Lately, Jakub Tytykalo’s imaginative work has naturally expanded from drawing and painting – media traditionally used by him – into collage and spatial installations.
If we were to look at work by a different artist that offers scope for interaction with Tytykalo’s current inclination, it would have to be that of Veronika Durová: a classic sculptor who uses parts of the body to indicate and reveal the intimacy of personal expression.
The allusive character of Durová’s sculptures and the openness of Tytykalo’s work, which tends towards spatial expression, has made the cooperation between both artists on the Liquid Sands exhibition possible.
The adjective used in the title of the exhibition plays on Bauman’s apt characterisation of our times and society as being strongly individualized and changeable (Liquid modernity), whereby the individual is liberated from their shackles and lasting bonds (Liquid love).
Within this context, liquidity can be observed in the concealing nature of the human and animal sculpture fragments created by Durová. In Tytykalo’s work, we can see an unstable substance, spilling between objects and figures, the adopted shape of which was determined at the moment of the artist´s choosing.
When confronted by Tytykalo’s work, it reminds us of the classic painters of world surrealism and the tradition associated with them, in which liquidity and deserts have their place (Dalí’s Persistence of Memory, Tanguy’s imaginary landscapes, etc.).
However, the classicism of the realistic sculptural depictions in Durová’s work is more a form of defiance against the instability and liquidity of our times: it represents an attempt to find balance and a firm stand as a result of the legacy of European cultural tradition.
The scenographic concept for the exhibition, with the motif of a sculpture rising from the sand, which threatens to swallow it, draws us into a magical timeless space where fantasies can materialize, to later be dissolved again in liquid sands.