Virtual Level

Academy of Fine Arts in Prague / Prague / Czech Republic

Technika / 105 x 100 cm / videomapping na plátno

Looking at the painting, we see the capture of the place of the granite quarry and part of the landscape around it with a black-and-white aesthetic. This simplified image frees us from possible disturbing elements in the real environment, which in turn makes it easier for us to concentrate on the kinetic element in the image. In this case, it represents a computer-generated vector network in real time, which is projected by video mapping onto the painting. The network evokes waves of the water surface, which change based on the sensed sound waves around the image. The viewer thus becomes part of the installation.

The network used here is similar to those used in real engineering applications. For example, it can be used to calculate waves around a boat or to flow around a car. Therefore, for me, it was an ideal tool for demonstrating the environmental impacts of this work.

The network here simulates the water surface in its almost static but also turbulent form. The viewer is thus impressed by a simplified image of a virtual landscape, which evokes the impression of a moving space. Here, the visual stimulus approaches the abstract, subconscious processes of the human mind, which are responsible for the emotional perception of space.

The contrast of the computer-generated amalba network is an important level for me. The process of classical painting reflected many spontaneous actions, which create the overall impression of the depiction and at the same time emphasize the handwriting indicating the uniqueness of the place and the memory. My interest was to use this feature of classical painting in this work as well. The resulting installation thus responds in an original way to each viewer.

Personal Image

Academy of Fine Arts in Prague / Prague / Czech Republic

Technika / 37,5 x 32 cm, interaktivní instalace / LCD display

Imagine a window in which we can observe our other perspectives. All the activity we perform physically mentally would be able to be perceived in person as if it were not possible, although we would still be the one to observe. In other words, what we are trying to find lies before us, but it is still hidden. Similarly, we can see another image that at first appears only in black and white. The image captures light, sound and time values in its vicinity. Using these values, an object is generated in real time, which is visually represented by the pixels inside this image. However, we can look into the image only with the help of glasses designed for that.

After putting on the glasses, we can observe the object that we influence and also generate with our presence. However, if we observed the image in a longer time interval, then there could be a chicken synchronization of the viewer with the image. The viewer could then also realize how he himself influences the image, how the object in the image transforms according to his behavior and under what conditions it happens. After this synchronization, he could observe the image without special glasses, as he would already know how it affects his environment. The image after this "encounter" or synchronization with one's viewer does not have to be observed only by the visual senses, but also by self-awareness and self-reflection.

Thanks to this process of synchronization and awareness of oneself and its influence on the space around us, an original bond is created between the viewer and the artistic object. Although this process can be influenced by a number of external factors, the bond itself is formed in a completely sterile environment of our mind. The originality and uniqueness of each potential viewer makes this process of each individual completely unique, elusive and real.

If we want this process to work, we need to correctly define the possibilities and likeness of this abstract mirror. This so-called mirror senses our influence on the space around us, ie the particles we act on. A particle is a very small part of matter, which manifests itself in its characteristic properties (energy, mass, electric charge, spin, chemical reactivity, lifetime).

The particles are affected by a non-spatial linear continuum, in which events occur in an apparently irreversible order. Time, as such, is an essential component of the structure of the universe in which we are also contained, so time is one of the three sensed values of this installation. If we want this mirror to be able to respond in real time to changes in any particles, it is necessary to read another value with a relatively fast response. This value is visible light, which due to its properties also has a significant effect on the surrounding particles. The third measured value, in order to obtain information on changes in particles in the installation area in a relatively short period of time, is sound waves. Light and sound can be perceived through the senses of the viewer, who can then reflect the changes in the image and compare them with reality.

Another aspect of the installation is the imperfection of the measurement in relation to the immediate responses of the measured stimuli. However, this is eliminated by the relative imperfection of the human senses and by adapting to the principles of changes in the image as a result of the measured values.

As I mentioned, these three measured values affect the transformation of the generated object. It consists of a spatial body, a sphere. The body of a sphere is formed by the set of all points of three-dimensional space, the distance of which from the specified point, from the center, is at most equal to the specified radius. Points whose distance from the center is just equal to the radius form the surface of the sphere. The aspect of integrity of asymmetry makes this body an ideal building block for the transformation of dependence on the measured values of this project.

Aesthetic of movement

Academy of Fine Arts in Prague / Prague / Czech Republic

Technika / video, 1920 × 1080, 08:48

For an ideal illustration of this video, imagine a boxing tournament. Boxing, formerly also "cornering", is a martial art in which two opponents try to knock each other out using the rules allowed by punches. Sports boxing originated in the 18th century in Great Britain, and despite its brutal undertone, it is very popular in modern society in all walks of life. So if we go back to the boxing tournament, we can observe spectators who are interested in the technique of fighters, the dynamic course and the result of the tournament, which is not clear until the last second of the match. Boxers, under enormous psychological pressure, try to use all their abilities to eliminate the opponent, or else he eliminates them.

We will omit these main factors with which the fight is connected, and we will focus only on its essence in the visual interface, ie on the movement, which I perceive as the key to the potential of the visual aesthetics of the fight.

The distribution of motion to individual points frees us from visual disturbance and from the surrounding space. Thanks to this, we are offered a pure impression of the movement dynamics of the duel. The overall effect consists of several interacting elements. The movements of one fighter are based on reactions to the movement of another, thus creating the impression of a synchronized whole, even though they are in fact competing with each other. This reveals new levels of combat.