It is already a custom that at the beginning of the year, gallerist Lenka Tutschová offers the space of the Kabinet T. gallery for sculpture presentations. This year, Pavel Hošek (1976), a native of Zlín and a graduate of the Academy of Fine Arts in Prague, studio of Jindřich Zeithammel (1995-2001), has been given this opportunity. Pavel Hošek has already profiled himself significantly as a student (studio prizes for year-long realizations, prestigious internship at the Staatliche Akademie der Bildenden Künste in Karlsruhe). The "encounter" of matter and space has become his constant and enduring theme. This encounter manifests itself on several levels. Firstly, as the being of the sculpture itself, the object, and secondly, the installation as such.  Most of his recent works are very purist, fragile and strong at the same time, very precise, thought out to the last detail. It is precisely the detail, the small omissions or highlights, the material or colour combinations that make the vertical objects "come alive". This static, calm durability reveals itself in the observation of the shape, the perception of the flow of energy, the remarkable chain of lines from the imaginary beginning to the end. One realizes that everything is proportionally, artistically and emotionally correct, nothing is missing, nothing is missing. One could say that it doesn't get any simpler or more minimalist. It is important to note that it is precisely the exploration of the imaginary boundary of the work's legibility, its indication and delimitation in relation to another subject (e.g. the surface of a wall) that defines Hošek's interest in "spatial drawing". The question that comes to mind is how heavy the line in the surface actually is...

Pavel Hošek enters and intervenes in his works. Here by deliberate incompletion, under-finishing, missing material. His interventions, however, do not seem inappropriate, they only make the whole thing more dramatic in a good sense, they promote tension. The next level are objects that are intrinsically linked to their own location in space. Although they are actually all of them, for some this "ability" is accentuated. From a given simplicity, they expand or, on the contrary, recede. It is a kind of geometric exercise, a search for the perfect expression - finding the appropriate relationship between object (material) and space - from the basic connection of two lines in a point to the overall construction and action of the sculpture. It is the meeting of simple elements (line, line against surface, division of surface and space) that is the initial initiation for Pavel Hošek, which he develops in his sculptures, releasing a stream of subjective inspiration. This free inspiration is "translated" into a certain architecture of space, where the core of the matter is deliberately revealed or, on the contrary, hidden. He boldly places "heavy" materials and shapes next to subtle, airy ones. 

Pavel Hošek presented in Zlín a very pure, sensitive exhibition intended for the perceptive and thoughtful visitor. His objects are not elementary, but rather thoughtful and demanding to perceive; the viewer must try to establish a kind of silent, intimate communication. If this encounter succeeds, other possible planes of vision open up before his eyes. As Hošek himself says: "I try to create a sense of concentration and relaxation, a transcendence, a merging of the inner and outer space. Everything is open...". I wished that viewers would try to perceive Hošek's sculptures so intensely that the effect of the art would make them visit the gallery repeatedly. If this has been achieved Pavel Hoško's sculptures and art work well.