Richard Loskot does not fill the world with more and more things. He does not create artefacts in the sense of concrete artistic objects that glide effortlessly into the supply chain of the culture industry. His work is more a process in which he stages events and creates an environment in which he offers both the “art consumer” and the random passerby an unusual (but not shocking) experience. This then effects a shift in perspective in the way we perceive a certain space, often based on the relationship and confrontation of the real and the technical (the virtual and the artistic), but above all by means of realisation of the act of reflection, its conditionality and rootedness in convention.
Loskot’s installations and environments comment on the technologisation of the modern world and return to questions of being in this world. Despite, or perhaps because of, this philosophical dimension (clearly indicated in titles like Podstata věcí / The Essence of Things, 2011; Procházka pod skutečností / A Walk Beneath the Fact, 2011), basic themes are dealt with that have defined and structured human experience since time immemorial – light, the sun, time, nature, water, growth, etc. The artist often simulates these using modern technology, though a certain optimism (or perhaps enthusiastic acceptance) means these technical systems become a telling metaphor and personification of natural processes and phenomena. Loskot does not place the technical and natural in opposition to each other. Instead they are like connected vessels or set of mirrors facing each other.