9 04 2009

The project is influenced by author’s interest in the phenomenon of the photoluminescent and fluorescent materials. These materials (PTL-photoluminescent) need minimum energy to glare. They are basically accumulative glaring self-charging batteries.


Draw it! Write it down! Make confidence… The room, in which the foil is tightly attached to the wall, is darkened. The foil is basically a big picture, an outsized canvas. A visitor / spectator obtains a torch with thin but strong ray of light before entering. The torch is substitution for brush – it is unique light brush painting. A spectator entering the room is able to paint or write with the brush / ray of light on the very canvas (PTL- foil). She is a co-creator of the work. Her supposed perception is deepened by the experience of the actual participation / creation. She has the opportunity to leave her own print in the sacred place of the gallery. It is not only passive interaction based on the movements or sound made by a visitor that brings to life an action or some kind of pre-programmed mechanisms. Also it is not any random generative process. You create!

ASPECT OF ILLUMINOSITY: First divine creation was Light… Let there be Light! In the materialistic but also spiritual sense Light is elementary quality. The game of light cheers up. A spectator has unrepeatable feeling while looking at the beam leaving luminous track behind it. It is all about discovering a game and its system. How to create with a ray of light? A spectator does not create only for herself, but for others, present visitors, and those who will come after she leaves. That makes a field for reaction: interception with previous drawings and messages. The canvas would never be full, because as time proceeds, a track of light would disappear, as the crystals discharge.

ASPECT OF IMPERMANENCY: The effect reflects another aspect of Kleník’s work, and that is its dependency on time: its flashiness and uniqueness. A drawer realizes impermanency of her draws, but also possibility of laminating these draws. The third dimension of the drawing/writing occurs – time. Particular drawings slowly disappear in the distance (dark); its fading into the background creates feeling of three dimensions. We see previous sketches disappearing. For newcomers they would be forever secret.

The author does not offer a clear message, concept or a thought: He lets the spectator participate, become a part of the work and enjoy herself. Kleník lets him co-create her own adventure / memory. Hence, language of art makes sense only when there is someone who understands it, or at least tries to decode it, in this case a spectator co-creates the actual language. She must understand it.


Czech, 1978,, studied philosophy of art at Charles University in Prague, currently a student of New Media Department at the Fine Arts Academy in Prague. His works mainly reflect the relationship between world of art and its consumers.




One response

15 04 2009
ADAPT! (Part One) «


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