Fat Old Sun Painting

Igor Faško * 1967 is a Slovak Artist born in Germany (Treuenbrietzen). In his pictures and objects he represents an independent postmodern direction the constructive style. As a graduate of architecture and in addition to working as an architect, both in artist studios, he decided to devote himself mainly to the visual arts. Its in several private and public collections represented work, impresses with a concise and polychromatic expression. Attributes of his inner world such as the preference for alternative music genres of the 70s - 80s, poetry and art philosophy, he transforms into a code language that is identifiable through the ever-present spatial structure, chromatic chord formation and highly abstract objectivity. This reduced objectivity comes to the fore in geometrical formations which, from architectural units such as objects or from zoomorphic abbreviations, suggest a cipher of imprecise objectivity. These aesthetically extremely effective works draw the viewer into a multidimensional world in which the totality of the individual perception of reality emerges from many angles at the same time. In his extraordinary version of factual painting, Igor Faško presents a playful hint of the object that is structurally dismantled in a labyrinthine space. The intentions of the abstract and the representational, the ornamental and the pragmatic, the flat and the urbanized are exploded here. Miroslav Halák, Vienna In life you often have to be quite brave. For example, if you live in Germany, a country where we love the gray, melancholy, the doubt, the gloomy romance and peace of mind that you cannot do anything anyway. Because of that thought not even going to vote, even though we fought for that right not so long ago. Or, if you live in Slovakia, a country that is largely moved out of our consciousness, because it is no longer located behind the Iron Curtain, but rather behind the sheet metal wall, in Eastern Europe, where the towns are supposedly gray and dark as the Polish writer Andrzej Stasiuk describes: "In autumn we see that the city dies. Those who want to escape have fled long ago. At ten everything is dead. Only the gas station lives. Then the people go to the marketplace and look at the obituaries to see who has died, and then be glad that it has not caught themselves yet. They are waiting for a revolution to change everything.