Seclusions

I have been taking photographs throughout my life. I need to observe, collect, review and test the possibilities of sharing personal / public and vice versa and I am also interested in creating new alternative structures of leadership of inner worlds.

I work with other people, or already existing material, or I photograph and often set limits and conditions that lead me to more intuitive and effective solutions. I am interested in long-term research that develops over time and is recently being re-evaluated and re organised. I often play with reality and the concept of the image as such and all the possibilities of getting its corporeality. I create associative installations, and often treat photographs as a part of sculptural objects or installations.

-Seclusions started 2016 is an ongoing project of the series from my "kitchen", fused with my family iPhone snapshots and later discarded, and to be discovered having a potential to create associative collages, which I work on within short time.

-Antigone's eyes series started 2009, after my dad died I felt like giving him report from this planet using his old camera, I just kept taking photos whenever I could and had time to get a camera out of a bag. The negative became a time capsule, sometimes the gap between photos is a second sometimes, a month or eve a year, I developed these photos in dark room.

Snapshots taken almost involuntarily, random or found photographs, as well as reproductions, and technical or digital images circulating in the virtual environs of the Internet or distributed in physical reality through a variety of media all form the basis of this body of work based on understanding the premises in which personal experience is implicated, and from which there develops further meanings, as yet unmoored in terms of discourse. Photography, namely, the photographic image, depends on time and place, on the camera itself and other technical parameters which constitute the image (“bad“ exposure, failure of digital transfer, or various random factors involved in laboratory processing, etc.), but to the same degree it naturally also depends on the situation of the person taking the actual photograph. It is both an ambiguous personal testimony and an easily manipulated “object“. all this is taken into account. Photography is thus present as a cultural, social, mental and discursive phenomenon that engages in contradiction with other forms and ways of constructing and mediating meaning, whether codified or purely subjective.

The process of the socialization or instrumentalization of the subjective, and at the same time, the purely personal interiorization of external contents - the process of mutual alienation as a condition for attributing and renewing meaning - is essentially present as a theme in each and every work. /M.Pokorný/