Krůček’s non-pictorial approach stems from the existing material presence of the white mesh, carrying in itself a visual "fluctuation" that is the result of its physical-optical appearance. The development of the artist’s creative stance originates from the graphic visual form shifting towards relief print-making techniques (gravure/intaglio) on paper, where the primal interest is "haptic" relief printed into a surface, instead of creating linear contrast; here, we note a reaction against uncompromising, bold graphic renditions. The appearance of the optical effect within the mesh is the end result of experiments illustrating the diffusion of a drawing displayed in front of a white wall.
The mesh shows the culmination of the effort to discard the last remains of the pictorial principle, wh ereby the artist achieves the goal "to dissolve" painting. There is a certain event within the mesh, in which the visual effect-a cloud-suppresses the fundamental principle of visual representation and introduces a moment of specific presence. The theme becomes "impalpability" in conjunction with the structure and event. Although the light dominates as the most important factor and makes the mesh actually present, the work’s intention is removed from all interpretations of the metaphysics of light. This reality ultimately implies the phenomenological theory, according to which no object can be perceived simultaneously as a picture and as a concept.
Therefore, Krůček’s work is an example of the rehabilitation of surface, which-from a philosophical perspective-represented only "a shadow of reality". In other words, the surface, the so-called "authentic life", (according to Ma rtin Heidegger’s philosophical intentions-the reflected life preferring the inner intellectual scope), rejects in the name of spiritual substance. Here, we can discuss the process of making a surface of reality visible-the surface that was veiled until now by its inner value.
Clear perception of phenomenological presence creates a polarity to the time continuity of pictorial representation. It constitutes an index, a timeline of trace. Indexation also stems from the state; that the effect within the mesh arises naturally, basically independent of the artist, is proof of changeability. Ultimately, the challenge to conventional authorship is the choice of wire netting: a commercially available material, a serial product, which is the source of non-representation. This is an example of tautological identity that is characteristic of the category of art objects defined as readymade. We can consider readymades either as the con frontation of everyday objects with an institutionalised sense or also as a radical rejection of the pictorial, and therefore an iconic representation. Up to a certain point, the mesh and net represent a connection between extreme criticism against the principle of representation and the principle of anonymously and serially produced artworks. Specifically, it is necessary to stress that the mesh in this case is not a clean serial product, but hand-painted and finalised by being bent and cut. Further, it is possible to point out that the entirety of the artistic presentation of the mesh is the artist’s work with many variants. The ephemeral quality of the visual effect consists of changeable intensity, depending on the angle of the view from the observer’s position, and the changeability of light conditions throughout days and seasons. Display factors, such as positioning of the work on the wall and the choice of suitable light conditions, play an important part as well. In other words, supervision of the work’s presentation is crucial.
Petr Ingerle, The art of diminished difference, Notes on the interpretation of the works of Vaclav Krucek, (extract), 64. Bulletin Moravské galerie v Brně/2008.
