GEOMETRY OF FEELING — Abstract Painting

Solo Exhibition | Jan Svoboda — Geometry of Feeling (Abstract Painting)

Jan Svoboda’s abstract painting speaks to a courageous viewer—one who is willing to look inward and explore even the most hidden corners of their soul.

This time, I left the search for the exhibition title to the artist himself. We chose it at a time when it had not even crossed our minds that the exhibition might not take place.

So how should one approach Geometry of Feeling?

The answer can take many forms. The simplest one is that the artist—originally trained as a civil engineer—has a natural affinity for geometry. At the same time, he has been devoted to visual art for over 30 years, making it clear that emotion plays an essential role in his work.

In his paintings, he combines the precision of structure with the purity of emotion. This principle runs consistently throughout his entire body of work.

While preparing the exhibition, I revisited his catalogues. I enjoy returning to them—they are filled with a wide range of moods and feelings. During this process, I came across a statement from 2009 (!!!) and realized that the foundations of his artistic approach have remained unchanged.

At the time, Jan Svoboda said:

“Everything I do is about feelings. Since I never formally studied painting techniques or their foundations, I rely solely on feeling. I enjoy translating my positive emotions into paintings.

If I have a cold or I don’t feel well, I won’t even look at the canvas. I make sure that even the preparation of a painting is done in a good state of mind. Feeling is extremely important.

I’m not inherently a painter—I believe I could just as well be doing something else and enjoy it. I think people don’t really want paintings themselves—they want the feelings those paintings evoke. They create their own sense of well-being simply by looking at them.”

Although Jan Svoboda’s fundamental approach to art has remained consistent over the years, his paintings are in a constant state of transformation.

His work has always been abstract, yet it continues to evolve and develop. This exhibition presents his most recent works from late 2019 and the beginning of his jubilee year in 2020.

Emphasizing the term current work is particularly important in his case, as his artistic practice has undergone several significant transformations over the past three decades.

In his early period, he worked in a consistent style for an extended time—he needed to “paint himself into it,” making up for the years when art was only a part-time pursuit. Even then, his work was abstract, yet retained an illustrative quality with recognizable elements.

Figures, objects, animals, plants, and symbols appeared in simplified, expressive forms—“as if painted by a small child,” as a gallery attendant once remarked in a prestigious exhibition space.

This period found a wide audience and was well received by galleries. However, around 2010, his style began to change dramatically.

The abstraction in his work moved beyond illustrative references. Concrete forms gradually disappeared, replaced by highly simplified geometric shapes—until eventually, even those dissolved.

Following this phase, he began to “zoom in” further, bringing elements closer and closer to the limits of perception. What remained were fields of color and horizons.

At first glance, these works may seem minimal, yet they are deeply contemplative and carefully constructed.

Through this process of reduction, he explores the essence of understanding—not only his own creative possibilities, but perhaps something greater, something beyond language itself.

Just as we sometimes feel that something has vanished, leaving emptiness behind, his paintings may appear empty at first glance.

But this is only an illusion.

There is nothing in them—and yet, everything.

The paintings from this period radiate a profound sense of calm. They invite the viewer to pause, to slow down, and to reflect on what truly matters.

They remind us that what is essential is what we see with the heart—as we have long been taught by a small boy from the planet B-612.

Those who give these works time and attention may experience a sense of mental clarity—similar to what comes through meditation or prayer. This is largely due to the emotional power of color in Svoboda’s paintings, which often evokes a deeply meditative state.

This is how I described his work during exhibitions in 2017.

A year or two has passed—and once again, we find ourselves entering a new, more dynamic phase of his artistic development.

He has not abandoned large color fields or horizons. Instead, he has gradually begun to enrich them with subtle, enigmatic references—visual clues and quiet puzzles that draw the viewer in and hold their attention.

And yet, one thing remains unchanged: these are not paintings for a fleeting glance. They are works that require pause.

And now is the time to pause.

Before, we lived in a constant rush—immersed in projects, challenges, deadlines, both personal and professional. And where are they now?

We have been forced to slow down. To stop.

And with that came something rare—time. Time to reflect, to quiet the mind, to regain inner balance.

It is a period of conscious awareness, of slower action, and meaningful decisions.

In this moment, Jan Svoboda’s paintings offer a simple yet powerful message:

“Live in the present moment.”

Dear friends, together with the owners of the MÚR Gallery, Marta and Marián Ferj, we remain hopeful that we will soon be able to present these and other works to you in person—within the beautiful space of their gallery.

Wishing you beautiful days,

Viera Žáková, Atelier Hlavina

You can find a small "catalogue" of exhibited paintings here. A few words about the author of all paintings can be found here.