marius kotrba & tadeáš kotrba

Two strong artistic personalities

Two rich inner worlds

Two different approaches

Father and son in the space between the spoken and the thought

Father and son in the dialogue of human being…

Tadeáš Kotrba‘s /1986/ stay in Mikulov was based on a seemingly simple task: to respond to a selection of sculptures by Marius Kotrba /1959 - 2011/ through his own painting.

All the chosen sculptural objects by Marius Kotrba are figurative. The stylization of the figures occurs in two positions. In the first, there is a noticeable closeness between the figures, becoming synonymous with family connections or a loving act. Their arms and legs are joined in a circular pattern, tightly embracing the body of another fi gure. The fusion of bodies brings the physical proximity as a source of belonging, tranquillity, and fulfi lment. The figures are highly abstracted, and the light emphasizes the smooth and soft curves of statues.

The second position is referring to Christian iconography. Robust, schematic figures become actors in Old and New Testament legends. They draw attention to certain body parts, often large hands or voluminous heads with prominent necks. These proportional imperfections may characterize the humanity or vulnerability of the fi gures.

All the sculptures are made of plaster. The porous surface of the white material is highly tactile, and the surrounding space is not attacked by diverse colours. The installation of the exhibition also includes the torso of a cut up sculpture (the sculpture of the Good Shepherd).

Tadeáš Kotrba works with two temporal planes – one connected to the past and the artifacts of his father, and the other, his own painting, created in the present, directly for the purposes of the exhibition assignment.

He slowly creates paintings that are drawn from conscious and subconscious sources. They project memories, old past experiences, various landscapes, emotions, scents, sounds, emotional connections…

To make the artworks authentic, quality and responsible, Tadeáš works in a system of long artistic perpesctive but he does not forgive experiments. The entire creative process is based on thorough preparation. Small sketches and watercolor miniatures serve as guidelines for large-scale realizations. Large-format linen canvases are fi lled with initial underdrawings, which later partially disappear under masking tape. The specific work‘s motif is connected to Marius‘s sculptural creations.

The space of the painting is gradually defined, and the work with colour may come next. Individual colour fi elds are handled with great care. The paint is very runny and fl ows down easily. After the paint dries, some of the tape is removed, and in some places, traces of leaked pigments can be seen. Tadeáš repeatedly applies and overlaps colours, repainting the surface of the canvas. Sometimes multiple times. When he is satisfied with the work, all the remaining tape is removed. The painting acquires depth and perspective.

The whole process redefi nes the surface of the canvas and the visual plane of the painting several times. The result is a peculiar symbiosis of a minimalist and narrative approach. Figurative motifs occasionally appear in extensive abstract segments. Small stories against the backdrop of a magnifi cent colourful universe. Some figurative motifs derive from the father‘s drawings but are embedded in new environments and connections.

The selection of subjects, painting formats, and their placement sensitively respond to the sculptures in space. Thus, a natural, timeless dialogue emerges. To whom is it intended, and who is conversing? That is purely up to the viewer..