THE TRANSITIONAL LINK

Lenka Husáriková paints what she herself describes as realistic and hyperrealistic paintings, inspired by the works of the old masters (Dutch still lifes) as well as modern painting from the 19th and 20th centuries (with influences from Czech artists such as Preisler, Tichý, and members of the Osma group sometimes being evident). Her grandmother's artistic work also had an impact on her.

Her paintings are now often reduced to a detail of the motif or deliberately composed in this way, giving them a symbolic overall impression. This is evident in her still lifes and architectural paintings. She openly admires everything old. She is fascinated by the charm and historical allure of objects, their unique form, and the mystery of hidden information. To her, they become a fragment, a silent testimony. Their aesthetic and substantive value is, in Lenka Husáriková’s paintings, identified with her own artistic signature and brushwork. This represents a particular form of self-identification. The visual fragments of such depictions transform into painterly gestures, representing the artist's character—what she wants to be and how she wants to see herself in the eyes of the viewer, in other words, the other person.

Her paintings may give the impression of being overly classical or a kind of "retro reproduction." This contradiction is embedded in her painting process itself. Her emphasis on technological and technical accuracy in painting often contrasts with what she actually wants to express and depict. She certainly does not have a traditionally classical view of the world. Her paintings, full of tension and unique painterly, aesthetic, and visual processes, follow their own internal conceptual logic. They are multi-layered in content, making them engaging for the viewer.

Apples, pears, peppers, architecture, or the human figure—her current subjects—are subjected to her painting procedures almost as if they were on an operating table. Often exposed, even "pushed forward" in their solitude and fate, they are presented to the viewer’s gaze. Formally, they are processed both in a classical manner (through shading) and in a contemporary way (through complementary color composition).

Through her artistic work, Lenka Husáriková challenges the ever-recurring notion of the end of painting and the impossibility of its further development. On the contrary, this painting tendency today has a globalized character. Her painting process, deliberately classical yet incorporating chance as one of the elements for composing classical subjects "classically different," treats chance as an opportunity. Perhaps this approach aligns more closely with the concept of postmodernism or what is labeled as such, albeit in a vague manner—just as the term itself remains elusive in meaning.