Filip Černý
Pictorial illusion and the painting’s surface
Filip Černý’s painting creates a tension between optical depth and the actual surface. Blur, a sharply defined contour and the material brushstroke determine what the viewer perceives as space, and when that space turns back into a plane. Airbrush is one of the means through which this transformation takes place.
Blur and the brushstroke
In her A2 review of Videoart (2009), Terezie Zemánková discusses the alternation of blurred spray and expressive brushwork. A change of technique alters the viewer’s position: a convincing spatial illusion can be interrupted by running paint. The painting both constructs a scene and reveals its own making.
Terezie Zemánková: Videoart stříkaný a malovaný — A2, 14/2009
Stencils and shifting space
In his text for Four Times of Day (2021), Petr Vaňous distinguishes the sprayed mark, the stencil-defined contour and physically present paint. Their interaction flattens or deepens space. The painting’s spatial character emerges through the relationship between different kinds of painted mark.
Digital source and physical painting
The Ride catalogue (2012) links the transformation of landscape to speed and simulated vision. For OFFLINE_CUT (2026–2027), Veronika Marešová emphasises the tension between smooth airbrush painting, spatial data and relief construction. Spray and material intervention become different ways of examining the same problem of seeing.
Petr Vaňous: Jízda — katalog / catalogue, Galerie kritiků (2012)Veronika Marešová: OFFLINE_CUT — GASK (2026–2027)