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Vaclav Pozarek

Pozarek, 1988
collage, pen on paper
27.5 x 19.5 cm
In the 1980s, Vaclav Pozarek started explicitly focusing on the history of forms in architecture, creating drawings of famous New York and Chicago buildings. In the manner of Malevitch, El Lissitzky and Mondrian, Pozarek tended to base his work on formal construction principles and on different ways of conceiving space. The subsequent drawings of facades, which he began in 1992, display a unique plastic sensitivity, as well as a predilection for fictional compositions. Meticulously created in pencil or ink, his rectangular grids always occupy the whole surface and evoke classical architecture, with doors and windows. Yet it is nothing but a subtle play of forms on a two-dimensional plane, an empty/full, relief/flatness dialectic. Thus, Pozarek diverts and frees objects from their specific everyday function and from their cultural rooting, by pushing them towards abstraction.

His photographic collages also manifest humour and a penchant for modular sets. The nine works created between 1987 and 1988 function as clever winks at the history of art. By means of newspaper cuttings, Pozarek revisits the 20th century through its outstanding plastic gestures, particularly those of Man Ray, Yves Klein, Manzoni, Max Ernst, Tatline, Mario Merz, Judd and Robert Morris.
Vaclav Pozarek, Pozarek, 1988