There is something about the large-scale paintings of Vojtěch Kovařík that hold the power of absolute transference in the viewer. The bold figures overflow the composition space as they seem to hunch over in order to fit in the canvas frame. Through the spectacular use of movement, and the lack thereof, Kovařík lures the viewer fully in his paintings. Below, we have a selection of works from two solo shows at Gallerie Derouillon; Hidden Garden, 2020, and Sadness and Beauty. The artist’s unshakeable classical figuration style is a reflection of an upbringing submerged in classical art– something we see is a key part, yet not what entirely constitutes his work. The subjects overpower the canvas space, and interact fully in their surroundings of brightly saturated color palettes. As a result, the viewer is left only to converse with the monumental canvas, and imagine what it would be like to walk among those giants. Read below to learn more about the artist, his upbringing, and his signature style.
Forest of Dryads, 2020, 200 x 200 cm, Acrylic on Canvas, Courtesy of the Artist and Galerie Derouillon, Paris
Tell us a little bit about yourself. Where are you from and how did art first come into your life?
I come from Rožnov pod Radhoštěm, where I currently live and work. Our whole family is artistically based, so I’ve had a relationship with art since I was a child and I am extremely grateful for that. Quite often we went to big exhibitions abroad, where I first saw the work of big artists like Baselitz, Lupertz, Léger, Rousseau, etc.
I also love to remember summer family vacations. It was such a triathlon; Sea, sights and hiking. Every summer vacation we went to the Balkans, and especially to Greece. I think it definitely affected me and my work.
Installation View, Sadness and Beauty, for NADA Miami, 2020, Hôtel Cromot du Bourg, Paris. Courtesy of the Artist and Galerie Derouillon, Paris, photo by: Grégory Copitet
Has your work always taken on the style it currently embodies?
Probably not. But I have always been interested in figural and monumental art. While studying at university, I started painting, which completely engulfed me. Then I spent the last two years at school from morning to evening in the studio, looking for a way out, both in form and theme.
I should also say that I have always been interested in topics from the ancient world. However, I did not update or present this topic too much in my work, in fact, only now do I seem to rediscover what has been discovered. And that’s the beautiful thing about it.
Installation View, Hidden Garden, February 2020, Courtesy of the Artist and Galerie Derouillon, Paris, photo by: Grégory Copitet
What is your process like? How do you begin a work?
I have more kinds of processes that I choose intuitively. Sometimes I start by looking for a suitable shape and gestures, sometimes I start by looking for color, or I also start directly with a drawing sketch on the canvas.
Sometimes I get such a scrum of colors and outlines that I just have to repaint it and start again. And if it repeats again and again, then I usually prefer to leave the studio or start on a completely different work. It’s always a challenge.
Installation view, Sadness and Beauty, for NADA Miami, 2020, Hôtel Cromot du Bourg, Paris. Courtesy of the Artist and Galerie Derouillon, Paris, photo by: Grégory Copitet
Walk us through a day in the studio.
I have a studio 5 meters from the house, but I usually get to the studio from 9am and then I usually paint until the evening. It always depends.
In the evening I recap what I did. And I’ve found that the best feeling can be when I leave something behind that gives me some inner satisfaction, or when I please someone.
Installation view, Sadness and Beauty, for NADA Miami, 2020, Hôtel Cromot du Bourg, Paris. Courtesy of the Artist and Galerie Derouillon, Paris, photo by: Grégory Copitet
What larger questions do you think your work asks?
I think that my work serves as testimony of the fact that repetition occurs, even without truly repeating itself.
Have you seen any changes in your work since the Covid outbreak?
It probably changed my daily functioning, but thanks to COVID-19, I have more time to focus on my family and things that one doesn’t normally get to. And it must also be added that we live in greenery on the outskirts of the city, so the word quarantine is not a problematic word for us.
Installation View, Hidden Garden, February 2020, Courtesy of the Artist and Galerie Derouillon, Paris, photo by: Grégory Copitet,
Does your work reference any Art Historical movements?
I am based mainly on Greek mythology. But I also love Renaissance, Gothic and ancient Egyptian art.
Installation view, Sadness and Beauty, for NADA Miami, 2020, Hôtel Cromot du Bourg, Paris. Courtesy of the Artist and Galerie Derouillon, Paris, photo by: Grégory Copitet
What’s next for you?
I am preparing a big solo exhibition that will be in the spring in Sao Paulo at the Mendes Wood DM Gallery.
Fight Between Hercules and Apollo for the Tripod, 2020, Acrylic on Canvas, 250 x 200 cm, Courtesy of the Artist and Galerie Derouillon, Paris
At the end of each interview we like to ask the artist to recommend a friend whose work you love and would like us to interview next. Who would you suggest?
Horst Antes.