The sculpting work of Pavel Doskočil, an artist from the current mid generation, is diverse and integral at the same time. His sculptures have post-modernistic traits: freed media from direct modernistic references, mocking of historical consequences as well as kitsch’s, installation character of his work in its final form, etc.
His installations and sculpting objects are not strictly tagged as the media of sculpture, however. Doskočil works with sculpture primarily to the extent of using various materials: wood, plaster, natural materials, etc. In the installations in his exhibitions, we can observe, in the individual artefacts, consistent accuracy in the formal processing. This consistency of form practically emblematically represents the daily reality both in his hanging objects (e.g. antler hunting trophies), as well as in utilitarian objects, which are often perceived as “ready-mades” – hence already existing (e.g. brooms). These are subsequently developed into a free continuation in the form of genre symbols (bare tree with a trunk the base of which is a broom, minimalistic panorama of a landscape from wooden poles). The aesthetics of his objects’ reality and his treatment thereof is eventually completely freed of any decorativeness. Every artefact bears a direct reference to models in reality. However, it is not about a description but about transformation of the viewed model to a very concise resultant. Antlers or hanger-swastika are presented with a basically stern shifting. Doskočil moves between the borders of ornament (particularly in the phenomenon of landscape), which the reduction in the material used offers him, and between the borders of sculpting treatment. We can best observe these reverberations in the installations of his exhibitions. His object or objects do not usually stay convulsively “on the ground”. Antlers, hanging objects, some of them practically pictorially dealt with in plans, usually arch in the gallery space offered. Humour, or rather irony has an important role since it is applied (if it is applied) as the result of a mutated connection of real objects (particularly those meant for cleaning: broom, plastic garbage container, etc.) and treated material into traces genres. The poles of wooden handles in the final object create a linear character, which we subsequently read as a specific visual experience.
The appearance of Pavel Doskočil’s artistic approach unwinds from the rustic environment that he lives in. The closeness of landscape, working at home with all the proper instruments and natural objects are part of his daily experience. However, through the rustic forms, Doskočil grasps topics and issues that have a wider meaning. He drives at artistic processes of the previous decades, as well as at topics taboo by historical thinking. This is demonstrated, for example, in the installation of little figures that can be interpreted as crucifixes or as male figures with erect penises. The size corresponds, in strict Christian households, to crucifixes hung on the wall. He deals with the symbol of swastika, misused by Nazism, in a similar way, which suffered quite mocking trauma in the postmodern wave, primarily in German art. Doskočil “designs it into a hanger. With his utilitarian reconstruction he wants to swerve from the rooted history of the symbol.
Sculpture, just like other affiliated media with a classical label, is currently going through intellectually directed changes influenced by hereditary symbols of conceptual tendencies of the past century. At the same time these media are perceived as subliminal and, in the hands of opposite mechanisms, they acquire a more intuitive and perhaps freer image. Let’s say that the work of Pavel Doskočil is a connection of both of these opposing tendencies.
Performances and theater:
2007 World Music festival, Grabštejn
2006 Eros,Thanatos a Herminátor, Artfestival Black, Pardubice
2005 EASTERN ALLIANCE, Drážďany, Německo
2005 HEAVY MENTAL JUKEBOX, Východočeská galerie, Pardubice
2004 Michale ! Spolupráce – s J.Sukem, Galerie moderního umění v Hradci Králové
2002 HOSPODA U BILLA V, Divadlo evropských regionů, Open air, Hradec Králové
2002 LUP, Brno, Hradec Králové, Pardubice, Muzica Paka, Nová Paka
2001 ĎULIG, Divadlo evropských regionů, Open air, Hradec Králové
2000 Dr.D, Hradec Králové, Hořice v Podkrkonoší, Ostrava
2000 TURISTA, Next Wave, Praha
1999 PROHLÁŠENÍ, Muzica Paka – Nová Paka
1998 DÍVAČI, Hradec Králové
1998 KOLOTOČ A PES, Hradec Králové
2006 Mezinárodní sochařské symposium „Socha pro Cheb“, Cheb
2003 Mezinárodní sochařské sympozium Třinec
2002 Mezinárodní sochařské sympozium, Lúčky, Slovensko
2002 Hořické sochařské sympozium, Hořice v Podkrkonoší
1992 Sochařské sympozium Rudka u Kunštátu
výstava Pathfinder Galerie T - Hradec Králové, výstava Ab Igne Ignem I,II – zámek Opočno, Nové Adalbertinum – Hradec Králové, vlastní autorské výstavy, pravidelné výstavy studentů a prezentace školních a diplomových prací
2006- 2007 člen rady Broumovského sochařského symposia
Spolupráce na historických výstavách pro Biskupství Královéhradecké – tematická výstava „Mariánská úcta“ a výstava k výročí Královéhradecké kapituly (architekt výstavy, instalace)
od 2010 kurátor galerie ve veřejném prostoru – galerie Podchod, Hradec
opravy řady menších pomníků v regionu, spolupráce s J.Víchem na restaurování Mariánského sloupu v Hradci Králové
Another artistic activities:
od roku 2001 inicioval a vedl příležitostný divadelní a výtvarně performanční spolek LMRA – účast na festivalech a přehlídkách alternativní kultury (Next Wave – Praha, Musica Paka – Nová Paka, Grabštejn, projekt Eastern Aliance – Dresden (Německo), Divadlo evropských regionů – Hradec Králové)
od 2008 – PIANO – LMRA core conceptual music piano-lmra.blogspot.com