A rigid and brittle layer applied to a flexible matrix will break with ease, though this does not necessarily signify its destruction. The pursuit of sustainability is a laborious process and change is thus to be embraced with relief: when monitoring growth ceases to satisfy, observing what is lacking presents one with a new way of seeing. Though grasping a fixed image is impossible, at the boundary between its capture and its volatility one can make out a source which drives the imagination.
Patrik Pelikán (1987) examines the possibilities of three-dimensional approaches; his works exist on the boundary between traditional sculptural relief and architecture. Ever since ancient Greece, the interconnection of these two disciplines constitutes one of the basic – as well as one the most difficult – tasks required of an artist. Pelikán’s novel solutions rank him among conceptual artists such as Olafur Eliasson and the painter Jaromír Novotný. By utilising the inherent properties of light and material, these authors revisit the essence of modernism by reassessing the possibilities offered by the artistic medium. When Patrik Pelikán creates, he exploits space for its visual quality. Not in order to fill it, but to provide viewers with the opportunity to enter and observe.