House of Dreams Painting

In her wired images – objects, Lucia Grejtáková does not imitate rotorelief, ready made or MerzBild programme, she is not even directly inspired by it. The only thing she attempts to do is “revitalize“, “revive“ memories of it in a way, in which reality itself plays an ultimate role, promoted to an “image“ in its particular, also philosophical (substitutive) meaning. This is particularly true for keys – real pieces of metal interwoven into the wire outline, resembling a net of roads, pathways walked by feet of people that were here at a certain time, in a certain place (genius loci). A tool to unlock and lock in its symbolic meaning, staying a real object, reminding of a ready made object on the one hand and, on the other, imitation, substitutive sign of the so called “power to loosen an tie“ the people´s destinies, historical periods and entries in smaller areas of the already mentioned genius loci, in its objective and subjective meaning. The author plays with keys, places and relocates them in the image and image drawings, where the dominant role is played by their visual aspect, and becomes an integral part of this cob-web network (a true one, knitted out of wire or drawn), as a human footprint. At the same time, the esthetic reality, which, by means of the form excitability and its elements, deals with the brutality of today. There, where the destruction is the only thing that identifies her. However, the destruction (deconstruction) is not Grejtáková's plan or goal. She has rather altered J. Derrida with J. F. Lyotard. And the deconstruction (in terms of decomposition) of the image form, creating only the frame, retains its purpose. Accidentally, impulsively, intuitively placing layers, tying, weaving the steel yarns, thinner and thicker wire-fibered lines of force, through which she changes the outer visual representation of the world to an inner structure of the object that has its symbolic meaning. It happens to become the link between the real world (behind the image), and the world of image (inside the work of art), while they are complementary to one another. In this manner, the genius loci (memory of the place) is made visible in the reality of the image. Thanks to her, we can feel, find out hints of stories about something, someone, who had been here long ago, or actually quite recently, perhaps thinking about the same as us, but is no longer here. They have changed, died...But still left a track, “visualized“ right by these images.