Miroslav Cipár (1935) is without doubt one of the most versatile artists on the contemporary Slovak art scene. His latest paintings exhibit the vibrancy and vitality of painterly gesture and a hedonistic feeling for colour. When he arrived on the art scene in the early sixties, his illustrations achieved remarkable success, opening the way to the world for him. His work expanded over time, covering a wide range: from illustrations, paintings, drawings and prints to graphic design, animated film and monumental works.
His concept of painting draws on the finest traditions of abstract art, communicating messages coded in signs and gestures. Cipár’s work explores a specific form of dynamism since he perceives the painterly gesture as a process. The pictorial compositions are arranged in dynamic and rhythmic units in which painting appears to be an active phenomenon of motion. His application of colour deserves particular attention. Cipár’s paintings reflect his intrinsic feeling for colour and perception of its pure qualities. The colourful “chords, etudes and tunings” of his paintings evoke musical rhythms. Miroslav Cipár thus perceives colour in its musical ambivalence.
The exhibition “New Cipár” presented the artist’s recent work. He deliberately avoided the evaluation common at anniversary exhibitions – a look back, a return and the self-assurance of the correctness of the chosen path. The exhibition presented his drawings, paintings and wooden objects. The framework of his creative work – drawing, line, linear arabesque – displays a rich variety of forms. It evolves in a multitude of tiny, almost intimate compositions exhibiting a great number of variations and ideas. This process could be traced in the samples of drawings from different series. Naturally, shapes and forms transformed into other art forms also appear.
The line in painting becomes monumental and simplified, transforming into the surface area or blot. The painterly compositions evolve from small-scale forms to robust artistic expression. He reveals messages coded in signs, gestures, and fragments of calligraphy. In his latest assemblages he combines painted wood with hessian. They may indicate a revived affinity with new international forms of Art Informel.
“New Cipár” builds upon monumentality that is, besides drawing, his basic tool. The exhibition also presented his wooden objects. He worked in wood earlier, producing artworks and outdoor monumental works. The current conception places emphasis on dynamic space and semantically wider connotations. Cipár was inspired by the motif of the wall as a dividing element, which can confine space but also thinking.