26.02.2020 - 25.07.2020
Fait Gallery, Ve Vaňkovce 2, Brno
Opening: 26. 2. 2020 at 7pm
Curator: Miroslav Ambroz
In my past lives, I was a hunter and a gatherer. I would always start my everyday routine
with decorating tools, weapons and creating musical instruments for myself.
1) Even though you were considered as the creator of spatial objects, in this exhibition your major emphasis is on paintings. What was the impulse?
The new atelier, where for the first time in my life, is light, space and warmth, this helped me to finally start painting. An eternity of horizons was open in front of me, together with two big travels to Columbia and Australia, I understand this happy season as staying on an abandoned island, therefore the name "Two years’ vacation".
2) In 2004 you painted large format canvases "Roads of swifts" and "Mother Earth". In the sametime frame you also painted "Chaple of Karlin", and even before that, "Envelopes" were created, therefore in your own way you are continuing with something that was created long before?
Of course, I was already painting in the '70s during my studies. Back then I inherited very rare pigments from prof. Slánský, which I am using presently. The first time I used them was during my exhibition in Rudolfinum, when there was a need to paint something great for "Silent Hall" and a figure of the central deity arose, which is appearing in my works in different varieties. Connection with the material was always important for me. The type of work on the ground on the non-gesso canvas, together with water diluted pigments and acrylate bonds demanded this physical contact. Even in some places on the paintings, there are my footprints.
A wall painting "Chaple of Karlin" was in somewhat a cleansing exhibition after the floods in 2002, and according to an agreement I had to turn it white. The oldest envelopes date back to 1986. The style of their decoration is connected with the style of "Third rococo" and that epoch is accumulated in my works. In the '90s I created multiple large format envelopes, which I perceived as the object/pictures having multiple-meanings and it opened an inexhaustible line packed into certain cushions, similar to guitars. This is related to my favourite non-standard formats (ovals) and adjusting large canvasses "free" without the stretcher bar.
3) What was most interesting thing about Australia?
First of all never ending space and starry skies. Five weeks, every evening by the fire in the desert. Furthermore, colours and rock paintings as old as 60 000 years. This was the first time I have seen baobabs and eucalypti that were 800 years old, which existed way before the arrival of whites... breathtaking scenery. I brought back a lot of collected materials and natural clay, with which I am painting. Australians have a "story" for each god, they are mostly cautionary stories, which have helped to keep the tribes viable. It appears to me as there are various imaginary divinities, however, they were born from the transcultural backdrop. Something interesting is that the rock paintings and figures on it are very similar all around the world, but I am not the type who would study these things in much detail. On the other hand, I deliberately keep certain blindness, to be astonished, and I would recommend this to consumers. Those who ask too much will learn too much.
4) Some rusty images look a bit apocalyptic, did it have any specific impulse?
"Rusty images" are painted by some rusty mud from a forested swamp in West Czech. In fact, they are ferric nano-shells of microorganisms. I discovered this beautiful colour in the '70s, which came back to me now, to extract it artistically. Thematically, they partly follow the cycle of thermo-drawings "Landscapes from Timelessness" or the cycle of graphics "Giants", where the power of nature is personified into supernatural beings. People desire to witness a miracle or other paranormal acts, and we have this advantage that we can also paint them. Also, people are drawn to the aesthetic of natural disasters and the theatre of extinction. Towards the end however, the road took me elsewhere.
5) When you were in Columbia, did you try yagé -the most renowned shamanic hallucinogen?
I don’t need to check what I suspect. I don't need to meet God. I don't want to upset him. He
could stop passing me.
The interview led Miroslav Ambroz
Božetěchova Street 1 (entrance from Metodějova Strret), Brno
21/9 – 1/12/2012
Opening: 20/9/2012 at 7 pm
Curator: Petr Vaňous
Lubomír Typlt proves that an image is a synthetic medium that can hardly ever by completely used up. Functional principle of a continuous renewal of this means of expression is put into communicating vessels of authorship and an era. An era requires images and evaluates them in terms of chronology. Authorship frees the works of art of a time line and breaks the space-time in a completely different way which can be described as cyclical or ritual. Therefore Lubomír Typlt can return back to figurative painting and recycle seemingly used up figuration without repeating himself in his paintings. He updates the figure but his act makes present, in a certain generalization, current feeling.
In the set of figurative paintings, Typlt works with an extreme dynamic nature of means of expression. Expressive abbreviation is gradated by diffusive emotional colorfulness. The author thematizes, it seems, primarily the laws of painting as such. Because what else is painting than an expressive grouping of colors. In exhibited works there are adolescent characters everywhere but they are mainly carriers of colorful spots rather than thematic references. The color models, gives the characters life, makes them visible. The color tells stories. It itself is a narrative medium which becomes independent and frees the figure of its role of literary server. Painting is an energy metaphorically translated into color sharpness and vibrancy of young bodies. Groups of people running against the horizon still acquire critical drive in the paintings. Waste of energies. Effort to stay in the running group. Absurd and meaningless changes of direction. Constant monitoring of terrain. Repetitive motion without beginning and without end. Running without rest. Also the age of figures conveys experience with socialization, integration into society. It is here where the first collectives full of cruelty and injustice arise. It is here where the characters are sown and modeled. In a game that is no longer childish, but not yet associated with full responsibility. Typlt generalizes the dividing-line between curiosity, uncouscious and awakening which can even have destructive character
The name of the exhibition, Dalekou neutečou / They won’t escape far mocks the simple defensive reaction of a child, who, by measuring the distance, measures the quality of security. We won’t be able to escape the image and painting, if they rise from their present. The sight of them is only for the strong ones. To stare into the face of futility is the first and necessary step to understanding our own inevitable mortality. There’s no other way.