Theme of the solo exhibition of Patrícia Koyšová is expressed by a simple and apt title ZOOM referring us to the view through lenses of camera, for example, which enables smoothly change the focal point for imaging objects in various distances with permanent focus. Artist consistently works with the process of depiction and vision, she studies it especially in abstract painting the morphological structure of which is flexible, floating, forcing to look for focal points, but the gaze of spectator is taken away on waves, streams and swirls.
Artist’s processual abstraction is experiential painting which through primary range of colors and forms created by applying experimental technique – air painting by compressor and blowing pistol delivers dynamic experiencing of painting as a spontaneous creative process.
Her paintings are designed off the central axis, focal point, lacking any form points or lines which would anchor them, to which we could focus firmly. Patrícia composes them in such a way that she puts in contrast an exact shape, a circle for example, and loose trace of air pistol which follows proximate line and then she crosses/scribbles over that line. Thus, she reaches certain stability. According to György Kepes (Language of Vision), the static dynamic or dynamic stability is the basis of composition; focus or “center” is generated by the spectator’s eye when there is what to be captivated by, for example a branch in water.
Patrícia Koyšová’s painting is “painted” by unconventional instruments such as mop or air. Line and spot are fixed final shape left from the impact of splattered, blown away, poured or pressed out paint. They are the reason why the painting is created.
Similar situation as with the unstable focal point paradox which is changeable is the situation with the paradox of spatial illusion of her painting when close items seems to be distant and the small seems to be enlarged. This content and the visual tension in the process of painting bring out the meaning of the painting which is expressed in the associative composition of forms and colors and benefits from artist’s own peculiar style. It is also why such approach is close to the surrealistic principles of creation. Her landscapes seem to emerge from a dream, from an accidentally and spontaneously created color scrummage. As a vision, they resemble Chinese brush paintings, landscapes or waterfalls, but that isn’t her intention. It is the painting game of Patrícia Koyšová, who expresses herself in an aesthetically impressive and theatrically organized manner in series, repetitions as well as destructive interventions, when pure organic structures are attacked by brutal, rough painting in her style as well as ideological intention.
It is also painting which delivers the personal world of the artist. Her method of painting for painting’s sake is activated from the position of artist-woman who maps, scans and observes the surrounding world and plays with its forms. This game is a method by which she gives testimony to the world she inhabits.
Patrícia Koyšová finds inspiration in the forms of living space, the universe, a cell, embryo and other organic structures and units which she then orders in a series of paintings. The urge to create them in a series is an attempt to look for focal points, places which reveal the painting and enable one to look deeper into the creative process by a penetrative revealing of its layers. The Zoom concept is about seeing, about the ability to look for the hidden, the unclear, the invisible. But it is also about the passion of looking, which is the viewer’s reward for finding the focal point, which is located within him/her.