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Zbyněk Sedlecký

Born: 1976
Ostrava
Czech Republic

member since: 2019

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Zbynek Sedlecký generally uses acrylic colours on canvas to create his compositions. His gesture is quick, brushstrokes giving life rapidly to cityscapes where the human presence is often only evoked. The result looks like a sketchbook, an agile collection of transient thoughts. Although large in scale, his images refuse to freeze the moment.They follow the flux and course of history. In fact, these works have the formal quality of a watercolour rather than retaining the ‘material and temporal solidity’ of a painting on canvas. Transparent and immediate, Sedlecký’s ideas are crystallised in a water-diluted form.Massive silhouettes of brutal buildings (modernist evidence of a Socialist past) witness the transition to the uncertainty of the present and sceptically look at the future. The striking contrast between the harshness of the scenery and the gentleness of the palette generates the internal tension that characterises each painting. Suspended amid disillusion and regret, the artist comments on the role of the individual in a time when no room is left for ideological thinking.Mimicking the style formerly adopted by the Western bourgeoisie for documenting the marvels of nature and recalling evocative and ‘exotic’ journeys, Sedlecký’s canvas-sized aquarelles are like a pictorial Grand Tour that reinterprets the landscape genre and renegotiates one’s own understanding of beauty and the category of Romantic painting. The sense of alienation or uneasiness communicated by his anti-idyllic take on the city is not dictated by a blatant political agenda (although his images are indeed political). It is his sincere interest in form, composition and colour that allows these feelings to show.More recently, Sedlecký has experimented with collage. The incorporation of common materials such as laminate flooring or linoleum into his work is not aimed at hyper-realism. He instead plays with optical perspective and challenges the viewer’s ability to reconstruct the volume of the painted space. The wood panelling inserted in his canvases does not second the normal perspective of the picture, but follows a visual law all its own. The forcible contrast between the painted surface and these mundane elements is not immediately apparent, although it confers on these figurative works an inexplicable sensation of visual rupture. 

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