Viťo Bojňanský -- Paintings, plastics

Ľudovít Petránsky Jr.

Paintings and sculptures by Viťo Bojňanský put together a graceful thread of the author’s thinking, desires and associations in a small mosaic. Every his piece steams from a zero point of creation with a need of formation and definition – from an intuitive and improvised start up to a fully wilful and rational calculation of alternatives which hides the start. A final visual definition in a form of a story or an abstracted out, synthesizing symbol, sometimes simple, sometimes complicated, exclusive and ambiguous in ideas, is a result of such composed arrangement of the work.

Both Bojňanský’s painter’s and sculptor’s works are records of primary life complexes defining the shape of our being, a special trap for meanings, processes, events and human destinies. The author connects the world of reality with the world of his own imagination. He combines necessity with an accident, fits motifs and visions in complicated and specific dimensions of space and time. The presence, far history, messages of anticipated myths and ceremonies are overlapped and also reflected in Bojňanský’s displays. Images of his consciousness occur accidentally and spontaneously without preceding preparation. Afterwards, they meditatively fade away and ripen in an atelier for certain time. Shapes re-melt into new so far non-explored configurations with every next stroke, step, cut. It is related to the author’s approach to a process of creation of a work which is however born by a sudden origin but it is permanently completed as if without an end. Bojňanský considers the feeling of creative self-satisfaction for a long time, finds the point of image definition only very hard. Both the painting and sculpture are relatively closely related categories for him. For instance the preparatory material worked out on canvas will very often appear in a three dimensional plastic art and vice versa, the object is a pre-image of a painter’s composition for him. It is interesting to observe how both the categories communicate with each other.

An artistic artefact – once being a sculpture, next time a painting – is as an independent micro cosmos into which the author projects a wide range of issues. Through a human figure, he interprets an eternal drama of interpersonal confrontation. Enchanted by lapidary and everlasting value of fragments of old civilisations, he starts out on a journey from understanding of the Egyptian culture through milestones of the history up to the present. Depiction of horses plays an important role in Bojňanský’s performance. Courage, intelligence, speed and endurance, dignity and also a little bit of mystery – this all is contained in a phenomenon of a horse itself. Horses inspired many famous people in the history. Similarly, Bojňanský often returns back to depiction thereof, he starts variations with themes of horses in the most miscellaneous painter’s and sculptor’s compositions.

A sculptor cannot be covered up in Bojňanský in the way of depicting a figure, its location in the space and certain relief feeling. In the picture, we can perceive construction of entire surface, its orchestration and determining composition based on interconnection of a central motif with the surrounding background. The author works with flatness and voluminosity, plays with a composition, monumentality and a detail, as well. Geometrical shapes as natural and indefinite building elements are becoming an expressional part of a picture network. Prudent lines and traces of full colours are changing with different structures and fine azures. Inventive and purely individual colouristic intonation contains complicated aspects of a symbolically sketched experience of perceived dimensions of the world. The colour is an equal carrier of an action, reflects mental frames of mind, moods and mysterious unpronounced words. Bojňanský uses it quite independently and freely. Coloured painter’s interpretation also leaves traces on Bojňanský’s sculpture objects. However, resemblance of sculptures is more symbolic, scenery is dourer, and the statement is concentrated into a single scene. A sculpture becomes its final order by emotional and rational arrangement of several components, segments, partial meanings.

When the sculptor Bojňanský discovers a material that addresses him (wood, stone, bronze), then it mostly helps him. A secret, mystery, uncertainty of material which resembles something that it is not at all but it might become by ingenious intervention by the author excites him. He is fascinated by the role of a creator when he gives a new life to bronze castings, both items found and natural things, grouped fragments. Hybrid forms of both the natural and newly originated open space for his imagination, poetry and mystification. Mystery of things, their nostalgia and magic, their mutual relations and interconnections and also the time elapsed which entered into them and changed them gives the Bojňanský’s sculptures an independent life with internal tension.

PhDr. Alena Hejlová