Parsing the Arbitrary - Prague - 2018
Parsing the Arbitrary - Prague - 2018 - was the final exhibition of my MA FINE ART studio
My work has three fundamental areas.
The first circle is the film - initially, it is the visual representation of experiencing a specific part of nature, a small but significant part, a swamp and a pond, into which the character of the Mad Scientist gradually enters, turning the film into a playfully documentary form. On one hand, it aims for a scientific or pseudoscientific perspective, but it reaches the edge of incredibility, bringing in exaggeration, caricature, and humor. The cinematic depiction seeks to resemble nature documentaries, while also striving for film-like qualities, capturing both detailed close-ups and wider shots, aiming to cross the boundary between the reality of a documentary and the realm of fiction, fantasy, and mystery. It dares to be sophisticated, as the caricature of the pseudoscientist maintains tension and a certain dose of fear, provoking reflection and introducing an unsettling element. Detailed shots of the pseudoscientist's gloved hands, collecting samples and even transforming nature with hot metal in their own way, are interspersed with shots of the Mad Scientist in a distinctive costume, moving characteristically through the landscape. Here, I attempt to depict the fiction of "scientific work" through the character of my alter ego. My goal is to identify with the swamp and the pond, which is accentuated by the character's natural behavior, with the aim of connecting the viewer with the objects of nature.
The second area is the caravan, the laboratory of the Mad Scientist, an installation that establishes a boundary between the scientist and the viewer. The caravan is filled as a fictional workspace of the pseudoscientist with collected samples of natural elements, allowing the viewers to have a tactile experience. I considered the best way to preserve the samples and chose to encase them in foil, which allows the viewers to hold and visually examine the samples. The caravan serves as an archive, satisfying the scientist's need for a catalog that concentrates the results of their work. The laboratory also includes personal belongings of the scientist, disorganized and random, creating a sense that the scientist has just left or could return at any moment. This enhances a feeling of unease, mystery, and restlessness for the observer.
The third area consists of installations - objects through which I aim to bring a part of the observed nature to the viewer's eyes, ears, sense of smell, and touch. These objects provide not only an aesthetic but also a functional experience. An object can be placed anywhere, it can be completely independent - outdoors, indoors, in any environment. What matters is the entry into the object, where the viewer enters my perspective on nature. The entrances to the objects are somewhat challenging for the viewer and represent the overcoming of a certain barrier. Afterward, the visitor finds themselves in a newly created world, transported from the pond and the swamp. They become a part of this new environment, and the difficulty of entry is intentional; the viewer must earn this experience. To perceive the interior of the object, the viewer must engage their senses. They observe the world around them with their eyes, perceive scents with their sense of smell, and can even touch the interior. In this way, they also become a part of the pond and the swamp. The objects offer various possibilities for observation while leaving enough room for the viewer's imagination, the completion of sensations, imagery, and fiction. They perceive the interior like a pseudoscientist but can enhance it according to their abilities and imagination, creating their own interpretation.