DECEMBER 12, 2006 - FEBRUARY 10, 2007
Zbyněk Sedlecky (1976) deals in his latest work with possibilities of new messages within the limits of painting. To achieve this he proceeds very slowly and with a great deal of concentration and premeditation. His aim is not to find a new unambiguous generally acceptable metalanguage associated with a clear myth. The author observes general position of visual information and the process of giving information. He feels its shifts in the days of society of information and services. He covers numerous codings of visual language (not only) in the direction from producer to consumer.
As every author nowadays, Sedlecky is open to all mass of information that gets to the individual via different ways and whose consummation he does not even have time to realize. Under these circumstances it is difficult to be univocal in opinions as far as the author does not want to manifest his congruity or incongruity with the situation. Sedlecky as a painter chooses the manner closest to him - he examines the whole painting in its formal composition and the whole communication in the combinations of all paintings. He uses a conventional painting in the same manner as the new media do. The author's installation of paintings becomes an integral part of their presentation and at the same time a variable element of all communication. This enables the painting to become open and independent of the canvas itself. It establishes relations with a particular place and works with it as necessary. Sedlecky has chosen screenplay as the theme of the exhibition. The tension is inserted between the model - (random) photography - and its painting interpretation, the painting itself. The painting interpretation takes place in three chosen "film" situations :
1. visual screenplay (plot started by the characters), 2. exteriors (place situations - urban landscape, highway etc.), 3. film shots (shot of detail of a car etc.).
The combination of these three chosen components evokes a feeling of a story in a viewer. However, the story because of its encoding stays abstract. There can be perceived only the stirring of meanings that are not able to be decoded within the bounds of the random whole. Sedlecky's style of painting approaches the perfect reflection of "peculiarity" related with visual information, schemes and models. Here the painting depicts "nothing lifted out of the context" - prefabricated painting. It works with the prints of the prints or in other words with the copies of actions. The real message cannot be focused. The viewer is kept in uncertainty and it is made deeper and deeper while the visual information circulates somewhere between the work and the viewer's ecstasy. The painting enters in ambiguous manner the manipulation with human conscience and becomes a vehicle of current meanings and communications.
Petr Vanous, Prag, 2006