Adam Vít makes paintings, after many others and certainly before many others. He knows that questions about the meaning of his work can only be answered by action, in this case by image. Each answer is tautologically wrapped in itself, similar to the institutional definition of art. After all, the desire for fixed definitions is one of the traps of the human mind and the heart. And it is the art theory that causes contradictions in artistic practice. But enough was an unfortunate personification.
Adam Vít makes paintings that could be considered abstract. Their appearance is as important as the recent change in his approach to art, to painting. I would like to write that to the life as well, but that would be too much of a generalization, too much abstraction. But perhaps I can afford it in an age of slowly ending globalization, an impending climate crisis, at a time when the world we know is slowly ending – not by banging, but by whining.
Someone once said that the basic motto of abstract painting is its flatness, which is said to be the quality inherent in painting. Today we can talk all the more about flatness – we encounter most of the current images through the screens of phones, tablets and computers. The main impression of the current abstract painting is the huge overproduction of paintings. But are Vít’s paintings flat enough, when we physically meet them in a gallery, in a studio? Definitely the color is made of matter and it emerges from the canvas. We can also situate some parts in the paintings closer and some further. What was flat at the beginning of the Cold War is full of space after more than twenty years of living with the Internet and graphical interfaces.
In the chapter “Why Society in the United States Seems Both Restless and Monotonous.” Alexis de Tocqueville sought to describe the behavior of individuals in a democratic society, as pilgrims scattered in a large forest, whose paths lead to the same point. When they all see this point at the same time and focus their steps on it, they suddenly approach each other without searching, without seeing each other, without knowing each other, and they will eventually be surprised when they gather in one place. ” We call this place contemporary art.
In 1960, Jiří Padrta said: “There is something ridiculous and pathetic about the universal myth of abstract art. Painting is said to be autonomous, clean and standing on its own, so we usually analyze its individual components and define its limits. But painting is always unclean. And it is the taking care of the dirt that forces the painter to keep working. We are thus creators of the images, although images control us. ”
There is something fragile about Adam Vít’s paintings and approach. The generous, self-confident gesture, that was the pin, which the approach of many famous abstract, tachistic, informel, and whatever painters wrapped around, is, in his case, dry, isolated and more random. In his case it’s more like a dirt behind the nails, an uncertain hand, rather than a manly seductive smile. At the same time, the presented paintings try to stand on their own, to be just and just to be, not to refer, not to show off. But our current situation, the circumstances of the late period are also fragile. It is impossible to get out of the compost of reciprocal references and feelings of ambiguity. Although after the seismic shocks that are, and mainly will be associated with Russian aggression against Ukraine, who knows. Maybe the level of complexity of the perception of fine art will decrease to a new minimum.
Abstract images are always suspected by viewers, on the one hand, of the excessive ease of their creation and, on the other hand, that they demonstrate belonging to a cultural elite. But Vít follows a different type of ethos. In the times of punk, everyone could start their own band, pick up a guitar, some did, but only few found their voice. Adam Vít’s paintings might seem relatively easy to create, but only few do so, or at least not in the long run. Despite the birds, the path from the crumbs across the time has its price.
Adam Vít’s new paintings are contrasting and harmonious. Note the symmetry, repetitions, structures and patterns, abstract motifs, aesthetic relationships, repeated strategies, how the author places the pictorial motifs, sorts the color plans. Focus on the role of randomness, on error, on the author’s casual approach. The paintings do not try to open an imaginary window into a continuous environment, but they are full of views of the final surface of the canvas, of the gesso, they are echoes of some degraded graphic design. After all, art arises not from a preconceived concept, but rather from stupidity, inexperience, taste and happiness.