Cesty – zahraniční výstavy a pobyty / Journeys - exhibitions and stays abroad 

Los Angeles 2002



Louise Lewis kurátorku Art Galleries Los Angeles, která umožnila moji výstavu v tomto významném uměleckém centru USA, bych chtěl ještě někdy potkat. Byl to splněný sen a jak se ode mne časově vzdaluje, působí ta doba trochu až neskutečně. Vzpomínám, jak mně Louise nadšeně ukazovala v archivu CSUN diapozitivy s dílem Marka Rothka, jemuž pomohla před lety na světlo – její zájem jsem plně sdílel, je to i můj obdivovaný autor. Vůbec atmosféra univerzitního města byla úžasná – vyústila v další spolupráci zde v Evropě / výstava MIND TRIPS: http://forfest.cz/print/forfest2006/2006-51.htm    http://www.forfest.cz/data/doc/programy/2003.pdf  /  Vzpomínka posiluje zvláště dnes kdy se teď už globálně uvažuje o nesvobodě…



Louise Lewis, curator of Art Galleries in Los Angeles, which allowed my exhibition in this important artistic center of the U.S., I would ever meet again. It was a dream come true, and how time is flowing away from me, it seams to me a little bit unreal. I remember how Louise enthusiastically showed me in the archive of CSUN slides with the work of Mark Rothko, whom she years ago helped to light - her interest I fully shared, it is also my admired author. Atmosphere of university town was absolutely amazing - it resulted in further cooperation here in Europe / exhibition MIND TRIPS: http://forfest.cz/print/forfest2006/2006-51.htm    http://www.forfest.cz/data/doc/programy/2003.pdf /  This memory strengthens especially today when we now are globally feeling the lack of freedom ...




Louise Lewis – The Art Galleries of CSUN Los Angeles, USA

Atelier 26/2002



Vaclav Vaculovic at the  CSUN Art Galleries       10/30/2002


Upon first entering the exhibition Vaclav Vaculovic: The Soul of the Sixth Sense,  at the Art Galleries of California State University Northridge, one is struck by utter tranquillity and openness.  The forty four monoprints of this contemporary Czech artist, best known for his painting,  float in a luminous setting and beckon the viewer to draw near.  Once within the aura of an individual image, however,  this sense of calm is belied by the emotional power and spiritual queries of the imagery.  In an intimate journey of  ephemeral abstractions  and androgynous figurations, the viewer connects with the artist's probing of the human condition, of the earth as a spiritual abode, and of the ambiguity of integrating the two into a search for the after-life.


The artist presents us, both in image and title, with a range of choices that ultimately  merge into the eternal dualities common to many spiritual beliefs. The figure in Incantation seems suspended in a mystical reverie of hope while that in Alarming Visions  is in a nightmarish struggle against fate.   Landscapes such as the serene White Blossoms and the fiery Against the Flow of Time vie with one another for different metaphysical messages.   Cellular images ( At the Place Where the Brain Touches You)  supplement galactic images (Emersing River) in providing platforms to meditate upon the vastness of our universe and our place in it. While much of the imagery breathes sensuous earth tones, radiant flashes of red serve as a counterpoint both in energy and message.  The leit-motif use of white passages connects the two extremes, as do the supple brush strokes.


Although the artist has a strong interest in the writings of French theologian Teilhard de Chardin, his imagery is not necessarily Christian in tone, but rather more metaphysically universal in its quest for understanding life, death, and salvation.  Indeed the works range from existentialist despair (The Obdurate Roots of Pain) to joyful revelation (At The End of Time), without alluding to any specific icons or tenets of our world's diverse theologies.  Nevertheless there is, in this selection of works and as suggested by the titles, a contemporary  sense of lament over the loss of interest in religious salvation.  The predominat secularism that has supplanted  spirituality of previous eras, particularly in the Western world, deeply concerns the artist.  Yet this preoccupation is confounded by the sheer sensuality of his imagery.  Thus the unbearable uncertainties of probing the meaning of existence and eternity are soothed by the very tangible and seductive perceptions of the artist.