Filip Černý
Work — image, illusion and material
Filip Černý’s painting examines how a familiar motif becomes an image. Landscape, body, still life and interior may remain recognisable while their space, scale and relationships within the composition change.
Reworking the icon
In Madonamie, the traditional Madonna and Child motif encounters patterns and ornament. Writing in A2 in 2006, Petr Vaňous also notes the use of a computer to develop compositions. The relationship between painting and digital imagery in Černý’s practice therefore predates the current debate about generated images.
Videoart and The Ride
Videoart (Prague City Gallery, 2009) brings the experience of a film viewer into painting: a picture can read as a shot or a narrative fragment. The Ride (2012) uses the view from a car. Petr Vaňous’s catalogue essay gives forward and rearward vision different temporal roles, bringing anticipation into contact with memory.
Terezie Zemánková: Videoart stříkaný a malovaný — A2, 14/2009Petr Vaňous: Jízda — katalog / catalogue, Galerie kritiků (2012)
From optical space to surface
Schrödinger’s Heel (2018) and Románové řezy (2025–2026) develop the fragment and the ambiguous narrative. OFFLINE_CUT (GASK, 2026–2027) places smooth painting alongside spatial constructions and paintings based on LiDAR scans. Read together, these approaches reveal a continuing concern with image construction and physical experience.
Galerie Václava Špály — Filip Černý (2018)Galerie umění Karlovy Vary — Románové řezy (2025–2026)Veronika Marešová: OFFLINE_CUT — GASK (2026–2027)