Painter František Matoušek succeeded in what only few contemporary artists are lucky to manage: to find new, original method of communicating something very ordinary, and to develop unique, unrepeatable style. His works are basically classical jeans fabrics out of which the artist plucks the threads. They are thus created by reducing instead of adding up. The resulting “canvases” – even representing perfectly faithful portraits – are sometimes slightly finished by acrylic paint. Even if Matoušek straightforwardly painted his portraits, family still-lifes and landscapes, they always would include that “something” – the trace of their author, his approach, his way of perception. František Matoušek often paints his landscapes in open air, for that’s his way of existing inside a painting. Matoušek’s oeuvre ranks to the more public-accessible category of pictural painting on the Czech artistic scene which has been dominated by post-conceptual tendencies since the 1990s. But the form – and not only the luckily discovered, original and unique one – is not the most substantial element for the artist. He would definitely revolve around the same irregardless the artistic method: around translating the contemporary illegible world into his own personal morphology, around decomposing it to prime factors and to simple and intimate components, as understandable and close to us as is the face of a child or a river.
* 1967, Boskovice, Czech Republic