stano ČERNÝ: LONG-EARED SQUARE
Stano Černý graduated in the special graphic atelier of Albín Brunovský, but originally he had wanted to study painting. Since he did not find a strong personality in the painting atelier at the Academy of Fine Arts, and he decided to start study on the Department of graphic and book illustration under Prof. Albín Brunovský.
Stano Černý belongs into the circle of artists called New Painting, which brought into the Slovak fine art scene post modern, which disapproved a lot of premises of modern, one of them was for example originality in the middle of 80-ties. New Painting is connected with the generation of artists, who started being well known to the public about 1985 (D. Brunovský, S. Bubán, S. Bubánová, I. Csudai, L. Teren) in our sphere.
New Painting was in Europe accepted during the Venetian Biennial in 1980. There was the most important publication ”La Transavanguardia” written by A. B. Oliva, where he descripted the main character of trans avant-garde painting – programme eclecticism, genre syncretism, subjectivism, which allowed a free using of different signs and styles and pluralism of creating.
Programme eclecticism of Černý’s creating captures for example the name of this exhibition ”Long-Eared Square”. This is a paraphrase of an important artwork one of the most important representative of world modern art K. Malevič ”Black Square on the White Background”. On the one side we can see the genre syncretism on the figural, realistic painting, which is close to the work of Gauguin after his staying on the Haiti Island, which was inspired by the primitive art of the Oceania. On the other on the one side, it is a symbolic painting, where he uses the elements of the primeval art, as is for example stylised Celtic art or emblematic figures, having its source in the so called shadow painting of the early neolith. Subjectivism of the artist is characteristic in such way, that he gives into his art works some strange new-shapes, which creates a ”Bestiary”, or he uses some mysterious signs taken from the renaissance alchemy and he creates a new microcosms with his own mythology.
Mgr. Viera Radziwill-Anoškinová
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