Second Archive, Installation view, 660 x 330 x 40 cm, December 7, 2017 - January 12, 2018
Lucia Tallová (1985) connects the classic medium of painting with spatial installations, objects, collages, photographs, creating both a thoughtful and a material connection between the elaborated themes and techniques. Increasingly, it moves into space, and when the painting remains ubiquitous and still dominant, the places abstain in an intuitive gesture. Artist developed the theme of the archive in the form of a spatial specific installation of wooden shelves and racks occupied by collages, objects, paintings, old photographs and albums under which Tallová told the fictional stories of anonymous people. Artist work often possesses the character of collages, of archives in which new systems are determined by storing and rearranging various materials. She manipulates and interprets the residue, the remains of her work, often, in her view, the material that is visually useless, yet not thrown away: she gives it the right to a new existence and create fictional archive. The subject of a personal archive also refers to the artist's collection and collection of old photographs, albums, postcards, porcelain, stones and various bizarre objects and furniture, a troublesome objects that they subsequently manipulate and transform. They are made of a working material and a tool, underlined by layering and repeating its distinctive motifs and symbols, such as the black ink, the tear of colour, the dust and smoke particles, blurred horizons, ribbons or flowers as strong symbols of femininity, nostalgia and sentiment. The female figure becomes the central theme of the redesigned story of black and white photographs. The artist deliberately exploits mistakes in photographs - blurry, erroneous, blurred images, bad compositions, flaws and mistakes in making them, and the impact of time and patina on photographic papers. These errors accentuate, overlap, and transform through painting and collage. Archiving and diary comes from a long term repetitive need and it should capture dailiness. Even the most absolute form of archive is nothing more than author´s personal estimation and his or her choice of moments. The moments worth archiving, memories and the rest chosen to be forgotten.
In the latest installations and objects, Tallová uses her old ink drawings and watercolour paintings, which suddenly become a material - they are further manipulating, cutting and gluing, rebuilding the collage, which the never-presented work from sketches and the grasp of her studio receive "second life." Some of the objects refer to automatic artwork, such as circle spinning and new reworking of old works and stories in translated meaning. The main element of installations is the cyclical repetition, intuitive collection and storage, not the work itself with space, its architecture and the visitor's movement in it. The objects and furniture occupy the exhibition space in a thoughtful stage design that underlines and communicates with the character of the gallery and is finishing together a homogeneous atmospheric environment where the past is brought to the present.
In landscape painting Lucia Tallová developed unique recognizable langue. Artist is exploring the power of ornamental structures and decorative fragments, that are made using authentic artistic technique. This technique is based on application of embroideries and crochetings directly onto faces of canvases. Working with decorative laces means, that final works deal with specific visual qualities, but also with the expressing of an inner inexplicit content. Overlaying or superposition of these components determines the sentimentality, sincere nostalgia and naive decorativism of the canvases. The work of Lucia Tallová represents intimate storytelling, that is narrated through the medium of painting. The artist combines two contradictory visual experiences: impersonal product of the industrial society and ethereal dreamy landscape. Depicted objects are emerging from (or blurring into) empty spaces of the canvas and abstract plains of the painting act as a site of a contradictory conflict between minimal invasion and excessive decorating.