ORIGAMI AND TANGRAM

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The exhibition Origami and Tangram by Lenka Husáriková is inspired by historical elements outside European cultural traditions. Origami originated in Japan, Tangram originated in China. Gradually humanized, they are now a cultural world heritage.

The interest in these two motivational strands came suddenly literally like a bolt from the sky, but it was the logical conclusion of all that preceded it. Perhaps through luck and the author's intuition, because these are also part of the art world. It was a period of dissatisfaction of creative fumbling and some cyclicality. And it was a painting of illusory precision, a quest for optical perfection, in the traction of brush and color composition, of technically and technologically sophisticated painting processes, that culminated in a repetition of the same principle. It all took place in the genre of still life, landscape and figure painting. And suddenly there was a break, to clarify the terminology. He was more of a continuous arrival. The lightning from the sky mentioned above, of course, was a sudden enlightenment that often happens in seconds.

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Former "old-fashioned" and illusory figurative creations concentrating on the play of lights and shadows, colour and optical regularities, with an emphasis on the sensory-conceptual materialness of the images and the subject, have gradually been oriented in a formally different direction, retaining their precision. Husáriková is gradually freed from the slavish rewriting of reality in a visually and analogously different form. The picture story no longer makes real objects, but consists of simple geometric forms of a meaningfully identical reality, having its own objectivity and narration.

Her interest turns to a greater and freer grasp of the subject. The unified idea of the whole here is created by a synthesis of ideas, preceded by a rigorous and reductive analysis. This whole can be viewed not only literary (a boat with fishermen) but also objectively and statically similar to Church vitrages (objects of individual origami). It is here that the author's catharsis comes to terms with her earlier work, and perhaps even to terms with the artistic legacy of her grandmother painter Jindra Husáriková, who dealt with similar formal and content pictorial relationships, in a different context and time, of course. By admitting narrative symbolism through a spectrum of analyzed historical tradition, Lenka Husáriková reveals to herself her own area of fascination with creation and the experiment that drives it on and on. It opens it up to new possibilities and, above all, gives it belief and strength in further creation.

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It is perhaps no coincidence that he seeks an inspirational source in terms of European painting tradition in the prehistoric period of Japan and old China. He admires the old masters, the formally psychologically conceived module that has guided us from the Renaissance to the 1960s, and which was its inner and dictatorial form. To continuously improve the vision and observation of nature through their own experience and the cultural legacy of previous generations. To seek your own form. And perhaps it's no coincidence that the last stage of this development, the postwar abstract of 20th-century American painting, is a very related connotation (geometric abstraction) to the aforementioned cultural tradition (origami and tangram). But it was more merciful for Lenka Husáriková to reach back to that old tradition, precisely because she paints Old Masters, which, ironically, led her to the very end.

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ak. mal. Miroslav Pesch