Zbynek Sedlecky's guest appearances

Zbynek Sedlecky

The Wise Fool Art Podcast

Ben Smith

Chris Marquardt

Anne Kelly

Haroon Mirza

Tamar Avishai

Tim Jones

Amy Grant

Heather Jones

Erling Kagge

Jackie Collins

Rachel Adams

Jeff Thomas

Shayna Leib

Ian Weldon

Jim Stone

OwlTail

Zbynek Sedlecky and I have a conversation at his studio in Prague, CZ. We discuss Artist cliques, Hungarian Art galleries, Cultural influences in your art, Artist residencies, Funding for the arts, Studio practice, Art materials, Pricing your art, Work life balance, Social media, and Likes.http://www.zbyneksedlecky.comAboutZbyněk Sedlecký's exhibition (1976) entitled Course, presents the author's latest works forming a more compact picture file. It evokes the environment of the drawing room, where the drawing of the living model takes place. It is a topic for the author of an authentic, to some extent self-reflective, to which he is very close. He knows him from his personal experience because he practically teaches this drawing according to the model. It is therefore his job (work, profession). The topic was touched already in 2015 when he presented a chamber exhibition called Chairs, Stand and Model in a White Shirt at the Prague Vyšehrad Gallery. In contrast to the then conception, which was rather after depersonalized typing and in some cases even generalizing stylization of a particular environment, the current pictures of Sedlecký bring the more ephemeral atmosphere and intimacy of what actually takes place in this space, and what is to some extent repeated as a kind of unwritten process or ritual (undressing and dressing the model). At first glance, there is a striking dive into "random moment analysis". The degree of credibility of the painterly illusion naturally linked to the thematization of the environment is achieved thanks to the author's long-term observation abilities, which complement the records of immediate unmanipulated reality. This creates material from which the individual “images-situations” are formulated and linked into an autonomous pictorial story, in which the individual “windows” are not tied to a scenario, but linked by looser associations and a painterly emphasis on a particular atmosphere. The degree of credibility of the painterly illusion naturally linked to the thematization of the environment is achieved thanks to the author's long-term observation abilities, which complement the records of immediate unmanipulated reality. This creates material from which the individual “images-situations” are formulated and linked into an autonomous pictorial story, in which the individual “windows” are not tied to a scenario, but linked by looser associations and a painterly emphasis on a particular atmosphere. The degree of credibility of the painterly illusion naturally linked to the thematization of the environment is achieved thanks to the author's long-term observation abilities, which complement the records of immediate unmanipulated reality. This creates material from which the individual “images-situations” are formulated and linked into an autonomous pictorial story, in which the individual “windows” are not tied to a scenario, but linked by looser associations and a painterly emphasis on a particular atmosphere.In his work Sedlecký gradually breaks away from the tendency to objectify and impersonate the image illusion (distance, analogy to the document) and increasingly seen and depicted newly “personified” and thus “specializes”. Painting is accompanied by a declaration of personal “relation” to the environment of the author's interest, moments of experience, evocation of pure experience, something that makes anonymous and alienated known and close, or at least discernible. In the case of exhibited works we can talk about portraits and portraits not only of people (model, teacher, student), but also of their own environment (stands, chairs, practicabels, screens). The moment of capture and expressive characterization of the environment, which, like the theater scene, undergoes constant transformation, is rebuilt and each time artificially composed (modeling, positioning,The name of the exhibition The course contains some open ambiguity.

Zbynek Sedlecky and I have a conversation at his studio in Prague, CZ. We discuss Artist cliques, Hungarian Art galleries, Cultural influences in your art, Artist residencies, Funding for the arts, Studio practice, Art materials, Pricing your art, Work life balance, Social media, and Likes. <a href="http://www.zbyneksedlecky.com" rel="nofollow" target="_blank">http://www.zbyneksedlecky.com</a> About Zbyněk Sedlecký's exhibition (1976) entitled Course, presents the author's latest works forming a more compact picture file. It evokes the environment of the drawing room, where the drawing of the living model takes place. It is a topic for the author of an authentic, to some extent self-reflective, to which he is very close. He knows him from his personal experience because he practically teaches this drawing according to the model. It is therefore his job (work, profession). The topic was touched already in 2015 when he presented a chamber exhibition called Chairs, Stand and Model in a White Shirt at the Prague Vyšehrad Gallery. In contrast to the then conception, which was rather after depersonalized typing and in some cases even generalizing stylization of a particular environment, the current pictures of Sedlecký bring the more ephemeral atmosphere and intimacy of what actually takes place in this space, and what is to some extent repeated as a kind of unwritten process or ritual (undressing and dressing the model). At first glance, there is a striking dive into "random moment analysis". The degree of credibility of the painterly illusion naturally linked to the thematization of the environment is achieved thanks to the author's long-term observation abilities, which complement the records of immediate unmanipulated reality. This creates material from which the individual “images-situations” are formulated and linked into an autonomous pictorial story, in which the individual “windows” are not tied to a scenario, but linked by looser associations and a painterly emphasis on a particular atmosphere. The degree of credibility of the painterly illusion naturally linked to the thematization of the environment is achieved thanks to the author's long-term observation abilities, which complement the records of immediate unmanipulated reality. This creates material from which the individual “images-situations” are formulated and linked into an autonomous pictorial story, in which the individual “windows” are not tied to a scenario, but linked by looser associations and a painterly emphasis on a particular atmosphere. The degree of credibility of the painterly illusion naturally linked to the thematization of the environment is achieved thanks to the author's long-term observation abilities, which complement the records of immediate unmanipulated reality. This creates material from which the individual “images-situations” are formulated and linked into an autonomous pictorial story, in which the individual “windows” are not tied to a scenario, but linked by looser associations and a painterly emphasis on a particular atmosphere. In his work Sedlecký gradually breaks away from the tendency to objectify and impersonate the image illusion (distance, analogy to the document) and increasingly seen and depicted newly “personified” and thus “specializes”. Painting is accompanied by a declaration of personal “relation” to the environment of the author's interest, moments of experience, evocation of pure experience, something that makes anonymous and alienated known and close, or at least discernible. In the case of exhibited works we can talk about portraits and portraits not only of people (model, teacher, student), but also of their own environment (stands, chairs, practicabels, screens). The moment of capture and expressive characterization of the environment, which, like the theater scene, undergoes constant transformation, is rebuilt and each time artificially composed (modeling, positioning, The name of the exhibition The course contains some open ambiguity.

Painter, Zbynek Sedlecky (Prague, CZ)