Alone in the Mountains
Gallery of the Slovácké Museum in Uherské Hradiště
2024
curator © Lukáš Malina
Lenka was born in Vrbno pod Pradědem in 1988. The landscape of the Jeseníky Mountains became a fundamental formative element of her work, and nature her main inspiration. Lenka spends long hours and days exploring it on her expeditions, examining its structures, the rhythm of its growth, and the way different surfaces reflect sunlight. The first stage of her work is therefore observation. This is not superficial work that can be quickly dismissed or facilitated by the use of various extensions of the eye and memory, such as a sketchbook or camera. This important phase is based on careful observation and an effort to understand the essence of what is being observed, rather than on diligent memorization of what is seen. Subsequently, in her studio, Lenka uses these insights as building blocks for her prints and drawings, where, with the help of her memory but under the command of her imagination, she composes her own synthesis of the landscape. Landscapes that are archaic and quiet, inviting contemplation. This results in sections of dense forests, undergrowth, and rocks. Although these themes are treated naturalistically, from a distance they look more like abstract structures than scientific studies. They seem a bit like a search for order—some kind of repeating pattern in chaos.
Order in chaos. One of the most common clichés in science. The forest really does seem like a chaotic system. Trees, bushes, and branches in one big jumble. Such a system cannot be described using partial differential equations; that is not how we perceive the world around us. However, using our imagination, the brain seems to be able to find greater order in this chaos than classical physics. Lenka Falušiová's work demonstrates how the human mind navigates chaotic perceptions and is able to find universality in this chaos. Chaos theory and the associated fractal geometry show that with a few simple building blocks and a limited number of relatively simple rules, it is possible to create systems of infinite complexity through repetition and changes of scale. By understanding the most basic building blocks of plants, such as trunks, branches, and the rules of their growth, it is possible to create, for example, a realistic perception of a coniferous tree. By understanding how these individual trees grow next to each other so that they can coexist, it is then possible to create a realistic perception of an entire forest.All based on a simple system that is repeated endlessly, like a loop. The only limitation is the format of the paper or canvas. Art is largely how people perceive the world. Good artists have realized that there are few things that are truly important. Lenka Falušiová is certainly not the first to work in this way. The horizons of 17th-century Dutch landscapes feature realistic-looking trees and animals. However, when you look closely, you will see that it is a repetitive, trivial pattern with a few details whose combination leads the viewer's eye to the correct perception.
The exhibition at the Slovácké Museum Gallery presents a cross-section of the artist's work, including recent pieces dominated by large-format drawings and her first paintings, which are a cross between painting and drawing, with ink alternating with oil paints. However, graphic works remain the foundation of her work. These include various intaglio techniques such as etching, mezzotint, and others. For Lenka Falušiová, graphic art is like a diary. It is an essential part and foundation for her large-format works, which in turn allow her to swing more freely and relax.
