Petr Vaňous – A human dimension of utopia

So far, Lubomír Typlt's (1975) painting that has been developing continuously since the middle of the nineties has existed on two levels. From the very beginning there was the expressive figuration with implicit interpretative meanings (dead cats, pushcarts, wheels, houses) and the constructive mechanical abstractions (Mobilization, Power Station, Batteries).
While the first level followed the selected "objects" from their surface inside, through the phenomenon level of the "mantle" towards their (life or mechanical) function, the second level originated in the ideal world of pure geometric forms.
Models and prototypes of the relevant forms have been searched for and found in the world of real, applied and utility objects.¹ At the beginning of Typlt's expressive journey there was an intuition supported by exceptional drawing ability based on animal and human bodies. This allowed him to acquire a canon of proportions and individual elements making up a whole ².
However, there also definitely exists the consciousness of a more fundamental character. This means anything that is selected at first and freed from the objective world, must be then incorporated into new contexts and thus shifted into a reality with a new meaning. It is this very new reality, inspired by Dadaism (Marcel Duchamp) and later responses to it (Gabriel Orosco), that became some results of the basis for Typlt's finding of his own platform.

The difference and shift in this platform's character is apparent. The Dadaists had no idea that a coincidence can be generated and, therefore, that it can be rationally registered or even measured. Typlt consciously finds an equivalent in the forms of his subjectively formulated "ideal" structures and via their multiplication, resulting in "utopian" structures. The newly defined coincidence that is announced is the popularized scientific terms of: for example, Benoit Mandelbrot in the form of the so-called fractals.

Of course, it is only a formal level of this concept. The second is from the Dada viewpoint and is on a more comprehensible level. Sometimes, there is an intensive presence of absurdity in Typlt's work and it is why the originating structural mechanism is absurd. It is necessary to create an own author's space as a frame for a new analogical reality. It is then possible to continue with investigation of relations and relationship between individual elements and wholes created by them via this reality. It was just a question of time when Typlt interconnects the empiric and the ideal on the level of a painting, drawing or object. Let us go back to the method of contextual change and to the relations recoding. In Typlt's work it is possible to note gradual concatenation of such activities and conscious creation of modified formulas. Let us document this route on his typical motif
- a watering can. A banal functional object is removed and examined in relation to space and area and is searched for by multiplication of an element and by addition of another one. By adding glass plates a House is created, by adding two chairs a Power station results. The pictures House and Power station can be perceived as a play only, reminding of or referring in their matter and contours to the original real objects. That is what can be assumed from the works titles. However, it is important that by this step Typlt creates another, this time a more complicated unit.

A more complicated "building block" for an utopian structure construction. We speak about a structure, then again in a planar sense as well as in a spatial sense which can have architectonic properties. That is the reason why in connection with his creation the author describes the whole that he is creating as an "architecture". Theoretically, in the Power station multiplication he could proceed ad infinitum. This way he touches the infinite and makes it material analogically.³ However, in the case of Typlt the context changes are even more complex. Recoding touches the attributes used equivalently as well. It is also evident in the figurative paintings and even in their role that they hold within the entire concept. Typlt's paintings showing a human figure or its part can be perceived as
a manipulated attribute. From the viewpoint of its meaning it functions on its own behalf, as an individual element,
as a separate work, as well as in context of the above described and analyzed concatenation on the way of searching for and approaching an ideal system - an absolute whole. Let us concentrate on the painting area. Consistently, to the last detail,
Typlt composes his, this time pictorial parts of the imaginary "architectonic whole". ⁴ He uses two types of attributes - attributes with a meaning, for example a naked human figure or its fragments (Feet) or a long nose, as well as allegorical names of characters (Pinocchio, Metaphysician) and spatial attributes - a sphere, a cone, a hole, etc.

The elements or attributes that connect the pictorial world with the spatial one are the above mentioned and "tested" watering cans, pushcarts, barrels, glass plates, chairs, tables, etc. In this selected synthesis Typlt codifies his discovered "new reality" that penetrates the chosen media laterally, where fragments of elements of the abstract world of ideas appear as well as elements of scepticism, born of experience. This meeting is manifested by an object - the installation Accelerate Infinity (2005), an armorial realization has also a paradox and very apt name.

The object Accelerate Infinity - an suit of armour, an exoskeleton that copies a human body function - bears watering cans and stands on an unstable pedestal. Under the abstract title, the absurd linking of objects refers to an individual human presence. The consequent understanding occurs beyond the boundaries of corporality. Of that corporality that is doubted here ironically in its existence, but, in parallel, it is maintained in its scale. And it follows a derivation of forms and morphology in an accelerated tempo. This expresses the Metaphysical painting (2005). Typlt's concept is based on a common order and geometrical and physical rules. The author also follows the diversity and validity with a certain amount of scepticism and absurdity which are interconnected. Lubomír Typlt's work offers many partial interpretations that speak about a multi-layered and unmistakable creation. 

 

¹ More details, P. Vaňous, Typlt's absurd mechanics of emotions, in: Lubomír Typlt (presnt. cat.), Tomáš Daniel, Prague 2002, pg. 9-11. 

² In connection with the abstract position of Typlt'spaintings it is necessary to realize that his mechanical structures relate by their very proportions to the human scale, therefore to the physically experienced world. A human being remains present forever due to his dimensions. The interest in the issue of proportions is pointed out by the reproduction of the mystification drawing Leonardo (2000) with a transferred meaning. Some of the figures in Typlt's paintings repeat ironically in axonometric image the positions, derived from the scheme of Leonardo da Vinci (Alchemist /Alchymista/, St. Anger, Metaphysician /Metafyzik/). 

³ Compare, note 2 

⁴ Even those paintings that seemingly do not belong to the concept contain the drift towards the "architectonic whole" set. For example, in the purely figural painting K. with Cat /K. s kočkou/ (2003), the proportional relation of the cat to the boy's figure with legs apart plays an important role. Similarly, as in case of thepainting The Mag Hurts /Huba bolí/ (2005), the disproportion of the stereometric sphere to the human head is crucial, etc.