Tussock [Trs]

Galerie mladých 26 06 — 27 07
opening — 25 06 2019 17:30

Tomáš Pavlacký is a graduate of Michal Gabriel’s sculpture studio at the Brno Faculty of Fine Arts. His area of ​​interest (as is the case with many of his classmates) naturally falls within the field of ​​3D modeling and 3D printing. But if a spectator expects from his work and from the exhibition in theGalerie mladých a typical obsession with technology and processes showing what more 3D printing can do, they will probably be disappointed. Because of a moderate approach, he completely suppresses the characteristic aesthetics of digital models. In the current installation, he abandons previous methods of materializing pseudorandom virtual errors based on information transfer. He works with a basic shape growing into structures that evoke biological or mineralization processes.
For the exhibition project Tussock [Trs], the author has created a broad set of variable parts of the same shape, but of different sizes and colors, respecting the predefined rules of his own formal grammar. 

On a similar principle, the so-called L-system used for modeling plant growth works, which can credibly generate endless amounts of unique, organic entities. Regarding visuality, in the case of Tomáš Pavlacký’s cones, we can talk about formal allusion on Art Nouveau floral aesthetics and modernist geometry. A substantial interpretation of the exhibition is the relationship between the syntactic system and the components that shape it in the form of an altered Czechoslovak tongue-twister “stick a tussock through the throat.”
Individual parts of the “jigsaw puzzle” resemble flattened cones with an opening that allows them to interconnect. The result is the creation of almost infinite possibilities for the construction (or growth) of pseudo-organic objects. 

Their materiality thanks to 3D printers, as well as their subsequent spatial installation, allows for the flattened multiplied cones to return through layering tautologically to the third dimension. At the same time, the author materializes a sequence of events in which each part is at one moment the cause and effect of another part.
The presented model scene offers the viewer an insight into exact logic and the way of thinking about space and its properties, understanding its variability but also questioning the perceived understanding of authorship. The author, surprisingly, ends his creative contribution on purpose by handing over a set of objects to curators, renouncing making the final composition in the gallery space.