Jakub Nepraš, landscape
Landscape - Wooden towers of irregular construction represent inhabited bridge supports or communities disassociated from the unassailable and unrivalled universal mainstream highway. Their structure and projecting arms, reminiscent of mechanical cranes or upright fishing rods, provide a form of notional alternative, a different way of crossing sections of the highway than the one we would normally consider a comfortable choice. The orthogonal architecture of the bridges and beams also encourages looking at the environment from a different vantage point, thus engendering an attempt to decode the accelerated present, which for some people has already become humdrum. The need to depict objects from several angles was also a feature of cubist painting and sculpture. Here, however, normal reality filmed from one moving viewpoint serves as the starting material for further cubistic development of video. In this system, sequences from familiar environments are displayed rhythmically and in short temporal sequences and although they are still shown as a complex flow of ciphers, the wide-angle shots provide the possibility of a limited view of the past and the future. The motion of the animation structure drives the contents of videos much like the familiar domino effect, which governs the way that some multilateral, interconnected impulses propagate in nature. Thus for a moment here our reality becomes a transparent flowing river. Viewed from a distance, it simply offers the viewer the chance to rest or undergo a remedial alteration of state of mind. In this way it also tries to rise above those things that engulf us and could prove catastrophic for humanity.
“For me, the artwork as a whole embodies a desire for more complex understanding, as well as the faith that some kind of inner transformation, reorganisation or redefinition of the current socio-economic system is still possible. The aspiration for a change of outdated ways of thinking and an interest in a new view of the world can be the driving force for reaching another important level of existence and a more intelligent stage of evolution. Above all, we must all start with ourselves, however.”
The Landscape video-object may also be viewed as an emotion, a notion or sentiment arising from the current state of our unstable community. It connects to the older conceptual context of forest architecture and the already executed project Treehouse, which is my own personal symbol of detachment, as well as a certain form of “freedom”. Jakub Nepraš
Jakub Nepraš lives and works in Prague, Czech Republic