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Simon Vahala's aesthetic searchBorn in Prague (Czech Republic) in 1978, Simon Vahala is already one of the newest and interesting character of the world-wide artistic view. He has already exhibited in Japan, Russia, USA, Germany, where the criticism exalted him as one of the new prophets of the contemporary art.
Simon Vahala, who is formed at the Prof. Milan Knizak's school (belonging to the International artistic movement Fluxus) rejects the traditional art knowledge and promotes the disgression of the creative act in the flow of the daily life, attending an art which prefers the artist's gesture and visual enjoyment.
Vahala applies himself to the figurative in a very personal way, like in "Blue face": a just hinted face all blue, wound in a red halo, or "Hunter": a kind of a sky-blue medieval warrior.
In his works, Vahala leaves any ideologic duty and intellectual trends, finding again the pleasure in his own style (see "Toilet": a stair which seems going up in the sky, or "Parking Place": two black spots on a grey ground) and discovering once more the painting, he sinks his roots in the German expressionism, even if recovering the traditional means of the pictorial experience (see: "Bondage", a feminine figure sitting in a violet environment).
That of Simon Vahala is a new expressive way and for sure the artist can consider himself as a precursor and original interpreter of the "new figuration", where irony mingles with oneirism on the canvas.
Bodies, objects, animals, figures and blots, traces of reality and haloes of colors emerge from his paintings, without ever declaring themselves. There are recollections of things already seen, which emerge through the brush, but at the same time are pending between the memory and the oblivion. Vahala is doing an aesthetic search, but also and above all a conceptual work, where the painting is at the disposal of his ideas, a consideration on the perception of the image.
The figures are very often leaving any allusion with the reality for becoming abstract evanescent shapes, no more views belonging to the real world, but visions of an interior and sensitive universe.
Vahala is author and actor of a personal poetic creation. Since he does not fix the limit between abstract and concrete painting, he leaves us roving in the Limbo of the reflection (see: "Habibi 2", may be Christ who is carrying his Cross on the Golgota Mountain, or "Black Palm": simply the shadow of a black palm or even "Mortar", with the features of a tank).
Simon Vahala's themes: mythological and social, where night lights and shadows crowd his imaginary world, are interpreted in an ever newer language, but at the same time recognizable and once again the artist's look is dispelled, becoming a silent poet of the world.
Eraldo Di Vita
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