I´m just playing, says Martin Došek with mysterious smile, which advises and bears to herewith his aversion to comment his production anyway. All the more he evokes the parallel with dutch painter, Hieronymus Bosch, who is indicated as a surrealist of the 15th century. Došek sticks his collages one by one with no less urgent memento, the same way as Bosch didn´t let anyone introspect into his inward, and disgorged pictures, presented the magic of the Middle Ages (with everything, what it meant), with crudeness, heading to the bone. Defile of women or girls on his collages, or more precisely their absolut adoration (pious veneration, not worship), with total absence of men (except of the holy ones), whose phallic presence is limited just to quizzical plumy creatures, evokes escapement into the false Eden, which has to lead along destruction of humankind. Surrealism is fortunately an avant-garde artistic direction, which has nothing in common with conventional logic schemes, and is plunging us in fantastic images and dreams. The power of Došek´s minimalist collages subsists in the fact, that we easily believe him, that Saint Sebastian was stabbed to the death by some courtesan during a ride in a limousine, or that a unicorn is a hairy blonde girl, indeed. The sins of the humankind have nowise fallen since the Middle Ages, vice versa maybe, the Last Judgment is still far from it. Maybe just a bizarre combination of dream and reality, life and death enables us to survive the unsurviveable.
Translation: Kryštof Kudláček