Pavel Mutinsky
Forty years of the art of painting

Pavel Mutinsky (Born 1957) is an artist who has intensely devoted many years to painting, to free and applied graphic art, to design, to photography and at one time earlier, to filming for promotional purposes and at that time contemporary documentation, especially for the didactic purport and in the field of travel movement.

The painting of the artist was conceived as a free and independent activity and the artist himself confirmed this, when he was able to realize his artistic ideas, and to configure his own creative identity. The free paintings permit and do not bind down artist creativity in the field of applied arts. This enabled him to abandon the cogently given themes in the spheres of free inventiveness and creative freedom. Man is a being mostly full of ideas, intentions and desires, but the implementation of these depends on external circumstances, and is determined by a number of social bindings and respect thereof. Man is therefore looking for ways to present himself in such a way as to get ahead and take into account the outside world and his personality. The paintings of the artist build upon the capabilities and situations in which the subject is found and are not build to reality not only from purely pragmatic considerations, but also in terms of his sensibility and his own ideas and knowledge. Therefore, themes that define his painted creations are based on the artist's relationship with the real facts, but their rendering and external form are built on the strength of authentic experiences, mostly related to external situations, and under the influence of external circumstances. To balance his forty year creative journey in conjunction with the paintings is, for this artist, not easy. He is in fact aware that balance will not apply to this retrospective exhibition, which is set up in a purely chronological framework, but one should imagine it as a system, consciously and internally, in an authentically creative way.

The urban environment is familiar, because he has spent most of his life in it and the artist is aware of it's assets and weaknesses. His paintings of the urban environment are usually conceived in terms of social stress and its effect upon humans. They are built on the breakdown of the color structure of the picture, an on the power of color strength, using finely structure layers of color, often with only a slight color offset. In some cases this is complemented by fine drawing descriptiveness. This amounts to the artist's expressive effect in his painting style, to greater impress upon the viewer's sensitivity and to increase the emotional impact of his paintings. The artist utilizes this procedure in general, irrespective of the thematic sphere to which the work pertains. His paintings and works convey to the audience the urgency of his message and contain a certain dose of poeticism. The beauty can be fulfilling in such a specifically toxic context and militates as a warning to the viewer.

In painting oriental themes Pavel Mutinsky has entered depictions of architecture into our consciousness like an apparition from Fata Morgana.The artist intends it to stand out so that a perceptive observers thoughts are exposed through his eyes for a moment. It is just like by way of a partial miracle or even exposure to a miracle itself and dream mirage, which then wraps around until the color escapes our sight somewhere in the background behind the horizon level. The Arab world is filled with controversial oriental events in the rhythm of everyday life, always muffled with hidden mystery. It is a world that breathes the atmosphere of premonition of secrets, with a background of figures of men and veiled woemen. The architecture of the Orient in the Islamic world is unique and permanent, as well as an unveiled woman's face.

Pavel Mutinsky's figurative creations are mainly focused on female nudes, portrayed expressively and existentially burdened, while the artist has chosen colors that are based on suppression of the contrast of cold and warm color (e.g. ultramarine and magenta color, or red and black, etc.). The Surrounding of an Act provides a framework of indeterminate and ambiguous color and space, corresponding to the body color of the painting, and it then becomes a solid and well-defined part of the following color-defined environment. The existence of man in this world is ambiguous and often contradictory, because a man in this world is defined as a being having an intellect, and thinking abstractly and virtually cognitive. That is why (man's existence) does not always associate itself existentially with what this world has to offer, and is portrayed as including the world already scarred by human activity, and human handling.

Paraphrases of well-known works by famous authors are examples of human creative action in the context of art, and the art of painting. The artist has rendered them as newly processed and spatio-temporally shifted elsewhere. These show the possible variations arising from the original artwork. From the artistic point of view, they are subjected to analysis and attempt to accentuate what their creator intended them to suggest, and are presented thusly. Just as brushing away dust that has built up over time, and has covered everything until everything under it is hidden and inaccessible. Even if these are just a creative improvisation and in a sense perhaps also a game, still the artist's paraphrases surprisingly admire the original artwork, indirectly express appreciation of them and do so with all humility and inner participation. His approach to these is filled with responsibility and conscientiousness, and he also intends something instructive. These things are clearly reflected in these paraphrases. It is worth it for you to view and admire them, because they have in themselves a ”memento mori” that human existence is fleeting and everything else ”that's left behind” is eternal. And this is true not only for art!

I am glad to have been a part of the creation of Pavel Mutinsky's body of art, so that it may become more familiar and visible in a coherent and harmonized configuration. Believe me, it was worth it.

Vladimír Procházka 2011