Fait Gallery PREVIEW
Dominican Square 10, Brno
15/10 – 5/12/2014
Opening: 14/10/2014 at 6pm
Curator: Martin Nytra
THE OLD LIGHT IN THE GALAXIES DEPARTMENT
The work of Lucie Sceranková is characterised by its emphasis on our perception of photography as a means of exploring the possible forms of reality. Despite, or may be just because of this approach, the reality seems to be relative, variable, or it‘s stable definitive form becomes unattainable. Rather than a print of the reality out of flesh and bones, photography acts today as a technology that creates an autonomous reality, that can do anything with the landscape of rocks and seas. Distinguishable, subjective "me" entered the picture and merged with it in a dream, in which version the world is only a plane of projection of fantasies.
The principal topics of photography, time and movement, are categories that despite the desire to penetrate into their essence only reveal in every next step the imperfection of any, even an intensive attempt for their absolute definition. The image about our own identity that, in comparison with the dimensions of the universe, becomes a subject of a significant disparity. This feature of her work with scale is one of the important means for Sceranková’s work, by which the author copes with her own experience of reality. She translates that into more broadly conceived themes to which the audience can relate through metaphorical depictions and a play with associations. However, it still leaves the audience plenty of space to search for their own interpretations. The personal experience is in the principle non-transferable, but it can be equated. The model, which creates specific conditions for the perception is therefore one of the other important points in the author's reflections about the nature of the world, that can be viewed only through schemes that put us into certain discursive and cultural contexts.
The image of Sceranková’s concept stands on the edge of the area and space where we are only able to recognise familiar and understandable forms, which we try to reach and attach to them as to the way in the belief that at the very end we will get the meaning. Clever work with archetypes and the surreal visions, that works with the psychology of the audience, eventually turns our attention to the reflection of visual culture and the traditional models for reading of the images and also current changes in the understanding of the subjective self in environments of archives of shared memory and language.
Martin Nytra