LONDON - Czech artist Daniel Pitín trained in Prague and has exhibited across Europe and the US, most recently at Vienna’s Charim Galerie. His work features in the current show at Sotheby’s S|2 in London, This Side of Paradise, curated by Jane Neal.
Czech artist Daniel Pitín. Photograph by Michal Jahn.
How did you come to painting?
I have been painting since I was child. After graduating from the Academy of Arts in Prague, I worked for some time as a stage photographer/cameraman, shooting various concerts and I felt my career could be in film and video. But I soon discovered that I lacked the disposition to be successful in the field of filmmaking. At this time, when I didn’t have a clear idea about what I wanted to do, a burglar broke into my apartment and stole my camera along with other expensive equipment of my small studio. This event actually made the decision to come back to painting a lot easier for me. I don’t even know if I managed to thank the thief.
Daniel Pitín’s Savoye, part of the selling exhibition This Side of Paradise at Sotheby’s S|2 London through 2 May.
How did you come to be part of this exhibition and what was the process of working with Jane Neal?
We have been working together for very long time. We met first at the Prague Biennale in Prague, then she came to visit my studio and we started slowly our cooperation. We’ve worked on a lot of exhibitions together and she knows my work and my art very well. I am happy she invited me also for this project.
Daniel Pitín’s Poetry of Pornography, part of the selling exhibition This Side of Paradise at Sotheby’s S|2 London through 2 May.
Explain the genesis of the work you have in this sale?
I focus on such themes as time, space and memory. I do not try to interpret some kind of real, outer space in my paintings, I rather create a new visual space that might evoke some mental situation or feeling in one's mind. Speaking specifically, I would mention the Villa Savoye by Le Corbusier: there is a beauty and nobility of the strict functionalist outlines. But when I started painting it, I realized, there is also a kind of sadness or nostalgia.
That was the reason I placed several deer does on the scene. Even though they do not belong there, their presence create kind of a tension and a story. I use this principle in my work in general when disrupting relationships of the objects on a painting and playing with symbols and their meanings. A viewer is thus able to create his or hers own story and meditate on such a cultural icon as Villa Savoye in a totally new way. A viewer can dream away.