VERONIKA REMAK MOLATOVÁ HUNGARIAN FIRE II OIL ON CANVAS / 70X140 CM 2011

16 HUNGARIAN FIRE OIL ON CANVAS / 70X140 CM 2009 VERONIKA REMAK MOLATOVÁ 30 31

17 HORIZON IN FLAMES OIL ON CANVAS / 140X190 CM 2007 AFTER OIL ON CANVAS / 140X360 CM 2008 VERONIKA REMAK MOLATOVÁ 32 33

18 VERONIKA REMAK MOLATOVÁ 34 35

19 FLARE-UP OIL ON CANVAS / 140X145 CM 2007 VERONIKA REMAK MOLATOVÁ 36 37

20 ŽELEZNOBRODSKO OIL ON CANVAS / 70X90 CM 2010 VERONIKA REMAK MOLATOVÁ 38 39

21 ESTONIAN MORNING OIL ON CANVAS / 115X135 CM 2010 IRRIGATION CANAL PASTEL / 29X32 CM 2011 VERONIKA REMAK MOLATOVÁ 40 41

22 SUNRISE OIL ON CANVAS / 70X85 CM 2012 VERONIKA REMAK MOLATOVÁ 42 43

23 MACHA S LAKE PASTEL / 21X30 CM 2011 MORNING THAYA PASTEL / 21X25 CM 2011 VERONIKA REMAK MOLATOVÁ 44 45

24 WATERMELONS IN A STUBBLE FIELD OIL ON CANVAS / 90X100 CM 2011 VERONIKA REMAK MOLATOVÁ 46 47

26 VERONIKA REMAK MOLATOVÁ / MORAVSKÁ NOVÁ VES / CZECH REPUBLIC ACADEMY OF FINE ARTS IN PRAGUE / CLASSICAL PAINTING STUDIO / ZDENĚK BERAN / CZECH REPUBLIC ACADEMY OF FINE ARTS AND DESIGN BRATISLAVA / PAINTING AND OTHER MEDIAS +-21 / DANIEL FISCHER / SLOVAKIA ACADEMY OF FINE ARTS AND DESIGN BRATISLAVA / PAINTING STUDIO / JÁN BERGER / SLOVAKIA PHOTOGRAPHY BÉLA REMÁK / VERONIKA MOLATOVÁ TEXT PAVEL HOLAS / MIROSLAV PETŘÍČEK TRANSLATION ZUZANA DUDÁŠOVÁ DESIGN MAREK KIANIČKA / KAMEO BRATISLAVA 2012 VREMAK@GMAIL.COM

I N V E S T I G A T I N G A B S T R A C T A R T

I N V E S T I G A T I N G A B S T R A C T A R T Investigation Assignment - Making connections The focus of this assignment is making connections on contextual, visual and critical level. You have images from five artists to reflect upon and to try to