ORIGAMI AND TANGRAM

Is it possible today to find something that connects art created in the same time and space?
Art is becoming more and more universal and interchangeable. The originality of artistic expression emerges quite specifically from the boundless historical sea of artistic styles and art styles nourished by the new technologies of multimedia space.

Lenka Husáriková started about twelve years ago to paint illusory ("realistic") paintings inspired by various traditional artists. About five years ago, she started painting paintings in the spirit of the classical still life genre, whose motifs became origami. Gradually she moved in her artistic creations to the genre of landscape painting, but also to animal and figurative motifs. She divided her pictorial compositions into abstracted colour surfaces that aesthetically harmonised with the flat geometry of origami and tangram object folding.

Is it possible to create a painterly pictorial world like a construction lego from individual geometric fragments and to embody these fragments in paintings against the backdrop of a stylized classical landscape? The artist has dared to do something that grows out of her traditional concept of painting, which is enlivened by the practices of geometric abstraction. Figures and individual objects, perceived by the viewer as mere mirages, as the staple of the figurative puppets of a children's theatre, float through the pictorial space like a mere memory, like a dream. It plays a strange pictorial game on the horizon of uncertainty. In her case, the artistic process itself becomes a game. The subjectively created story appears in the objectively perceived space. The resulting colour configurations of her works stand on the borderline between reality, fiction, fairy tales and especially personal mythology, to which she gives symbolic meanings in the titles. At the same time, the image as a symbol of an idea (the principles of 20th century art modernism) historically returns to the traditional symbolism of allegorical pictorial themes of classical art (Homage I, Homage II, Homage III, Ota Pavel's Pond, Wolves in Rabbit's Clothes, Hope, Angels, etc.). - It is remarkable with what guilelessness he connects seemingly unconnected things, how he historically returns with his entire technological and technical painting "apparatus" of the 20th century by jumping into the unknown to "something". Ultimately, however, it is merely an artistic idea and an expression of inner freedom. The historical level of meaning implies unusual connections and various formal comparisons in their private paintings (e.g. the similarity of Origami to the painting and illustration expressive form of our Josef Lada, the influence of Japanese art on French painting of the second half of the 19th century, Emil Filla's pictorial cycle motivated by national songs of Czech folklore, etc.). In the way Husáriková creates her paintings from various mental entities and historical facts, she moves and identifies herself in a rich field of historical and cultural context, which allows for various interpretations and her own formal and content elaboration.

The initial impulse of it all, inspired by Origami and Tangram motifs, whether she came upon it through simple observation or sophisticated means, seems to be the happy constant in her artistic pictorial firmament.