The Subject Matter
Sometimes the structure of Lubomír Typlt's current work can best be understood by the viewer if it is divided into two clearly defined groups. On the one hand this division is at a thematic level, however, in particular it was connected with Typlt's ability to approach his subject matter in two completely different ways. The early painting, Mobilization (1996), has been followed by several other compositions with a similarly harsh structure: Black tables (2002), Metaphysical painting (2005) or Turbine (2005) are the abstracted portraits of things or machines that exist on the boundaries of the twisted reality of a mechanistic vision and of the author's world of utopian fantasies. The laconic technique of the paintings belonging to this group is in contrast with the apparently antithetic paintings that, nevertheless, originated in parallel within the same creative time periods: the passionate gestural style and chromatic exuberance of Typlt's paintings incorporating the dead cat motif (1997-2002) seem to complement the construction-orientated work. His expressive work with colour culminated in the painting Orange Cats (2000) which could be seen to demonstrate a clear connection between Typlt's paintings and the German expressionist tradition; the author was able to acquaint himself with this during his stay at the Kunstakademie in Düsseldorf/Academy of Fine Arts Düsseldorf where has studied under of M. Lüpertz and G. Merz; completing his studies under A. R. Penck. However, although the parallels between Typlt and the early and late 20th Century German expressionists
(Die Brücke/Die Neuen Wilden) have been mentioned several times in the past, its obtrusive presence in Typlt's work should be put in context and attention drawn to a motivation and means of expression in Typlt's work that differs completely from that of the Germans. Also his succeeding development has demonstrated that the erosion and scratching of the painting's surface is not Typlt's aim and not even his means of depiction; the brutal handling of the subject-matter is never the main subject of the work, as is often the case with the above mentioned German artists. Typlt's continual questioning of attitudes to expression has contributed to an assessment of the author's explosive work as the antithesis of sophisticated abstract composition. The recent paintings originate within gradual coming together of both creative attitudes - it would be difficult to imagine, for example, the expressively accented painting Feet /Nohy/ without the painting Prozac that is free of expression and originated just a few months earlier.
In the recent paintings, objects arranged into complicated systems and interpreted as parts of clearly non-functional mechanisms reach the immediate vicinity of expressively interpreted symbolic figures (St. Anger, 2004) and they become a natural part of the meta-space they inhabit. How could a fusion of these previously opposed levels of the artist's work happen? The answer is that this difference was only ever apparent. The aim of Typlt's coldly rational paintings of mechanical structures was, paradoxically, to search for life under the metal mantle of portrayed objects and systems. This accentuation of the abstracted composed quality has transformed them into expressively sharpened works pulsating with energy and unshackled life. Typlt's most recent works, realized outside the medium of painting, originated as an omen of synthesis, although they were realized only through the unification of imaginary differences. Typlt has been creating spatial installations since the 1999 and they are an integral part of his work. They penetrate Typlt's painterly world and, simultaneously, they are a bridge that allows contact of his two-dimensional paintings with the third dimension. The installation Accelerate infinity from 2005 - a figure in shining armour, bearing watering cans - brings together the previously contrasting streams of Typlt's imagery; this synthesis intensifies the author's total creative potential and it reveals resources that he can utilize in the future.
It is not just the title of the installation Accelerate infinity which demonstrates that the subject of time and its presence in art has interested Typlt for a long time. The moment of time enters the world of motifs, set in various contexts, appearing in absurdly banal situations or accentuated in allegorical scenes. This faithfulness to the theme could be called an obsession even, should we take into consideration the returns and fascination of a few objects elevated to an absolute level of symbol or icon. Watering cans, barrels, tables, and conical hats belong among the most frequent and mutually combined objects. Their shape and space-creating qualities have been chosen for a particular reason. As though the Euclidean physics and Pythagorean geometry were to frame Typlt's meditations concerning the time phenomena - time spread in infinity, accelerated by a brisk rhythm of repeating and multiplying of mental and formal patterns. Typlt's time concept lacks narrative moments. The author rids the art forms of the obligation to introduce the spectator into the world of imaginary events. Typlt's oldest paintings, Dragonflies, Mobilization, Batteries (1996) and the paintings including the dead cat motif from 1997-2002, lead one to the conclusion that their main theme is the investigation of subject-matter at the moment of its transformation, as the most recent paintings from 2003-2005 show that Typlt is not so much interested in capturing a process caused by uncertain technology nor in monitoring the course of the biological decomposition of a dead cat's body; from the very beginning he aims to extract a scene from its natural time and space context, that means transcendence of the captured moment and its shifting to the level of universal and absolute validity. Typlt himself has identified the Batteries cycle as a "kinetic architecture", that is the result of "mental speculation, hypothesis and logic"¹. Movement, the principal theme of these paintings, has not been captured spontaneously in its natural process, but it has been bound into a definite form by a logic exploration, totalized and generalized. The non-functionality of mechanisms presented by Typlt, evident from the paintings and installations, intensifies this concept of movement in the abstract position of an idea. Similar exploration of the phenomenon of death and its biological aspects of putrefaction and decomposition appears in the dead cats paintings. The natural process does not fascinate Typlt;
he does not moralize or ironize it by stating its inevitability. A dead cat's body, painted originally from a real model, has been set into context freed of the burden of specificity by gradual passing through Typlt's pictorial world, and becoming an immobile symbol of death rather than a reference and document of biological processes that follow it. The principle of coincidence, characteristic for a natural course of natural and technical processes, has no place in Typlt's work. In connection with his installations and paintings he has defined his attitude accurately: "These paintings are not a composition of randomly arranged objects; they are a definite structure made of them"².
The exactness and rigidity of an allegorical scene in the paintings Alchemist, St. Anger and Metaphysician from the year 2004 have reached a point of a kind of metaphysical anxiety.
Natural space and time absence, ostentatious theatricality of the absurd exercises with watering cans refer us to the level of symbolic messages; however, they are made unreadable by intentionally non-symbolically banal attributes. Watering cans, school chairs or glass plates are iconographic elements that are comprehensible only in the context of Typlt's remaining work that included painting, drawing and installation. And it is just this very ability of Lubomir Typlt to reflect his own work in its complexity that bears a certain feature of conceptuality, which does not allow a principal interpretation of his imaginative allegories or symbols in the sense of profaned truths.
¹ Lubomír Typlt (exhib. Cat.). Gallery Aspekt, Brno 1999, pg. 3
² Ibidem, pg. 4