It does not happen often but when that moment arrives, time and space become unimportant. All your mind focuses on an artistic idea, your eyes and your hands follow just one aim – to create. Stirringly and persistantly. I tis the feeling like to be put into a trance moving somewhere between reality and desire. “And that is that unrepeatable moment I get up every day for and I try to mine some life from the mass again and again, at least my conception of it”, Viťo Bojňanský says. He is persistently waiting for that well-known flash of inspiration, when a muse is opening the door of her world. Viťo knows well he must also be prepared for inspiration. The true is that there are some days not being illuminated by exalting footlights, however, it does not stop him finding those right shapes and chasing the idea through many sketches.

The reason certainly lies in Viťo's statues and paintings that might be compared with running on long running tracks. They never deceive but leave the sparkling glitter of cheap forms far behind. At first glance it seems the most important inspiration might be people, animals or nature but Viťo likes to plunge them to unidentifiable mystery. The outside shape remains like a glimmer of an idea. What he is interested in is the inner life of his works. There is a motion, in which a spectator can reveal new relations. The author likes discovering of what has never been examined, and his latest sculpture production presented on the first-run exhibition at the Danubiana, belongs to such undiscovered areas.

The base material is duraluminium that with shaped perforation makes bulky plastics lighter. The collection did not arise by chance and the material is not only the means of momentary flare. “I have already been carrying it inside for several years”, Viťo reveals. “Precisely, since I visited Paris two years ago, when I was charmed with the material of one sculpture creation. Only now there is the processing time, and I really felt how I took a deep breath”.

So Viťo is putting off well-tried bronze and stone for a while and he is modelling his dreams from the airy and more transparent duraluminium either grinded or sometimes combined with tinted glass. Sophisticated openings on the body of a statue provide untraditional throughviews as well as offer communication with the surroundings. So a sculpture rises from the mass throwing its heavy covering away and with its airiness trying to narrate new stories – about itself, about its creator, about a by-stander. Plastics, however, are not isolated but couple paintings to particular sections. The latter are as though coming down from the wall and alltogether they are dissolving in looker-one's eyes.

In the case of Viťo Bojňanský the inner world is really a mirror of artist's fire and passion. He allows the past to work on him to recognise what will follow. He sensitively reveals sediments of human memory and so he creates his own unique world. He likes changing the scene here and from a sculptor is becoming a painter. Though Viťo is a substantive scupltor, the canvas is not only an appendix to plastics but the impressive colour world of shapes being familiar to viewers.

When interviewed and asked what made the painting good, excentric Friedensreich Hundertwasser answered: “When a painting is full of mysteries. When you can feel happiness in it, when it makes you laugh or cry, when it touches you to the heart. It can look like a flower, it can look like a tree. Something like the nature.” This quote was not stated by chance. One of spiritual fathers of Viťo Bojňanský interpreted his ambitions, too. Simply Viťo also wants people to feel pleasantly while looking at his works.

Ľudo Petránsky ml.

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