Lubomir Typlt is a prominent artist from the Czech Republic who studied in the Academy of Fine Arts of Prague but also Düsseldorf, having studied with personalities like A.R. Penck or Markus Lüpertz… Thanks to this artistic education and mobility, he developed his own personal expression.
Inhabited by the paintings of Lubomir Typlt, last summer the Villa Pellé in Prague became the theater of an artistic levitation… a bridge in time. In the villa, the atmosphere is intimate and the viewer feels at home in this succession of rooms and floors. Every space is like a different chapter of a longer story that the viewer discovers step by step… levitating.
The colors are bright and the light supernatural on the scene midway between the oracle and ritual. From blue to red, cold and warm colors are balanced. Only, the contrast (blue, pink, yellow…) on the body and faces acts like the figures would be highlighted by a candle or a mystical fire… intensifying moods and expressions.
Boys and girls don’t meet on the canvas, as in a schoolyard… different friends, different “games”. No ambiguous feelings. Sometimes the boys regroup into a prophetic fellowship… sometimes the girl performs a dance closer to witch’s rites. Individuality has no real place or importance in those compositions as the group and the expression prevails. It’s a small society. They dress alike, in multiple colors. Laughs, smiles, hands, postures, looks, touches and interactions between the characters suggest the intentions and potential affinities or tensions. However, the scenes are dominated by silence and the subtle tonalities of colors… the interpretation remains ambiguous and widely open for the viewer… The viewer takes part as a member of the group… of the unexpected ceremony.
The hidden faces, the hair in the wind… standstill and movement… contrast with the big globe-eyes that girls hold like a ball… often pointed like a laser. Blindness and sight are conflicted… Multiple visions. In this, the girls and their red bodies are often accompanied by a bigger figure… like a mother or powerful goddess. Her dress merges with the background like a mountain… a rock. She teaches, dominates and controls the situation! The girls (daughters) have no autonomy in this hierarchical order.
In the room of the crying baby, in several variations of colors… the viewer can hear the noise just from the facial expression. The repetition, the accumulation of canvases, similar but always different like a decomposition of movement… like a musical rhythm… resonates in the room… omnipresent. As the faces multiply… the cry continues… gets louder. It’s not a unison… it’s a baby-polyphony! It’s not a tiny little baby… it’s an inconsolable monument!
Further, the title of the exhibition “Levitace” takes all possible meanings as several big canvases represent a group of girls, in a circle, holding their hair in front of their faces, levitating over a big hole in the ground. The gray and yellow sky is tormented, apocalyptic, over a bloody horizon and a geometrically partitioned green ground. The instant feels tectonic… both magical and toxic like a spell. Did they open the chasm like a Pandora’s box… or does the hole make the girls levitate with a secret breath from the depth… Is it hell or paradise… danger or salvation?
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ABSTRACT MIMESIS 